American Record Guide · Bach Guild labels. They issued Bach cantatas, Haydn masses, performances...

US $7.99 January/February 2021

American Record Guideindependent critics reviewing classical recordings

Critics’ Choice: Best of 2020

Over 375 CDs Reviewed

American Composers (J/A 1995) . . . . . . . .Book ONLY

American Symphonies (J/A 2007) . . . . . . .Book / PDF

American Music (N/D 2007) . . . . . . . . . . . .Book / PDF

Bach (N/D 1997) . . . . . . . . . . . . . . . . . . . . . .Book / PDF

Bach Keyboard (J/A 2005) . . . . . . . . . . . . . .PDF ONLY

Ballet (N/D 2012) . . . . . . . . . . . . . . . . . . . . . .PDF ONLY

Bartok (M/A 2001) . . . . . . . . . . . . . . . . . . . . .Book ONLY

Beethoven Piano Sonatas (M/J 2002) . . . .Book ONLY

Beethoven Quartets (N/D 2006) . . . . . . . . .Book / PDF

Beethoven (J/A 2003) . . . . . . . . . . . . . . . . . .Book ONLY

Berlioz (M/J 2007) . . . . . . . . . . . . . . . . . . . . .Book / PDF

Brahms (S/O 2006) . . . . . . . . . . . . . . . . . . . .Book / PDF

Brass (S/O 2005) . . . . . . . . . . . . . . . . . . . . . .Book / PDF

British Orchestral (J/F 2010) . . . . . . . . . . . .Book / PDF

Britten (M/A 2012) . . . . . . . . . . . . . . . . . . . .Book / PDF

Bruckner (M/J 2006) . . . . . . . . . . . . . . . . . . .Book / PDF

Cello (M/A 2009) . . . . . . . . . . . . . . . . . . . . . .Book / PDF

Cello Concertos (N/D 1998) . . . . . . . . . . . .Book ONLY

Chopin (J/A 2011) . . . . . . . . . . . . . . . . . . . . .Book / PDF

Choral Masterpieces (N/D 2000) . . . . . . . .Book ONLY

Debussy & Ravel (J/F 2000) . . . . . . . . . . . . .Book / PDF

Dvorak (S/O 1998 ) . . . . . . . . . . . . . . . . . . . .Book ONLY

English Symphonies (S/O 2010) . . . . . . . . .Book / PDF

Favorite Violin Concertos (S/O 1996) . . . .Book ONLY

Favorite String Quartets (S/O 1997) . . . . .Book ONLY

Film Music (M/A 1998) . . . . . . . . . . . . . . . . .Book ONLY

French & German Operas (M/A 2008) . . .Book / PDF

French Favorites (N/D 1999) . . . . . . . . . . . .Book ONLY

Great American Symphonies (M/J 2015) .Book / PDF

Guitar Music (S/O 2003) . . . . . . . . . . . . . . . .Book ONLY

Handel Orchestral & Messiah (N/D 2002) .Book ONLY

Handel Operas (J/F 2003) . . . . . . . . . . . . . . .Book ONLY

Haydn (M/A 2019) . . . . . . . . . . . . . . . . . . . . .Book / PDF

Historic Conductors (M/J 1998) . . . . . . . . .Book ONLY

Italian Opera (S/O 2000) . . . . . . . . . . . . . . .Book ONLY

Liszt (J/A 2016) . . . . . . . . . . . . . . . . . . . . . . .Book / PDF

Index to Overviews

Mahler (J/A 2012) . . . . . . . . . . . . . . . . . . . . .Book / PDF

Mendelssohn (N/D 2008) . . . . . . . . . . . . . .Book / PDF

Mozart Concertos (M/J 2008) . . . . . . . . . . .Book / PDF

Mozart Operas (J/F 2002) . . . . . . . . . . . . . . .Book ONLY

Mozart Symphonies (N/D 2001) . . . . . . . . .Book ONLY

Music since 1975 (S/O 2001) . . . . . . . . . . . .Book ONLY

Nielsen (M/J 2004) . . . . . . . . . . . . . . . . . . . .Book ONLY

Operetta, Part 1 (S/O 2017) . . . . . . . . . . . . .Book / PDF

Operetta, Part 2 (N/D 2017) . . . . . . . . . . . .Book / PDF

Overtures, Part 1 (J/F 2011) . . . . . . . . . . . . .Book / PDF

Overtures, Part 2 (M/A 2011) . . . . . . . . . . . .Book / PDF

Overtures, Part 3 (M/J 2011) . . . . . . . . . . . .Book / PDF

Piano Trios (M/J 2009) . . . . . . . . . . . . . . . . .Book / PDF

Program Music (S/O 1999) . . . . . . . . . . . . .Book ONLY

Prokofieff (J/A 2004) . . . . . . . . . . . . . . . . . . .Book ONLY

Rachmaninoff (M/J 2019) . . . . . . . . . . . . . .Book / PDF

Respighi (J/A 2010) . . . . . . . . . . . . . . . . . . . .Book / PDF

Russian Favorites (J/A 1996) . . . . . . . . . . . .PDF ONLY

Russian Music beyond Tchaikovsky,

Part 1 (J/F 2004) . . . . . . . . . . . . . . . . . . . . . .Book ONLY

Russian Music beyond Tchaikovsky,

Part 2 (M/A 2004) . . . . . . . . . . . . . . . . . . . . .Book ONLY

Russian Operas (M/J 2003) . . . . . . . . . . . . .Book ONLY

Saint-Saens (M/A 2000) . . . . . . . . . . . . . . . .Book ONLY

Schubert (N/D 2003) . . . . . . . . . . . . . . . . . .Book ONLY

Schumann (S/O 2004) . . . . . . . . . . . . . . . . .Book ONLY

Shostakovich Symphonies (N/D 2009) . . .Book / PDF

Shostakovich other (M/A 2006) . . . . . . . . .Book / PDF

Sibelius (J/A 2014) . . . . . . . . . . . . . . . . . . . . .Book / PDF

Spanish Music (S/O 2002) . . . . . . . . . . . . . .Book ONLY

R Strauss (M/J 2005) . . . . . . . . . . . . . . . . . . .Book / PDF

Stravinsky (M/J 2001) . . . . . . . . . . . . . . . . . .Book ONLY

Tchaikovsky (J/F 2001) . . . . . . . . . . . . . . . . .Book ONLY

Verdi (M/J 2000) . . . . . . . . . . . . . . . . . . . . . .Book ONLY

Wagner (J/A 2002) . . . . . . . . . . . . . . . . . . . . .Book / PDF

Woodwinds (N/D 2005) . . . . . . . . . . . . . . . .PDF ONLY

OVERVIEW . . . . . . . . . . . . . . . . . . . . . . . . . . .FORMAT OVERVIEW . . . . . . . . . . . . . . . . . . . . . . . . . . .FORMAT

American Record Guide January/February 2021 1

American Record GuideVol 84, No 1 January/February 2021 Our 86th Year of Publication

www.AmericanRecordGuide.com e-mail: [email protected] Service: (513) 941-1116

Editor: Donald R VroonLayout: Ray Hassard

PAST EDITORS

RECORD REVIEWERS

Paul L Althouse

Allan Altman

Alan Becker

Stephanie Boyd

Charles Brewer

Robert Delcamp

John Dutterer

Stephen Estep

Nathan Faro

Elliot Fisch

Gil French

William J Gatens

Allen Gimbel

Todd Gorman

Philip Greenfield

Patrick Hanudel

James Harrington

Rob Haskins

Roger Hecht

Sang Woo Kang

Ned Kellenberger

Barry Kilpatrick

Bradley Lehman

Ralph Locke

Peter Loewen

Joseph Magil

Catherine Moore

David W Moore

Robert A Moore

Don O’Connor

David Reynolds

Bruno Repp

Jack Sullivan

Michelle Thomson

Donald R Vroon

Peter Hugh Reed 1935-57James Lyons 1957-72Milton Caine 1976-81John Cronin 1981-83Doris Chalfin 1983-85Grace Wolf 1985-87

AMERICAN RECORD GUIDE (ISSN 0003-0716) is published bimonthly for $48.00 a year for individuals ($58.00 for institu-tions) by Record Guide Productions, 4412 Braddock Street, Cincinnati OH 45204.Phone: (513) 941-1116E-mail: [email protected] Web: www.americanrecordguide.com Periodical postage paid at Pontiac IL.POSTMASTER: Send address changes to American Record Guide, 4412 Braddock Street, Cincinnati, OH 45204-1006Student rates are available on request. Allow eight weeks for shipment of first copy.Outside USA add $27.00 postage. Allsubscriptions must be paid with US dollars or credit card. Claims for missing issues should be made within six months ofpublication. Contents are indexed annually in the Nov/Dec or Jan/Feb issue and in The Music Index, The InternationalIndex to Music, and ProQuest Periodical Abstracts.

Copyright 2021 by Record Guide Productions. All rights reserved. Printed in the USA.

Contents

Here & There: News from theClassical World 2

Critical Convictions 5

Critics Choice 2020 6

CD reviews by Composer 10

Collections 123

The Newest Music 175

Videos 181

Books 188

Index to Reviews 2020 190

Back Issues 216

Word Police: Triage 37

Word Police: Dis 107

WordPolice:Festival of Stupidities 215

Rafael Payere, 39, musicdirector of the San DiegoSymphony since 2019, ex-tended his contractanother four years to2026.

Bruce Lamott, directorof the PhilharmoniaChorale of San Francis-co’s Philharmonia Bar-oque Orchestra, is retir-ing at the end of thisseason after 23 years.He departs at the sametime that Music Direc-tor Nicholas McGeganturns the reins over toRichard Egarr.

B r a n w e l l

Tovey, 67,a r t i s t i cdirector ofC a l g a r yOpera sinceJ a n u a r y2 0 1 9 ,resigned inOctober. Hewas just afew monthsinto his con-tract whenhe was diag-nosed withcancer. His

compromised immune system plus health andpandemic travel restrictions made travelbetween Calgary and Vancouver (where helives and is being treated) difficult.

2 American Record Guide January/February 2021

Here & There

Appointments, Awards, & News

Latvian conductor Andris Nelsons, 42, musicdirector of the Boston Symphony since 2014,extended his BSO contract an additional threeyears until 2025. At the same time he alsoextended his contract as director of the LeipzigGewandhaus Orchestra and the continu-ation of the Boston Symphony-GewandhausOrchestra Alliance through 2025—a uniquepartnership in the orchestra industry.

Thierry Fischer, 63, who said in May2019 that he would leave as musicdirector of the Utah Symphony at theend of his contract in 2022, announcedin October 2020 that he will stay anadditional year while the orchestrasearches for his successor during diffi-culties caused by the coronavirus pan-demic. Also, he began as music directorof the Sao Paulo Symphony last March.

Donald Runnicles, 66, gen-eral music director of theGerman Opera in Berlinsince 2009, renewed hiscontract for five more yearsto 2027. He is also musicdirector of the Grand TetonMusic Festival in Jackson,Wyoming, and principalguest conductor of theAtlanta Symphony.

Conductor Jun Märkl,who turns 62 on Febru-ary 11, will succeedTaiwanese conductorShao-chia Lü as musicadvisor to the TaiwanPhilharmonic in August.Lü, who turns 61 thisyear, was the orchestra’smusic director from2010 to 2019. Märkl waschief conductor of theBasque National Orchestra (2014-2017), prin-cipal conductor of the MDR Symphony inLeipzig (2007-2012), and music director of theLyon Orchestra (2005-2011). He becomes prin-cipal guest conductor of the Hague Philhar-monic next summer. His father is German, hismother Japanese.

English clarinetist and con-ductor Michael Collins, 58,signed a two-year contractto become artistic dir-ector-in-residence of theLondon Mozart Playersstarting in September.From 2010 to 2017 he wasprincipal conductor of theCity of London Sinfonia. Asa clarinetist his recordingsare legion.

Erica Muhl, 59, willbecome the next presidentof Boston’s Berklee Collegeof Music in July. The com-poser and conductorcomes from the Universityof Southern Californiaafter a 30-year career asdean and founding execu-tive director of the Acade-my for Arts, Technology,and the Business of Inno-vation. She will succeedRoger H Brown, who isleaving after 17 years. Thecollege is best known for the study of jazz andmodern American music from rock andhip-hop to heavy metal and bluegrass.


Minnesota Orchestra musicians approved a two-year extension of their current contract toAugust 31, 2022 with a COVID-19 amendment effective starting October 1, 2020 that calls for a25% reduction in compensation, unchanged medical and dental benefits, expanded sick leave,and modified duties for musicians not able to perform on stage during the pandemic. Theamendment will expire on August 31, 2121, if the orchestra is able to resume concerts with afull compliment of musicians and without limitations on audience size. Also, Music DirectorOsmo Vanska (inset photo) agreed to a 35% salary reduction.

Canadian soprano Erin Wall, 44, died onOctober 8 at a hospital in Mississaugua,Ontario, from breast cancer. A member of theyoung artist program at the Lyric Opera ofChicago, she first drew national attention in2004 as a last-minute replacement there asDonna Anna in Mozart’s Don Giovanni .Although she went on to starring roles at theSanta Fe Opera and the Metropolitan, she con-centrated more recently on concert work, per-forming until the return of cancer and theCOVID-19 pandemic shut down performanc-es. Her most recent recording is as Massenet’sThais on Chandos.

Saxophonist and com-poser Jon Gibson, 80,died on October 11 inSpringfield MA from abrain tumor. He waswell known as a mem-ber of the Philip GlassEnsemble from its startin 1968 until 2019. Healso played in the worldpremieres of TerryRiley’s In C and SteveReich’s Drumming.

Russian conductor Alex-

ander Vederkinov, 56,died on October 29 ofCOVID-19 in Moscow. Atthe time of his death hewas chief conductor ofthe Royal Danish Opera.From 2001 to 2009, asmusic director and chiefconductor of the BolshoiTheatre, he helped renew its artistic reputa-tion. From 2009 to 2018 he was chief conduc-tor of Denmark’s Odense Symphony.

Coloratura soprano Chris-

tiane Eda-Pierre, one ofFrance’s first black operastars, died at 88 of naturalcauses on September 6 ather home in Deux-Sevres.Born in Martinique, shemade her professionaldebut in Nice in 1958, herAmerican debut at the LyricOpera of Chicago in 1966,her Carnegie Hall debut in1974 with the Opera Orches-tra of New York, and herMetropolitan Opera debutin 1980. She also was theoriginal angel in Messiaen’s<I>St Francis of Assisi<P> at the Paris Opera in1983, before retiring in the mid-1980s.

Maynard Solomon ,90, who with his bro-ther Seymour found-ed Vanguard Recordsin 1950, died on Sep-tember 28 at hisapartment in Man-hattan from Lewybody dementia. May-nard was especiallyfamous for his booksand writings onBeethoven, Mozart,

and Schubert; they have been described aspsychological biographies. Seymour, who diedin 2002, was linked more to the Vanguard andBach Guild labels. They issued Bach cantatas,Haydn masses, performances by Alfred Deller,and one of the first complete sets of Mahlersymphonies with Maurice Abravanel and theUtah Symphony. They also released importantalbums of jazz, blues, and folk music. Thebrothers sold the label in 1986.


Obituaries

This is a mild disease that is apparently verycontagious. The World Health Organization atthe UN issued a statement in November thatthe worldwide death rate of people who havehad the disease is 1%. That came a week afterthe New York City Health Department said thesame thing: the entire number of deaths fromCovid since last February amount to 1% of allwho were infected. Death rates can only godown and have been (as I predicted in July/Aug). The death rate will eventually go belowhalf a percent. If the US had tested from thebeginning, the death rate would already bemuch, much lower and people would be lessafraid.

We have come to the point in all this fear thatpeople are terribly concerned about sheer sur-vival—at the expense of their whole cultureand economy. I repeat what I have alreadysaid: is it worth surviving when life is so miser-able? Is it worth surviving without weddingsand funerals, concerts, worship, restaurants,bars, travel, exercise, sports, libraries, eveneducation? Quality of life matters more thanquantity. The virus will continue to spread; it’sa normal trajectory, and it is stupid to panicand demand that politicians do something—which they really can’t. You can’t stop MotherNature. Lockdowns are foolish—they justmake the whole situation more miserable.Taking “drastic action” may be impressivepolitically, but we are practically helpless.

The Boston Symphony has apparently joinedthe list of “politically correct” idiots. A Novem-ber publicity release from the BSO announceda “partnership between the Boston hip-hopgroup STL GLD, Thomas Wilkins, and BSOmusicians” to “explore the synergy betweenartists of different genres” in a “special sixvideo online series”. The same press releasewent on to mention a streamed concert thatincluded music by James Lee III (who is black)and a radio broadcast that includes music byUnuk Chin (a Korean woman). It also speaksof “being open to music of all kinds”.

I suppose “being open” is “cool”. But do peo-ple attend the Boston Symphony for “music ofall kinds”? Can’t they get “all kinds” of musicelsewhere—except classical? I have com-

plained before how stupid it is to teach popmusic of any kind in schools. If it’s popular it’severywhere already.

And the symphony orchestra is a Europeanproduct. US composers have built on thatfoundation, as have a few South Americanones and even fewer Asian ones. But the corerepertory is European. Making a big deal out ofthe exceptions to show how “inclusive” we areis ridiculous. No matter what the orchestras doin their marketing, the audience will be mostlyimmigrants or children and grandchildren ofimmigrants. It is obvious since the 1970s(when all this diversity nonsense started) thatorchestras are never going to attract many“people of color”, except Asians—and theydon’t count, because the marketing and “ini-tiatives” are aimed at blacks; and our orches-tras already have lots of Asians on the stage—mostly string players. I suspect those stringplayers are not thrilled at the idea of accompa-nying “hip-hop”.

Some musicologists call it “racist” to despiserap music (hip-hop). Well, it is certainly easyto hate and hard to like if you are at all musi-cal. Is it racist to hate the thought of our greatorchestras wasting their talents on such junk?Boston is only the latest and the biggest nameorchestra. Dallas Symphony has been doingthis sort of thing for a long time. I had hopedthat with no audiences in the halls they wouldall drop such nonsense—but the propagandais strong, and the “politically correct” lobby ispowerful. Every year or two you can readvicious attacks on our orchestras for playingthe music of “dead white males”. (I remembertwo such diatribes against the ClevelandOrchestra before Covid-time.) But that justhappens to be the best orchestral music. Whatare they supposed to do? Ignore quality infavor of identity? Why?

I dearly wish those people would give up onour orchestras. The orchestral culture is dying,along with classical music. They are hasteningits death. It may be years before we return tofull concert halls—or we may never. Butadding “hip-hop” to the mixture and playingcomposers because they are NOT white malesis just suicide—and more than a little ridicu-lous.


Critical Convictions

Critical Convictions: Pandemic & Rap

Paul AlthouseBRAHMS: Symphonies 1+3 (Gardner) Chan-dos 5236, M/AMENDELSSOHN: Early Violin Concerto;Double Concerto (Kuchar)Brilliant 95733, M/JVAUGHAN WILLIAMS: Symphonies 3+4;Helen (Brabbins) Hyperion 68280, M/JMOZART: Piano Concertos 5, 15, 16 (McDer-mott) Bridge 9523, J/ABACH: Brandenburg Concertos (I Musici)Urania 121386, S/O

Allan AltmanKARCHIN: Jane Eyre (Karchin) Opera Rara59, J/FSephardic Songs (Malkin) Brilliant 95652, M/J:180PURCELL: King Arthur (Jacobs) Naxos 109,S/O, vidRESPIGHI: Sleeping Beauty (Renzetti) Naxos106, S/O, vidZEMLINSKY: Der Zwerg (Runnicles) Naxos108, S/O, vid

Alan BeckerBEETHOVEN: Bagatelles (Lewis) HarmoniaMundi 902416, N/DBEETHOVEN: Piano Pieces (Rosenbaum)Bridge 9517, J/FBRIGHT, GIPPS: Piano Concertos (Ward/McLachlan) Somm 273, J/FGERSHWIN: Rhapsody in Blue (Mahan)Steinway 30132, J/ALISZT: Piano Sonata (Moog) Onyx 4195, M/APeggy Glanville-Hicks (Robinson) J/F: books

Stephanie BoydLEVY: Unis Vers—HM 902506, J/F: newBOYLE, CONVERY: Voyages—Innova 28,J/F: newHush (Papagena) Somm 608, J/A: new

Charles BrewerVICTORIA: Gaudeamus Mass (Rees) Signum608, S/OLost Voices of Hagia Sophia (Lingas) CappellaRomana 420, M/A: 197Sablonara Concionero (Ars Atlantica) IBS12020, S/O: 146

Cantica Obsoleta (Acronym) Old Focus 917,N/D: 149

Robert DelcampBACH: Organ Pieces (Latry) La Dolce Vita 69,J/FDURUFLE: Requiem; DEBUSSY: Nocturnes(Ticiatti) Linn 623, J/FLike to the Lark (Phipps) Chandos 5255, M/J:175BAIRSTOW: Anthems (Bell) Regent 543, J/ANordic Journey 9 (Hicks) ProOrgano, S/O: 126Jean-Baptiste Robin, organ—Brilliant 96134,S/O: 126

John DuttererWEBERN, SCHOENBERG, ZEMLINSKY:

Quartets (Arod Qt) Erato 542552, M/A: 168ELSNER: Chamber Pieces (Vista Qt) Dux15555, S/OSINIGAGLIA: Quartets (Archos Qt) Naxos574183, S/OHUBER, GOETZ: Trios (Trio Fontaine) SoloMusica 336, S/O

Stephen EstepBARTOK: Piano Quintet; VERESS: StringTrio (Lonquich+) Alpha 458, J/FDESCARRIES: Chamber Pieces & Songs(Rancourt, Charest-Beauchamp, Fournelle-Blain, Hochelaga Trio) ATMA 2799, S/ORapid Movement: Kapustin, Shostakovich,Tsfasman (Masleev) Melodiya 2624, J/A: 136SHOSTAKOVICH: Violin Concertos (Ibragi-mova) Hyperion 68313, S/OSORABJI: Sequentia Cyclica on Dies Irae(Powell) Piano Classics 10206, S/O

Nathan FaroSilenced Voices: Kattenburg, Kuti, Krasa,Klein, Hermann, Frid (Black Oak Ensemble)Cedille 189, J/F: 159LOPEZ: Symphony 1; Bel Canto (Harth-Bedoya) MSR 1737, J/F: newDZUBAY: Quartet 1; All Water Has a PerfectMemory; Producing for a While;50 DeliciousSilence; Lament; Volando; Lullaby; DoubleBlack Diamond; Kukulkan II; Trumpet &ViolinConcerto—Innova 11 [2CD] M/A: new


Critics� Choice 2020We asked our writers to list the best 10 percent of what they reviewed in 2020 issues, maximum 10.This is “forced choice”—meaning that most of us would rather be allowed a few more top choices,so we have to cut down our preliminary lists. Some of us never list reissues; most of us only listmusic we really like, even if there were great recordings of music we like less.

AVANESOV: Quasi Harena Maris; FrenziedFlames; ZOHRABYAN: Novelette; PET-

ROSSIAN: A Fiery Flame, A Flaming Fire;KARTALYAN, AR: Tekeyan Triptych; KAR-

TALYAN,AS: Saxophone & PercussionSuite— New Focus 244, M/J: newHUGHES: Cuckmere; Media Vita; Sinfonia(Smith; Hughes) Metier 28597, J/A: newMIHAJLOVIC: Bagatelles; Melancholy; Fa-mi(ly); Elegy; Memento (Griffiths) CPO555296, N/D

Elliot FischBARBIERI: Little Barber of Lavapies (Robin-son) Cameo 9115, M/AHAYDN: Canzonettas; Lieder (Horak) Gramo-la 99212, J/ALEHAR: Merry Widow (Mallwitz) Oehms 983,J/FPOULENC: La Voix Humane; Babar (Mazzu-cato) Brilliant 96030, 105

Gil FrenchVAINBERG, PENDERECKI, SCHNITTKE:

String Trios MOLIQUE: Quintet; Introduc-tion, Andante, Polonaise; Duo Concertant;Quartet (Parnassus Academy) MDG 3032132,J/FBEETHOVEN, SIBELIUS: Violin Concertos(Tetzlaff) Ondine 1334, J/FRAUTAVAARA: Lost Landscapes; Nocturne;SCHUBERT: Violin Sonata; Fantasia (Kame-narska) Urtext 299, M/JKHACHATURIAN: Violin Concerto; Concer-to Rhapsody (Weithaas) CPO 555093, J/ACzech Viola Concertos: Feld, Flosman, Bodor-ova (Hosprova) Supraphon 4276, S/O: 138ARNOLD, C: Piano Concerto; Sextet (Torg-ersen) Simax 1344, S/O

William GatensPALESTRINA: Lamentations 2 (Cinquecen-to) Hyperion 68284, J/FBACH: Magnificat in E-flat, Cantata 63 (Tour-net) Versailles 9, M/AHAYDN: Mass 5 (Doyle) HM 902300, M/AHANDEL: Concerti Grossi, Op 6:7-12 (Forck)Pentatone 5186 738, M/JBACH: St Matthew Passion (Suzuki) BIS 2500,J/AThe Call of Rome (Christophers) Coro 16178,S/O: 145

Allen GimbelPETTERSSON: Vox Humana (Hanssion) CPO999 286, M/JROSNER: Homme Arme Mass (Campbell)Convivium 53, M/J

LINDBERG: Accused (Lintu) Ondine 1345,S/OLUKASZEWSKI: Very Best—Dux 1515, S/OMACMILLAN: Symphony 5 (Christophers)Coro 16179, S/OSCHNITTKE: Works (Rozhdestvenky) Melo-diya 2630, N/D

Todd GormanCASTEREDE: Flute Pieces 1 (Cobus du Toit)Naxos 573949, M/AMOZART: Wind Trio Arrangements (RoseauTrio) MDG 9032144, S/O19th Century Salon Pieces (Surulo & Plawska)RecArt 27, M/A: 177Emmanuel Pahud, fl: Busoni, Mozart, Pen-derecki, Reinecke, Takemitsu—Warner 95392,M/A: 176Flute Trios (Boyd-Doane-Snyder) Bridge 9539,N/D: 120Follies and Fantasies (Cavatina Duo) Bridge9541, N/D: 121

Philip GreenfieldBRAHMS: Requiem (Harding) HM 902635,J/FBRUCKNER, STRAVINSKY: Masses(Leenars) Pentatone 5186774, N/DDANIELPOUR: Passion of Yeshua (Falletta)Naxos 559885, J/AKULJERIK: Croatian Requiem (Repusic) BR900331, N/DSMYTH: Mass (Oramo) Chandos 5240, M/ATCHAIKOVSKY: Liturgy; Vigil (Klava)Ondine 1336, J/F; 1352, S/O

Patrick HanudelPiano & Winds (Hadland, Oslo Chamber Aca-demy) LAWO 1187, M/J: 167POULENC: Wind Pieces (Fernandes, Sourna-tcheva, Pires, Benoit, Pointet, Engeli) MDG903 2152, M/J DODGSON: Music for Winds II (MagnardEnsemble) Toccata 499, J/A Bassoon Concertos (Plath) Genuin 20683, S/O:118 BEETHOVEN: Piano & Winds (Becker,Maalot Quintet) Avi 8553110, N/D

James HarringtonALKAN: Sonata; 3 Pieces (Viner) Piano Clas-sics 10209, S/OFARRENC: Etudes & Variations (Polk) Stein-way 30133, J/AKABALEVSKY: Preludes (Korstick) CPO555272, N/DMOZART: 2 Piano & 4-Hands (Badura-Skoda& Demus) Gramola 99214, J/A


RACHMANINOFF: Concerto 2; SymphonicDances (Lim, Argerich) Warner 545551, J/FRAVEL: Miroirs; La Valse; STRAVINSKY:

Petrouchka & Firebird Movements (Rana)Warner 541109, M/ASCRIABIN: Piano Sonatas (Maltempo) PianoClassics 10168 [2CD], J/ASHOSTAKOVICH: Piano Sonatas & Preludes(Gugnin) Hyperion 68267, J/F

Rob HaskinsFELDER: Jeu de Tarot (Ensemble Signal)Coviello 91913, M/JLERDAHL: There and Back Again+ pJANACEK: Piano Sonata+ (Ades) Signum600, S/ORecent Harpsichord (Esfahani) Hyperion68287, S/O: 125

Roger HechtVEPRIK: Ghetto Dances & Songs; SymphonicSongs; 4 Little Pieces;Pastorale; 2 Poems (Mueller) MDG 9012133,J/FBERLIOZ: Damnation of Faust (Nelson)Erato 541735, M/AMAGNARD: Symphonies 1+2 (Bollon) Naxos574083, M/JLISZT: Dante Symphony; Tasso; Kunstler-festzug zur Schillerfeier (Karabits)Audite 97760, J/ASTRAUSS: Rosenkavalier Suite; Death andTransfiguration; Macbeth (Shui)BIS 2342, N/DZEMLINSKY: Die Seejungfrau (Albrecht)Pentatone 5186740, N/D

Sang Woo KangTo a Camia: Romantic Manila (Pinkas) MSR1645, J/F: 177Versailles (Tharaud) Erato 538642, M/J: 160MOSKOWSKI: Piano Pieces (Hirose) Dana-cord 866, S/OOpera for Piano (Dichamp) Brilliant 96067,S/O: 127SILVESTRI: Piano Pieces; KURTAG: 2 PianoPieces; ENESCO: Concerto (Borac) Profil20028, N/D

Barry KilpatrickGREGSON: Brass Pieces (London Brass)Chandos 20127, S/OHOLST: Planets; Perfect Fool (Stern) Refer-ence 146, M/APreludes, Rags, and Cakewalks (London Sym-phonic Brass) MPR 5, J/A: 138

Mystery of the Natural Trumpet (Kovats) CPO555 144, N/D: 138Constellations (Canadian National Brass Pro-ject) Analekta 8924, J/A: 137

Bradley LehmanBACH: Art of Fugue; 4 Duets; Ricercars(Belder) Brilliant 96035, J/FBACH: Harpsichord Concertos 1, 2, 4, 7(Corti) Pentatone 5186837, J/AOrganic Creatures (Vicens) ConsoulingSounds 139, J/A: 1472 Lutes With Grace (Lewon & Kieffer) Naxos573854, J/A: 162Filippo Dalla Casa Collection (Zapico) Winter& Winter 910258, S/O: 123Fitzwilliam Virginal Book 7 (Belder) Brilliant

95648, S/O: 124

Ralph LockeHANDEL: Agrippina (Emelyanchyev) Warner533658, J/A GRETRY: Raoul Barbe-Bleue Aparte 214,M/A ALWYN: Miss Julie (Oramo) Chandos 5253,N/D SPONTINI: L’Olimpie (Rhorer) Bru Zane1035. M/J

Peter LoewenLYMBURGIA: Gaude Felix Padua (Miroir deMusique) Ricercar 402, J/FBUXTEHUDE: Solo Cantatas (La Reveuse)Mirare 442, J/ASpiritual Songs from Finland (Utopia ChamberChoir) Alia Vox 9932, J/A: 163Art of the Diminution (Leonor de Lera) Chal-lenge 72843, J/A: 164KAPSBERGER: Villanellas (Les Kapsbergirls)Muso 37, S/ODouble Concertos (Giuliano Carmignola, v;Mario Brunello, vc) Arcana 472, S/O: 148HOMILIUS: Advent & Christmas Cantatas(Cologne Academy) CPO 555278, N/D

Joseph MagilBRAHMS: Viola Sonatas (Zhang) Centaur3686, M/ABRAHMS: Viola Sonatas (Berthaud) B 23, M/JBEETHOVEN: Violin Sonata 9 (St John)Ancalagon 144, J/ASZYMANOWSKI: Quartets; Violin Sonata(Carmina Quartet; Kim) MDG 6502167, S/OFrench Violin Sonatas (Pietsch) Audite 97.751,S/O: 140SCHUBERT: Violin Sonatas (Skaerved)Athene 23208, N/D


Jim McCutcheonFriedemann Wuttke, g—N/D: 126BACH: Lute Suites (Halasz, g) N/D

Catherine MooreRORE: Madrigals (Blue Heron) Blue Heron1009, J/FSephardic Italian: Early Jewish-Italian Spiritu-al Music (Ensemble Bet Hagat) Stradivarius37124, S/O: 144

David MooreBEETHOVEN: Cello Pieces (Berger) SoloMusica 338, N/DBEN-HAIM: Cello Concerto (Wallfisch) CPO555 273, M/JBOISMORTIER: Gamba Sonatas (Noeldeke)Antes 219305, J/AGUNNING: Cello Concerto, VC; Birdflight—Harwood/Gunning—Signum 621, N/DSheku—Decca 31491, J/A: 139Haydn & Friends (Eckert, gamba) Hanssler17064, N/D: 119HOVHANESS: Across the Ages (Gullans, vc)Albany 1805, J/A

Robert MooreSCHUBERT: Schwanengesang; BRAHMS: 4Serious Songs (Finley) Hyperion 68288, J/FSaga (Krimmel) Alpha 549, J/F: 193LINDROTH: Wilfred Owen Songs (Eleby)Sterling 3005, M/ASCHUMANN: Songs 2 (Gerhaher) Sony94536, M/ABOULANGER, L & N: Songs (Phan) Avie2414, M/JSCHUBERT: Songs (Richter) Pentatone5186839, J/ASongs and Ballads (Degout) Harmonia Mundi902367, J/A: 171Solitude (Gilchrist) Chandos 20145, N/D: 155

Don O’ConnorBRIAN: Vision of Cleopatra (Brabbins) Dut-ton 7348, N/DELGAR: Falstaff; CHADWICK: TamO’Shanter(Constantine) Orchid 100 103, J/FJOHANSEN: Pan; Piano Concerto (Aadland)CPO 555 246, N/DKORNGOLD: Symphony; Variations (Wilson)Chandos 5220, J/FLITTA: Concert Trilogy (Then-Bergh,Schafer) Genuin 20690, S/ORUBBRA, BLISS: Piano Concertos (Botstein)Hyperion 68297, S/OSTRAUSS: Alpine Symphony; LANG-

GAARD: Antikrist Prelude (Dausgaard) Seat-tle Symphony 1023, J/F

Bruno ReppBUXTEHUDE: Stradal Transcriptions (Ai)Toccata 534, M/JSCHUBERT: Piano Sonata in B-flat;Impromptus, D 899 (Vanden Eynden) Palais 9,M/JSCHUMANN, C: Piano Pieces (Codispoti)Piano Classics 10193, M/ABRAHMS: Late Piano Pieces (B Berman)Palais 18, M/JFEINBERG: Piano Sonatas 1-6 (Hamelin)Hyperion 68233, M/JNordic Light (Sobon-Wakarecy) Accord 267,S/O: 131

David Reynolds Fritz Wunderlich: 20th Century—SWR 19075,J/F: 195GOUNOD: Faust (Rousset) BruZane 37, J/FRuby Hughes: Mahler, Berg, Samuel—BIS2408, M/J: 179Bavarian State Opera—Naxos 2110660, S/O:vidADAM: Postillon de Lonjumeau (Rouland)Naxos 112, N/D: vidMASSENET: Thais (Davis) Chandos 5258,N/D

Jack SullivanIVES: Songs & Chamber Pieces (Wagner)MDG 6132178, N/DFAURE: Piano Quintets (Mozart) MDG 9432162, N/DPRADO: Piano Concertos (Machetti) Naxos574225, S/OLUTOSLAWSKI: Symphonies 2+3 (Lintu)Ondine 1332, J/A

Michelle ThomsonHAYDN: Quartets opp 20:5, 33:5, 50:6, 54:2,76:2, 77:2 (Hanson) Aparte 213, M/JHAYDN: Quartets op 76:1-3 (Chiaroscuro) BIS2348, S/OMACMILLAN: Viola Concerto; Symphony 4(Power) Hyperion 68317, S/OSCHOENBERG: Violin Concerto; Transfig-ured Night (Faust/Harding) HM 902341, M/JPas de Deux (Rowland & Bogdanovich) Chal-lenge 72833, N/D: 143

Donald VroonBACH: arrangements for strings—ChelseaFestival, J/FBEETHOVEN: Symphony 3 (Herbig) Berlin301492, J/A


ADAMS,JL: Lines Made by Walking; Untouched

Jack Quartet—Cold Blue 58—55 minutes

Two related pieces for string quartet by JohnLuther Adams.

Lines Made by Walking (2019) is a spec-tralist tone poem built on overtones emanat-ing from a low C on the cello and transformedinto midrange pitches progressing in tempocanons to create a moving web of hallucino-genic texture. The result was imagined fromwalks in the Mexican desert, mountain ridgesin Chile, and hills and canyons in Montana.These canons are in slow motion and createthe visions experienced with psychedelicdrugs where time and reality congeal into acosmic stasis. The piece is in three parts (Upthe Mountain, Along the Ranges, and Downthe Mountain), the segments proceeding fromthe opening register and gradually climbingback down to its original state.

Untouched (2016) began with the compos-er holding a small Aeolian harp on top of hishead and allowing it to vibrate with the wind.Like the earlier piece, the three sections (Ris-ing, Crossing, Falling) are played with openstrings only (the fingers not touching theinstruments), hence the title. The locationhere is the tundra of Alaska, where the com-poser lives. The result is achingly beautiful.

Readers familiar with this composer’s workwill find this rewarding. Newcomers will findthis of value if they are in the right attentivespace.

GIMBEL

AHO: Sieidi; Symphony 5Colin Currie, perc; Lahti Symphony/ Dima Slobo-deniouk—BIS 2336 [SACD] 61 minutes

Kalevi Aho’s Sieidi (2010) is a concerto for per-cussion and orchestra written for Colin Currie,one of the world’s great percussionists, here

showing off his extraordinary technique. Thework’s title comes from the name of a Finnishminority found in northern Finland, Norway,Sweden, and Russia. The piece is filled withscales derived from their folk music, providingscaler material for Aho’s postmodernist lan-guage. The concerto is for a wide variety of in-struments, some from far-flung sources (thedjembe and sarabuka) and some from tradi-tional sources (vibraphone, tam tam, etc.) Thepercussionist must navigate the variety of in-struments, moving from one technique to an-other as the piece progresses while the orches-tra sounds supply backdrop. The result isthrilling. We are told that the piece has be-come a standard repertoire item because of itsastonishing demands on percussion players.

The early Symphony 5 (1976) is moredemanding for the listener, inspired by “theincoherence of our existence”. He calls this“maximalism”, produced by simultaneous andapparently unrelated gestures resulting in asimmering mess. The incoherence is fatiguing.This became prominent apparently because ofthe social and political matter expressed in thefashionable modernist language of the time,though Aho does not succumb entirely to theserial-clotted dissonance so beloved of theacademic composers. Forbidding fanfares,funeral marches, wild hysterics, and an atmos-phere of death are prominent. It will be a achore for most listeners.

Half of this is an important release. Sym-phony 5 has a number of competing record-ings, but this will be its benchmark. Notes bythe composer.

GIMBEL

ALBENIZ: Iberia;GINASTERA: Milonga; Malambo;

Danzas ArgentinasPola Baytelman, p—Elan 82288 [2CD] 109 min

Baytelman presents one of the best perform-ances of Iberia that I’ve heard in a long time.


Guide to Records

BRUCKNER: Symphony 2 (Ballot) Gram99291, J/ACHOPIN: Piano Concertos (Yundi) Warner532018, M/JFRANCK: Redemption (Fournet) Brilliant96002, N/DKREISLER: Violin Pieces (Park) Centaur3816, N/D

MOZART: Piano Concertos 5+13 (McDer-mott) Bridge 9518, J/FPOULENC: Sinfonietta; Piano Concerto (Ros-ner) Odradek 364, M/JPROKOFIEFF: Alexander Nevsky (Fischer)Reference 735, J/FRACHMANINOFF: Moments Musicaux;Piano Pieces (Soldano) Divine Art 25155, M/J

This is a beautiful album. `Evocation’ sets thetone with lovely nuances, tone, and balance.`Fete-Dieu a Seville’ is passionate, with shim-mering effects. `Almeria’ has a lovely spectrumof sound, which is quite noticeable in the deli-cate section towards the end of the work.

Ginastera’s `Malambo’ and `Milonga’ arenot as well known as his Danzas Argentinasand are beautifully played here. Baytelman isnot only a powerhouse of a player, but also aperformer with a sense of narrative.

KANG

ALLEN: Music for WoodwindsMichael Waye, fl; Allan Meyer, cl; Katherine Wal-pole, bn; David Wickham, p

Metier 28607—67 minutes

After studying chemistry and geography atOxford, composer Geoffrey Allen (b. 1927)moved to Perth, Australia and worked as amusic editor, publisher, and librarian. Here, 4Perth-based musicians record 5 of his compo-sitions for woodwinds and piano. 3 of thepieces are for bassoon: the Sonata (1964), theSonatina (1998), and the Pastorale (1998). TheOutback Sketches (2005) for clarinet andpiano is a substantial three-movement pro-grammatic work; and the Fantasy Trio (2007)for flute, clarinet, and piano is the longestselection, broken into 4 movements andrequiring 20 minutes.

Allen wraps attractive lyricism and wittyvirtuosity in a congenial extended tonality;and though his writing is hardly groundbreak-ing, he aims to emphasize the best elements ofeach instrument. The renditions here havegood energy; but they are also very rocky. Theflute is too breathy and hollow; the clarinet hasa likable earthy timbre that spreads a bit atloud volumes; and the bassoon routinelysports dreadful tone, control, and intonation.The piano handles the tricky scores well; butthe sonics are boxy and unrefined. The com-poser deserves better.

HANUDEL

AMIROV: Symphony to the Memory of Niz-ami; 1001 Nights

Kiev Virtuosi Symphony/ Dmitri YablonskyNaxos 573803—57 minutes

Azerbaijani composer Fikret Amirov (1922-84)wrote the symphony in 1941, the 800thanniversary of the birth of Nizami Ganjavi, a12th-Century Azeri Muslim epic poet. Writtenfor strings, it’s 22 minutes long, in 4 move-ments, and in a style somewhat akin to

Armenian composer Aram Khachaturian(basically tonal and influenced by his coun-try’s folk music). Russian conductor DmitriYablonsky moves the music forward with suchsustained lyricism, strong drama, and infec-tious rhythms that I really would love to hear itplayed by a major symphony orchestra. Theliner notes’ description of the Kiev Virtuosiseems fair: “With an average age of 30, thisyouthful orchestra unites talented musiciansfrom all over Ukraine, most of whom are win-ners of various competitions.” The problem isthat the strings are the weakest section. Theyplay with good ensemble, and Yablonsky is asolid disciplinarian; but their tone quality isinferior (probably poor instruments).

Where the orchestra sounds really fine is inthe suite from the ballet 1001 Nights. Thewinds, brass, and percussion must encouragethe strings to really put out in this 36-minutesuite, arranged by Yablonsky and getting itsfirst recording here. No wonder the musiciansare giving it their all! And the engineers delivera more resonant sound, better than in thesymphony. The 12 excerpts, mostly with titleslike Orgy, Shahriar’s Anger, Execution, Cele-bration, Ali Baba and the 40 Thieves,Scheherazade’s Triumph, and the 6-minuteChase, are mostly rambunctious—highlyrhythmic and loud. Only Scheherazade’s LoveTheme and the Interlude are more soothing.The slapping drums that open and close thesuite are terrific fun. Yes, “It sounds like filmmusic”, my spouse remarked. No, it doesn’tsound like Swan Lake or Romeo and Juliet. Butthere it is, solidly written and well orchestrat-ed. Leopold Stokowski had good judgmentback about 1960 in recording Amirov’s Azer-baijani Mugam with the Houston Symphony(on an Everest CD). With Armenia and Azer-baijan in the news recently, you might want togive it a try.

FRENCH

ASCENCIO: Guitar PiecesAlberto Mesirca—Brilliant 95806—56 minutes

From a composer who never played the guitar,this music is astounding! It is rich in melodyand harmony, with moments of technical bril-liance and romantic expression; and it hasfound a sympathetic voice in the hands of anexcellent artist, Alberto Mesirca, who contin-ues a trend among classical guitarists of pro-ducing recordings of the complete works ofcomposers, giving us the opportunity to hearmore than just their “hits!”


Ascencio, a pianist, developed an interestin the guitar when a young guitarist namedNarciso Yepes studied with him—not the gui-tar, but music in general. Ascensio would askYepes to imitate pianistic sounds and wouldnot take “not possible!” for an answer! Thisdesire to make the guitar sing in new ways isevident in his compositions, such as the Col-lectici Intim with its variety of moods. Mesircamakes the technically challenging moments ofthe concluding `La Frisanca’ sing with a musi-cal effortlessness that conceals the challenges.

This recording brings to light works thatare not often recorded, such as Suite de Hom-enajes and Suite Mistica. Mesirca excels atbringing out the musicality of these works.

More time between some tracks couldhave benefitted the listener, especially aftermajor works like Collectici Intim. Please giveme time to process what I have just heard—itis so lovely; allow me the space to enjoy thefeeling before taking me somewhere else. I’mreally in no hurry when hearing an artist of thisstature playing great music.

Sonically, this recording is a pleasure.Mesirca’s control of tone color adds to engi-neer Andrea De Marchi’s technical acumen tomake a disc worth hearing repeatedly.

MCCUTCHEON

ASHEIM: Muohta; see HAGEN

BACH: Cello SuitesRobert Max—Guild 7822 [2CD] 152 minutes

Cellist Max plays the first five suites on aStradivarius cello made in 1726, as he tells usin his entertaining and informative liner notes.For the final suite, written for a cello with anextra E string added above the A string, hebrings in a Chinese instrument. He plays withclarity and sensitive phrasing, perhaps withmore use of the open strings than usual, butdelicacy and accuracy cover the music well. Allrepeats are observed, and the recorded soundis fine. Vibrato is employed sometimes but notoverdone.

Max has made a fine career as teacher andconductor, as well as cellist. He lives in Lon-don, and these interpretations are worth hear-ing.

D MOORE

BACH: French SuitesThurston Dart, clavichord

Decca Eloquence 482 9398—52 minutes

Thurston Dart recorded this set of Bach’s six

French Suites for L’Oiseau-Lyre in 1961, whenhe was 39. For the rest of his short life (he diedat 49), he was proud of this as one of his bestrecords.

To fit everything onto a single LP, he delet-ed all the repeats. He used much more bebung(clavichord vibrato) in his right hand thanwould be fashionable now, making the quainteffect of a quivering tone in almost everyphrase. His articulation was almost all legato,where I’d like to hear more variety in phrases;but it probably sounded normal enough to afi-cionados in the 1960s. He made full use of theclavichord’s dynamic range with crescendosand diminuendos. The bass strings soundcloser to the microphones than the treble.

The performance has been available onCD before. The limited edition by the BritishClavichord Society (1998) had these suitesplus 12 minutes of music by Purcell and Croft.It was mastered more quietly than this newone, and it had only one track per suite (ratherthan the 39 short tracks here). Both that oldissue and Eloquence’s new one reproduceDart’s original liner notes from the 1962 LP,mildly re-edited. The BCS’s booklet notes weremore extensive, describing Dart’s clavichordand giving a biographical sketch of him.According to those notes, this instrument wasone of about 50 clavichords built by ThomasGoff (1898-1975).

This is good to have back in the catalog inEloquence’s attractive budget issue.

LEHMAN

BACH: Goldberg VariationsLang Lang, p—DG 32442—80 minutes

When a couple of excerpts from Lang Lang’srecording of the Goldberg Variations appeareda few months ago—as I recall, the aria andVariation 7—I was enchanted. Both move-ments were a bit on the slow side, but Lang’sbeautiful tone demonstrated what, over theyears, I’ve cried out for again and again fromtoday’s players: a true singing quality, whichBach himself identified (in his preface to theInventions and Sinfonias) as a most importantgoal of his teaching. Cantabile tone, long-linedphrases, sudden moments of unexpectedrubato: these are the main things in Lang’sGoldbergs. They are long overdue. The histori-cally-informed keyboard epigones laugh atthese things, as do modern pianists who havebeen bludgeoned into accepting an unemo-tional Bach. But I rejoice. There is no one rightway to play this music—fortunately!—and per-


formers need to restore to Bach the immenseexpressivity of his music, as Lang Lang hasshown us.

The long road downward began, I believe,with Glenn Gould: not Gould himself, becausehe had a great technique, beautiful tone, and agreat mind that made it possible to accepteven his wackiest readings (the Mozart sonatascome to mind). No, it was later pianists whoeither tried to imitate Gould (without havingthe mind to pull it off ) or who took to absurdlengths the purity of Gould’s approach, leach-ing the music of any heart it had. Readers whohave followed me for a few years know who Imean. I’m tired of giving them airspace.

Lang Lang gives me hope. Are there someoddities, infelicities? Yes, among them theaddition of a third voice in Variation 7, 32nd-note improvised flourishes in Variation 5 (oth-erwise played flawlessly with Gould’s tempo),a mislearned note in Variation 8. But the greatmoments outnumber them: I love the leisurelyVariation 11, rich with rubato; the powerfulquasi non-legato in Variation 12; the playfulVariations 17 and 23; the ten-minute, beauti-fully agonized, Variation 25. Lang brings thislistener along a memorable journey; and thereturn to home at the end—the ca capo per-formance of the Aria—actually feels like a newplace rather than a dutiful, symmetrical clos-ing off of cold, calculating musical architec-ture. In short, this recording belongs at the topof a very short list of the greatest examples ofBach keyboard playing, and I hope otherfuture players take his example to make musicwith such individuality and courage.

HASKINS

BACH: Goldberg VariationsJimin Oh-Havenith, p

Musicaphon 56981—80 minutes

It’s outstanding for the fast variations,mediocre for the slow ones.

According to the biography of Jimin Oh-Havenith on the back cover, her piano playingis “characterized by an exceptional sonorityand faithfulness to the text.... The synchronici-ty of sound and rhythm, not arbitrary changesin tempo and dynamics, inform the clarity ofher interpretation.” That’s a fair way of sayingshe makes a beautiful tone while taking fewinterpretive chances beyond a literal readingof the notes. Isn’t such supposedly “arbitrary”work the art of interpretation—crafting a com-municative performance?

In her brief remarks about the Goldberg

Variations, she calls Bach’s music “singingmathematics” in general, which makes nosense for the vocal or chamber music. She saysshe didn’t want to play these variations in thefirst 30 years of her career, but she decided tolearn them to support the curriculum at herson’s school. (How many mothers do that?Wow!) She worked on this for ten years whileoften suffering from insomnia and physicaland emotional exhaustion after her husbanddied. She found this music therapeutic, andshe offers it as healing for others, “a musicalaffirmation of life”.

I like the way she conveys energy, joy, andhope. Her technique is flawless, and her inter-pretation carefully organized. Many of thetempos, staccato articulations, and rigid inter-pretations of ornamentation are recognizablefrom the handful of recordings by GlennGould and Rosalyn Tureck. She plays all therepeats except in the very long variation 25and in the reprise of the Aria. She adds noornamentation of her own. Within her analyti-cal blinders of “singing mathematics”, empha-sizing structure over free musical whimsy, thisperformance works well.

The weakest points are the slow variations13 and 25, which plod without an Adagio “atease” character of flexibility. The stiff literalismmisses the Baroque expressivity impliedbeyond the notation (the same failings are inGould’s and Tureck’s interpretations). The restof the time I was often reminded of the Timemagazine quote on the front of the old GouldLP: “Bach as the old master himself must haveplayed—with delight in speeding like thewind, joy in squeezing beauty out of everyphrase.” It could have included more spon-taneity.

Overall, this is recommendable as a joyousway to hear the piece. Take care not to lose thethin cardboard sleeve on a shelf between moreconventionally packaged CDs.

LEHMAN

BACH: Motets (6)with BERTOLUSI: Osculetur Me Osculo OrisSui; GALLUS: Ecce Quomodo Moritur Justus;GABRIELI, G: Jubilate Deo

Pygmalion/ Raphael PichonHarmonia Mundi 902657—78 minutes

This recording combines the standard six Bachmotets with three motets of the 16th Centuryfound in the two-volume collection Flori-legium Portense first published in 1618 inNaumburg. The collection contains 365 Latin


motets by 58 German and Italian composers. Itwas regarded as indispensable by many Ger-man schools and choral foundations in the17th and 18th Centuries, including St Thomasand the other principal churches of Leipzig. AsPeter Wollny points out in his notes to thisrecording, there is documentary evidence ofits daily use in Leipzig and the frequent needto replace worn-out copies. The motets by Vin-cenzo Bertolusi (c1550-1608), Jacobus Gallus(also known as Jacob Handl, 1550-1591), andGiovanni Gabrieli (c1554-1612) barely scratchthe surface of the collection, but offer speci-mens of the music that would have been sungalongside the works of contemporary Leipzigcomposers before, during, and after Bach’stenure.

Performance practice in the Bach motetscan vary extremely from the unaccompaniedone voice to a part of the Hilliard Ensemble(ECM; S/O 2007) to the lavish instrumentaldoubling of La Petite Bande under SigiswaldKuijken (Accent; M/J 1993). Most recordingsfall between these extremes, as does this one.Here a choir of 28 voices is supported by acontinuo ensemble selected from cello, doublebass, archlute, theorbo, organ, and harpsi-chord. The singers of Pygmalion are a mixedchoir (with both male and female altos) whoare undaunted by the challenges of Bach’svocal writing or Raphael Pichon’s sometimesblistering tempos. The opening section ofLobe den Herrn, Alle Heiden (S 230) and theconclusion of Singet dem Herrn ein NeuesLied (S 225) will leave the listener dazzled. Thetechnical performance standard leaves noth-ing to be desired.

Pichon takes an almost romantic approachto the motets, not in the sense of 19th-Centuryperformance ideals, but a highly subjectiveinterpretation that stresses feeling above all. Inhis booklet essay, he says that “Bach under-stood better than anyone else our need to feel.That is to say, he knew how to instill in us anemotion that is at once intellectual and sensi-ble, but also and above all else physiological.”Pichon insists on the dance-like quality of themusic, stating that “dance lies at the heart ofBach’s language: it irrigates and organizes hismusical thought”. In terms of the virtuosityinvolved, these are exuberantly physical andincisive performances; but I would not say thatthey sound spontaneous. Pichon knows whathe wants and seems to micro-manage the per-formance to get it. Every gesture seems to becarefully calculated and sometimes imposedon the music rather than growing out of it. For

instance, some of the dynamic inflections in`Es ist nun nichts’ from Jesu, Meine Freudecome dangerously close to “cute”. Choral disci-pline is indispensable in any performance, butI submit that its purpose is to produce theimpression of spontaneity, of the gesturesemerging inevitably from the music itself. I donot find that to be the case here. The director’sidiosyncrasies seem to hold sway.

There are many fine recordings of the Bachmotets, and I do not claim to have heard themall. Among the recent recordings that haveimpressed me are the Berlin Vocal Consortunder Marcus Creed (Harmonia Mundi902079; J/A 2011) and the Stuttgart ChamberChoir under Frieder Bernius (Carus 83.298;M/A 2013). Another fine recording is by theBavarian Radio Choir under Howard Arman(BR 900523; M/A 2019), but it omits Lobet denHerrn.

GATENS

BACH: Major Preludes & FuguesE minor (S 548), C (S 545+547), C minor (S 546),G (S 541), A (S 536), D (S 532), B minor (S 544)

Ullrich Böhme, organRondeau 6178—80 minutes

This recording brings together eight of JSBach’s most celebrated preludes & fugues inperformances on three historic instrumentsand one modern organ. The early instrumentswere built in the final decade of Bach’s life.Two prelude & fugue sets are played on eachand are heard in the following order :Zacharias Hildebrandt organ at St WenceslausChurch in Naumburg (1746), Johann AndreasSilbermann organ at St Thomas Church inStrasbourg (1741), and the Joachim Wagnerorgan at St Mary’s Church in Angermünde(1745). One of the curiosities of the Anger-münde instrument is a pair of kettledrums thatare struck by mechanical angel figurines. Theycan be heard here to reinforce the recurringpedal figure in the “nine-eight” Prelude in C ofS 547. The modern instrument is the GeraldWoehl “Bach Organ” (2000) at St ThomasChurch in Leipzig. It was designed by UllrichBöhme, who was appointed organist of thechurch in 1985. Its baroque tonal designmakes it a worthy companion of the 18th-Cen-tury instruments. It contrasts with the church’slarge romantic organ (1888) by Wilhelm Sauer.

Böhme’s playing is always rock solid andfree from annoying eccentricities. Perhaps hismost audacious gesture is a flashy cadenzatowards the end of the fugue in G from S 541.


One of the intrinsic and probably insolubleproblems of this repertory is that pieces of thisweight and scope demand large chorus regis-trations with mixtures and sometimes chorusreeds. All of the organs here can supply thissonic grandeur, but the bigger the sound, theharder it is to hear Bach’s intricate musicaldetails. A lively reverberation further com-pounds the difficulty and reduces a complexfugue to a blur. For example, I found it very dif-ficult to follow the fugal argumentation of S545 in this recording, and it is a piece I haveplayed many times over several decades. Tohis credit, Böhme uses lighter registrations forsome of the pieces, but they are still substan-tial chorus combinations.

It is up to the listener to decide whetherthis is a pleasingly designed program. In onesense, these pieces belong together. They rep-resent the mature summit of Bach’s formidableartistry as a composer of free organ works. Theearliest pieces (S 532 & 536) are from Weimar,but the others apparently date from the earlyLeipzig period. At the same time, I find it tiringto listen to them all at a sitting. Nearly an hourand a half of mostly full organ can be toomuch. I prefer programs that combine stento-rian works like these with more understatedpieces for contrast.

GATENS

BACH: For Trumpet and OrganAndrew Balio & Bruce BengstonDelos 3560 [2CD] 114 minutes

An all-arrangements collection that openswith organist Bruce Bengston’s powerful set-ting of Gottfried Reiche’s `Abblasen’, the fan-fare trumpeted for years by television’s CBSSunday Morning. This two-hour programoffers numerous chorale settings, plus tran-scriptions of three flute and two violin sonatas.

Trumpeter Andrew Belio varies things byplaying different instruments (E-flat trumpet,flugelhorn, and piccolo trumpets in G, A, andB-flat). He plays forcefully much of the time,but there is also brilliance and warmth. Organ-ist Bengston creates plenty of variety with theorgan of Reyes Organ and Choral Hall, Univer-sity of Notre Dame.

Playing flute and violin sonatas on trumpetchanges their character, of course, but so doesplaying the keyboard parts on organ. Herethere is much more color—and much moresolo-accompaniment equality—than would beheard with harpsichord. In III (Presto) of the

G-minor Flute Sonata (S 1030), the organ tim-bre sounds like a trombone at first.

The program ends with the posthorn solofrom Capriccio on the Departure of a BelovedBrother (S 992), the piccolo trumpet contrast-ing nicely against a bassoon-like organ stop.

Organ aficionados might be interested in atiny, easy to miss note that says that the organis tuned to Kirnberger temperament. I had tolook that up. Unfortunately, the note doesn’tsay if it’s Kirnberger I, II, or III.

KILPATRICK

BACH: Well-Tempered Clavier IISteven Devine, hpsi

Resonus 10261 [2CD] 149 minutes

Devine has completed what he started(Sept/Oct 2019). He has played Book II withthe same harpsichord and same ad hoc tem-perament strategy (based on “Kirnberger 3”,but slightly adjusted to dodge some of itsroughest spots). The booklet layouts and art-work are almost identical, but here he haswritten about the second book and updatedhis own resume.

The performance virtues are consistent, asexpected: good moderate tempos (a few aredriven too fast), well-practiced fingering, andclear delineation of the counterpoint. The D-major Prelude is the only place where Devinebreaks his stride, slowing down for some pas-sages that sound labored. There are a few mis-read left-hand notes in the C-sharp minorFugue.

He brings interesting experimental ideasabout the rhythmic figures in the D minorFugue, E minor Prelude and Fugue, F-sharpminor Prelude, and G minor Prelude (under-dotted into weak triplets). Everything else is“by the book” and straightforward. As I said inthat review of Book I, he lets the music makeits own way without much emphasis. BecauseBach used less rhythmic variety here than inBook I, there is always some danger of relent-lessness in long passages. Devine falls into thattrap, relying on his fluency and the listener’spatience with firm tempos.

About the intonation: the affekt of simplebeauty is spoiled for me in C minor, F minor,and A-flat, among some other keys with morethan three sharps or flats. These melodic andharmonic intervals don’t have to be thatrough, having such different sizes from oneanother inside different major or minor scales.The differences here all stem from Kirnberg-er’s extremist expectation of having the C-E


major third beatless in his temperaments,making everything else lopsided to compen-sate for that. Bach had taught him explicitlynot to make any major thirds that small, butKirnberger went his own way. (Kirnberger’spublished temperament that he heavily pro-moted is even more misshapen than this one,which he mentioned only in a private letter in1779.) Here we are now, more than 275 yearsafter the compositions, listening to Kirnberg-er’s intervals, which don’t really belong to themusic. I know some people are content withhearing such an exotic range of dissonances inthis repertoire, either savoring them or notnoticing them.

Colin Booth, who built the harpsichordused here, is also well worth hearing for hisown ideas about articulation and rhythmicalterations. He went farther than Devine withthose, and he used this “Kirnberger 3” tem-perament more boldly without modifications(Mar/Apr 2019 & May/June 2020).

LEHMAN

BALAKIREV: Islamey plusNicholas Walker, p—Grand Piano 846—80 min

Walker saved Balakirev’s most famous pianopiece for the last track of the final volume inhis six-disc series of the complete piano music.Islamey, composed in one month in 1869, issubtitled `Fantasie Orientale’ and quicklybecame recognized as a true showpiece.Pianists from Liszt to the present day performthis work, and it is the Balakirev piece mostoften heard in concert. Walker plays it herewith all of the requisite technique and excite-ment along with an unusual feel for its figura-tions and compositional style. He does not aimto be the fastest or most brilliant (SimonBarere or Horowitz probably take this honor),but he is very likely the most musical.

The rest of the program is a hodgepodge ofpieces. There are several little ones composedfrom 1859 to 1902: `La Fileuse’, `Au Jardin’, Toc-cata, Polka, and `Tyrolienne’. Walker con-tributes world premiere recordings of his com-pletions of two short works (`Elegy on theDeath of a Mosquito’ and `Witches’ Dance’)and a large-scale transcription of his sym-phonic poem, Tamara. Transcriptions by Bal-akirev are also included: Glinka’s Kamarin-skaya and `The Lark’ plus Proydyot’s `Do NotSay Love Passes Away’ and Zapolsky’s Reverie.

As with other discs in this series, Walkercontributes an informative, well-written essay;and the recorded sound is quite good. This is

the set to have for piano music by the leader ofthe Mighty Five.

HARRINGTON

BALMAGES: Wind Band Pieces;see Collections

BEETHOVEN: Diabelli Variations; 32 Variations

Idil Biret, p—Naxos 8571407— 66 minutes

As Volume 20 of the pianist’s Beethoven Edi-tion, this presents a collector with an inexpen-sive, yet very good choice. Biret, who appar-ently can do anything and usually does, offersa reading of lively impetus. All is clear, forwardmoving, and refuses to dawdle. Those areplusses in most anyone’s book but maybe a bitshort in spiritual nuance.

While a technical force to be reckonedwith, Biret holds you on the edge of your seat,yet I am not so sure that is the place you’dwant to be for the better part of an hour whilelistening to this music. Things move relentless-ly forward when the ear demands an occasion-al release or repose to quell the inner rage.

Don’t get me wrong. I will want to retainthis for moments when my body demands tobe thoroughly wound up and kept on edge. Forother times I will turn to alternatives. I do sus-pect some of this response may be owing tothe way the piano is recorded. While the soundis very good, it is up front and forceful, allow-ing for little variation in texture.

The 32 Variations were recorded in 1975,but the sound is similar and of the grab-you-by-the-throat kind. At this point I need a rest.

BECKER

BEETHOVEN: Piano Concertos; Piano & Winds Quintet

Jean-Efflam Bavouzet, Swedish Chamber Orches-tra—Chandos 5273 [3SACD] 189 minutes

The Beethoven piano concertos have neverbeen lacking for recordings. As of late, theyhave drawn the attention of many pianists, allwishing to display their prowess by doingcomplete cycles, demonstrating their ability tocome to terms with the master from Bonn.Besides doing the standard five numberedconcertos, many include the piano version ofthe violin concerto. Some include the TripleConcerto or the Choral Fantasy. Some use afortepiano. Others show the artist in the dualrole of pianist and conductor. A few make useof a chamber orchestra.

While a few readers automatically reject


the pianist-conductor idea, believing that anartist’s full attention must be given to the roleof soloist, that really depends on the person’sabilities. Some do better than others. Evenwith the use of fortepiano, the results reallydepend on the choice of instrument and theartist’s ability to control it. The use of a cham-ber orchestra does not make much of a differ-ence if the recording sounds rich and full.

Bavouzet chooses the dual role and showshimself to be a master of both. His use of achamber orchestra is of little concern; Chan-dos offers a forward recording projected withrichness and power. There is no need tolament the absence of the converted violinconcerto since most of our readership willalready have acquired that less than fully satis-factory transcription. The Op.16 Quintet is anice addition—and this is the only recordingto add it.

Classic cycles such as Fleisher/Szell,Ashkenazy (both), Uchida/Sanderling, Rubin-stein (several), Perahia/Haitink, Brendel/Rat-tle, Kovacevich/Davis, Bronfman/Zinman,Arrau/Davis, Gilels/Szell, and Serkin (several),will always have a place of honor on theshelves of collectors. The recent Andsnes alsomade a positive impression, as did the enjoy-able set with Howard Shelley. So will Schn-abel/Sargent, despite the monaural sound.More recent cycles such as the misguided setwith Olie Mustonen should be avoided at allcost. While I was impressed with what I haveheard of the single issues from Elizabeth Som-bart and Inon Barnatan (S/O 2020) final judge-ment must await completion of their sets.

Bavouzet is blessed by having no weaklinks. Even the recording shows off the orches-tra to best advantage, and the playing has asparkle that does not preclude depth whencalled for. Phrasing is of paramount impor-tance in these concertos, and Bavouzet joinsother masters in his ability to make the con-certos live and breathe and move the listener.Acquisition will be a must, especially if youhave already purchased his fine sonatas.

There are also many fine individual per-formances of each concerto. Long gone are thedays when a reviewer could hold up a merehandful of recordings and be familiar with allof them. Choosing just one of the sets is a nearimpossible task so just be prepared to reachfor your credit card and start denying yourselfthose extra carbs and other unhealthy vittles.You may even be happy with the physicalresults and live a while longer to fully appreci-ate what really matters in life. Meanwhile

Bavouzet can be proud of his accomplish-ment; there is much satisfaction for the dis-criminating listener.

BECKER

BEETHOVEN: Concerto 5; Triple ConcertoElizabeth Sombart, p; Duncan Riddell, v; RichardHarwood, vc; Royal Philharmonic/ Pierre Vallet

Signum 637—78 minutes

French pianist Elizabeth Sombart, 62, soundsmore spirited in the Triple Concerto than shedoes in the Emperor . In Concerto 5 hernumerous mini-retards and stretching out ofcadences result in an unsteady pulse with toomany dainty touches. Nor does she articulatethe left hand clearly, especially in thicker pas-sages. Vallet too is less than acute. Passageswithout the pianist like the orchestral intro-duction are foursquare and literal, withoutcharacter—just the notes. Even the mottotheme (the dotted tam-ta-tah) is not incisivemuch of the time, and the octave passageswith contrary motion in the piano versusorchestra are really prosaic. II is very nice, butnot the last word in shading. III is weakest ofall, running out of rhythmic spunk with fluctu-ating tempos. Even in the final measures thepiano is blurry and the orchestral chordsspongy.

Once French conductor Pierre Vallet, whoconducts a lot of opera (including at the Met),gets past his spongy orchestral introduction tothe Triple Concerto, the Philharmonic’s con-certmaster Duncan Riddel is the one whotakes charge. As the music moves right alongwith fine pulse, even Sombart becomes asstrong as the trio’s leader. I wasn’t especiallyaware of the English cellist. Too bad theorchestra constantly seems just a hair behindthe trio. II is lovely and, mirabile dictu, atempo. And III is really lively, but it’s too late tosave the performance.

Balances between soloists and orchestraare fine.

FRENCH

BEETHOVEN: Piano Sonatas

Jonathan Biss5, 11, 12, 26: Orchid 100118—74 minutes

4, 14, 24: 100119—61 minutes15, 16, 21: 100120—70 minutes

These three discs seem to be part of a re-release of Biss’s 9-year Beethoven sonata proj-ect; they were originally recorded on Onyxfrom 2012 to 2015. Mark Koldys reviewed Vol.


1 (May/June 2012) and said that “Biss himselfwill almost certainly change and grow overtime, and may have a different view of themusic than when he began a decade earlier.”

Koldys also characterizes Biss’s playing inVol. 1 as “Intimate, light, somewhat dry, andsmall scale”, even “bland”. I agree. Sonata 11 isrestrained and precise, but does not haveenough contrasts, and the melody needs to bebrought out more in I and II. While I appreci-ate the understatedness of Sonata 12, as wellas its grace in the opening, the variations drag,and the middle of the work felt too weighty.The left hand had some jagged edges, and thework plods. The Scherzo is excellent, though—light and delicate. Still, I wanted more con-trasts.

It doesn’t look like we reviewed Vol. 2before, but his playing is well paced—sensibletempos. I would have liked more contrasts forSonata 6, again, and his touch on the pedalseems too light sometimes. In the Appassiona-ta he builds drama, but listeners will certainlyfind it restrained. While I appreciate his con-trol, I would have liked more spontaneity andpassion.

I reviewed Vol. 3 in May/July 2014, and Icommended his authority and ease andpraised Sonata 16 for its wit and droll humor. Ifound the contrasts in the first movementeffective. But I noted too that his playing ismore on the intimate and dry side. The Wald-stein was reserved and never quite builttowards the grandeur that the piece demands.Some of the transitions feel a little labored.Listening to the same recording 6 years later,Biss seems much smoother and more fluidthan in Vol. 1; but one wonders how he’d inter-pret it now.

KANG

BEETHOVEN: Piano Sonatas 11-18, 21-23Giovanni Bellucci—Brilliant 95131 [3CD] 3:50

This is Volume 2 of a complete recording ofBeethoven’s piano sonatas (though perhapswithout Nos. 19 and 20). There is a lot of musichere, but I am sorry to say I heard only a fewminutes of it. Immediately, at the beginningsof several sonatas, a mannered distortion ofthe rhythm was evident that was positivelysickening, and I quickly stopped listening.Why are such important projects offered topianists who are totally unsuited to the task?Does this honor Beethoven in his anniversaryyear? If my stomach had not been turned yet,

reading the pianist’s pretentious and self-serv-ing liner notes would surely have done it.

I almost forgot that I reviewed Volume 1(N/D 2017)—perhaps had purged that factfrom my memory. I wrote a longer paragraphthen but arrived at similar conclusions.

REPP

BEETHOVEN: Quartets 1-6Dover Quartet—Cedille 198 [2CD] 155 minutes

Before I remembered that I have encounteredthe Dover Quartet before, I took one look atthis two-disc set and assumed it was a reissue.The packaging is dark, with text in bronze all-caps lettering alternating with the dying art-form known as cursive. It is so far from eye-catching that it simply had to be part of aBeethoven cycle by some British group that Ihad never heard of, probably on CD for thefirst time. But no. The Dover Quartet is young,attractive, and quite talented, so it seems com-mendable that the cover doesn’t have a pictureof them mugging for the camera, or a random-ly chosen 19th Century painting—nor is itplastered with accolades. Their previousrecording is Voices of Defiance, an inspiredprogram of Shostakovich, Ullmann, and Laks(J/F 2018).

I criticize musicians for allowing them-selves to run down the “mandatory recording”checklist, even though it is a given that quar-tets that stay together for a few decades willcheck most of the boxes. That wouldn’t be fairin this case, because these musicians do havesomething special to offer. This is Volume 1,and there can be no doubt that they are goingthe distance.

In Quartet 2 II (allegedly inspired by thetomb scene in Romeo and Juliet), you can hearmodernism in the distance. Nonetheless, whatdistinguishes both of these albums is theiradherence to the norms of the classical era.This is music written on the heels of Haydn;these quartets aren’t gauntlets thrown downfor Schumann and Brahms.

The opening Allegro of Quartet 2 is a bitlackadaisical and the sound thins out a bit.Power is sacrificed to beauty, finally. Probablymost listeners love Beethoven for his passionand pathos, but—to agree with Glenn Gould—I enjoy it best when he is playful, creative,unconcerned with making the big splash.That’s what you get here, with IV resembling afolk dance. Quartet 3 also sounds a bit down-sized, which occasionally distracts, even as itserves the larger vision.


In the second half of the Opus 18 set, theartists settle in, completely owning their ideasabout the Haydnesque dynamics. The fifthquartet is a particularly choice example, withits muted gaiety and the quiet gasp that endsthe piece. Impetuous and a bit flashy, Quartet6 hews the closest to a standard performance,though IV plays to their strengths.

The liner notes are truly substantial, run-ning seven pages plus a group bio, and there’sonly one photo. Again, these musicians are init for the long hall. Everyone has a favoriterecording of these pieces, but make room foranother.

DUTTERER

BEETHOVEN: The Ruins of Athens; Calm Sea & Prosperous Voyage; Opferlied

Sidonie von Krosigk, narr; Valda Wilson, s; Simonbailey, b; Brunn Philharmonic Choir; CappellaAquileia/ Marcus Bosch

CPO 777634—53 minutes

In 1811 Beethoven wrote this as incidentalmusic to a play by August von Kotzebue, whoin turn wrote the play to open a theatre in Pest(Budapest). The play has never been heardsince, but Beethoven’s music has lived on.

The premise is that the goddess Athena,daughter of Zeus, awakens after 2000 years ofsleep and finds Athens completely changed.The city is in ruins, and the remaining inhabi-tants are oppressed by their Turkish rulers.Athena and Hermes travel to Pest, where theculture is pictured as similar to Greek antiqui-ty. At the end the emperor is praised for hisenlightenment.

Besides the overture (about 4 minutes)Beethoven wrote mostly vocal music—sopra-no, bass, and chorus. The music itself lastsabout 30 minutes. Only one piece is a “melo-drama”—spoken narrative over the music. KaiWessler created that, based on Kotzebue andSchiller. (A Schiller ode is substituted forKotzebue’s final monolog, which was appar-ently even sillier than the rest of the play.) Thenarrative, like the music, is in German; thebooklet supplies texts and translations.

The famous Turkish March is way toofast—who can march that fast? The chorus isexcellent, especially as dervishes. The orches-tra is also fine. They are a chamber orchestra,which is fair enough, since the original was apit orchestra. They are not “period instru-ments”, and their playing is not stiff or bumpy.

With the chorus on hand it made sense toadd Calm Sea and Prosperous Voyage (7 min-

utes) and the Opferlied (Op. 121, 5 minutes),both beautifully done.

As for other recordings, the Segerstam onNaxos is much longer (82 minutes); and PaulAlthouse, who reviewed it (July/Aug 2020),tells me it is not a matter of tempo at all(though Segerstam is noted for slow tempos).Apparently Beethoven wrote 30 minutes moremusic for a Vienna occasion (not the sameplay). The Naxos has at least 15 minutes ofnarration, with 3 narrators and 5 roles. Mr Alt-house found it rather boring. The Beecham(EMI, March/April 1993) takes 22 minutes andhas been reissued by Warner. It is the bestrecording, though it has less music than here(a short duet is the main item missing).Beecham also does the three choruses in Eng-lish. Carl Bauman praised the Dennis RussellDavies recording (also EMI, March/April1991), but that may not be available.

VROON

BEETHOVEN: Serenades, opp 25+41Luisa Sello, fl; Myriam Dal Don, v; GiuseppeMari, va; Bruno Canino, p

Dynamic 7886—59 minutes

Ludwig van Beethoven wrote, or at least com-pleted, his Serenade for flute, violin, and violaaround 1797 and it was published in 1802. Inthe notes, Danilo Prefumo describes it as “oneof the lightest and sunniest compositions ofBeethoven’s chamber output”. Who made anarrangement for flute and piano is uncertain,but the author at least revised the transcrip-tion that was published with a different opusnumber by Hoffmeister and Kuhnel of Leipzigin 1803. To these two selections have beenadded the Adagio of Piano Concerto 1,arranged in 1871 for flute and piano by Bavari-an-German performer, instrument maker,goldsmith, mining engineer, industrialist, andcomposer Theobald Boehm (1794-1881).Boehm in fact made 8 Beethoven arrange-ments, mostly with piano: 4 for flute and 4 foralto flute. They included the Opus 8 Serenadefor violin, viola, and cello in 1876; any of themcould have gone well here.

These Italians play modern instruments: a14k gold Miyazawa flute, a Steinway piano; themakers of the bowed strings are not specified.The sound is consistent and perhaps too closefor comfort. As a result, anything marked fortecomes across merely as loud and unpleasant.The playfulness in the Allegro molto move-ments is too harsh.

The tone quality of the players is superla-


tive. A rich, relaxed, and expressive flute dove-tails and converses with two fine strings forhalf the program, and the other half with arobust piano. All the supporting players comeacross as consummate professionals. Honor-able mention goes to Giuseppe Mari on viola.Not Luisa Sello, unfortunately, though herhigh level of accomplishment is clear. Jean-Pierre Rampal had a term of affection that weshould give short notes in contexts that areappropriate: “living staccato”. These 8th notesdon’t live; they’re just short. In the variationsof the Andante this approach comes across asrather soulless. At best it’s chirpy. I’m also notimpressed by the need to break phrases andbreathe on bar lines in the Minuet with piano,or the unclean, uneven flute playing bothtimes, especially when done with the strings.

It’s a pity Bruno Canino had to waste histalent on this project. James Harringtonenjoyed his Chabrier in Jan/Feb 2014; he hasalso recorded with violinist Viktoria Mullovaand cellist Lynn Harrell.

Our flutist has a Doctor of Arts degree inperformance from the Bratislava Academy anda PhD in linguistic and literary sciences fromUdine University in Italy. She has also record-ed on the Italian label Stradivarius and Chi-nese label Millennium. Helen Dabringhaushas recorded the Boehm arrangement onMDG 9032135 (May/June 2020). Kazunori Seoand Makoto Ueno have recorded two discs ofBeethoven for Naxos (573569, July/Aug 2018 &573570, Nov/Dec 2018), but the quintets byKuhlau and Reicha far surpass anything elsewritten for flute around this time.

GORMAN

BEETHOVEN: Symphonies 1-5Concert of Nations/ Jordi Savall

AliaVox 9937 [3SACD] 171 minutes

Jordi Savall planned four sets of concerts,around which the Concert of Nations wouldrecord Beethoven’s complete symphonies: 1,2, and 4 in Spring 2019, and 3 and 5 in Autumn2019. The others were planned for 2020, butthe coronavirus pandemic put that on hold.

Each set of performances and recordingsare based on Savall’s study of the originalscores and performance notes, followed bytwo “academies” in which 35 professionalsfrom his Concert of Nations and 20 younginstrumentalists became—based on what Ihear on this album—a consummate ensemblewith tuning so exquisite that, unless you have

perfect pitch, you’d never know they tune to aconcert A of 430.

Nor did I ever reflect, “I’m listening to peri-od instruments”. Vibrato or no vibrato? Nevereven thought of it, so rich and full are the 32strings (10-8-6-5-3), especially the cellos andbasses. Only the sound of the 18 windsreminds me that they are period instruments.

I had high praise for Bernhard Forck’srecording of Beethoven’s Symphonies 1 and 2with the Berlin Academy for Ancient Music(Sept/Oct 2020). Comparing it to Savall’srecordings, Forck’s tend more toward the peri-od-instrument cliches of flatlined woodwinds,no vibrato, a pattern of swelling and ebbingwith every phrase, thinner strings, and lighterweight—and, in this instance, fine perform-ances but not as infectious as Savall’s.

While I was listening to Symphonies 1 and2, I noted that I heard no revelations in theperformances—sort of a required justificationfor producing yet another early-instrument setof complete Beethoven symphonies. Then afriend-pianist phoned while I was listening to2. When he described his favorite pianist as “ahighly educated mind and a very natural play-er”, I replied, “You just gave me the words todescribe Jordi Savall conducting Beethoven”,making the “no revelations” bit irrelevant. Let’stake Symphony 1: Savall says he’s religious inusing Beethoven’s own metronome markings(faster than we’re used to), yet the orchestramakes its superb articulation of rapid 16thnotes sound relaxed and easy but vigorous.Vivace never feels rushed. Bright and ener-getic never becomes frantic. Yes, the tempo inII normally would make it feel upbeat; here itis graceful. III is brisk and energetic, yet lighton its feet and with a trio that is just an edgeslower, for perfect relief. And in IV the rapidarticulation of 16th notes is clear but neverfrantic. In fact, IV became an ear worm thathad me singing for several days.

Savall makes 2 feel like another world.What an adagio introduction to I! All thosemany expression marks, contrasts, dottednotes, etc. are made meaningful. He slipsseamlessly into the Allegro con brio with itssudden ff marking and explosive timpani. Andwho ever wrote a better coda to a movementthan the ending of I, which Savall projects inits full glory. II has a lyrical flow, crisp and alertyet graceful and beautifully contoured. Samewith the Scherzo. IV reveals at brief momentshow creamy Savall’s cellos and basses are. Andwhat wonderful rage he summons at the end!


Yes, no “revelations” on the first disc in thealbum, but what stunning performances!

I had recently listened to Herbert vonKarajan’s 1962 recording of Beethoven 3 withthe Berlin Philharmonic on DG, as magnifi-cent a modern performance as I know. What arevelation (that word again) came with the firsttwo chords in Savall’s performance. Like rapidcannon fire (quarter-note 150)! Would he stickto the tempo? Yes! And without the music everfeeling rushed! Once again, the orchestra’spowers of articulation make the music soundclear and unforced. In I contrary motion in thestrings’ harmonies becomes clear for a change.Timpani beats attain special character. Whenthe winds have the lead, the character of thesubordinate strings changes from lyrical topungently rhythmical. And Savall makes thedevelopment section a revelation in itself withthe many shifting woodwind tone colors, alyrical bass motif under all the dotted fuss inthe treble winds, and the terraced levels ofdevelopmental activity. Following the devel-opment’s peak with those unresolved trumpetand French horn chords, this is the first timeI’ve actually heard the contrary motion in thewoodwinds, the pulse created by the ostinatostrings, and the importance here of a full, clear,rich bass. And that’s just I.

The Funeral March (quarter-note 45) isprecisely that—a march, start to finish. Evenwhen it swells with lyricism, the 32nd-notetriplets and resonant timpani maintain thebeat. Savall never lets the tempo get away fromhim. Even in the fugue, the funereal moodremains steady. The Scherzo is taken at 180;no revelations here except that the Frenchhorns barely manage to make their instru-ments’ just (or harmonic) tuning (tempera-ment) fit into the orchestra’s equal tempera-ment. Only in IV does Savall allow the tempo(quarter-note 120) to verge toward rushing.But he’s saved by the fugue, which is absolute-ly steady, played with perfect ensemble. In IVthe high resonance of the hall, which normallyposes no problem, sometimes obscures theinstrumentation, as if quick dialoguing figuresin the winds and strings tend to swallow eachother. At the end Savall honors Beethoven’sPresto by practically grabbing the speakersand shaking them. As he says in the linernotes, “In Beethoven’s case, the act of creationoften takes the form of a combat. Beethovenoften struggled with himself in order to create,and his work is the result of a creative processthat bears witness to a new conception of art.”

Savall makes the harmonies in Symphony

4’s introduction so transparent that Bee-thoven’s very textures are enriched, especiallywith the rich, resonant cellos and string bass-es. The slow tempos are tightly paced, makingthe transition to the Allegro Vivace bracing(quarter-note 150). Also, the superb engineer-ing and Savall’s conducting make me realizefor the first time how the music’s strong char-acter is reinforced by the timpani. In II the syn-copation in the perfectly balanced second vio-lins defines the movement’s pulse. The finaltwo movements are the only places on thisalbum where Savall doesn’t adhere toBeethoven’s tempo; the Scherzo feels a bit lessthan Allegro Vivace. He takes IV at about quar-ter-note 70 instead of 80, but it does seem toflow naturally from the pace taken in III. Imention this because Savall himself stresses inthe liner notes the importance of following thecomposer’s metronome markings.

In Symphony 5, where Savall honors allBeethoven’s tempos, he takes the openingeight notes—the motto theme—rather deliber-ately. But once the charge begins, it is integrat-ed into the set tempo, except at the beginningof the recapitulation, where it is the same as atthe opening. Savall makes even this sole liber-ty fit into the charged, exciting, seamlesssweep he creates in I. In II the gorgeous, calm-ing violas and cellos offer some relief, as Savallmaintains a steady pace. In III he maintainsthe tempo right into the trio, which is quiteexciting. The only problem here is that, in thepizzicato section, all the plucked strings over-whelm the first violins, which means themelody can’t be heard. But the finale is reallysomething! Beethoven wrote an assault withjust a few moments of relief. People at the 1808premiere must have felt pummeled to death—he even had to add a piccolo to cut through allthe sound! Today we’re used to more extrava-gance, but Savall comes as close as I’ve everheard to re-creating how it must have felt backthen. And for the icing on the cake, he takesthe coda at the tempo marked—whole noteequals 112 beats per minute! Oxygen, please.

In brief, this is the most enlightening, reve-latory, exciting, best performed, and one of thebest recorded sets of Beethoven’s symphoniesI’ve ever heard. The notes by Savall, translatedinto easy-to-read English, are superb; and thephotos and the packaging are first-class. Here’shoping they’re able to complete this project.

FRENCH


BEETHOVEN: Violin Sonatas 1-4Frank Peter Zimmermann; Martin Helmchen, p

BIS 2517 [SACD] 70 minutes

Sometimes I wish that Beethoven violin sonatacycles would start at the other end, with thedreamlike Op. 96 and the ferocious Kreutzer,and work backwards. It’s much easier to inferthe beginning from the end than the reverse.Be that as it may, here we have the first foursonatas from yet another Beethoven-yearcycle. Zimmermann and Helmchen’s way withthe Op. 12 sonatas and with Op. 23, their suc-cessor, is nippy, brisk, and occasionallybrusque—sassy good humor that lapses some-times almost into sarcasm. It’s a reasonableapproach to this music. I like particularlyHelmchen’s playing, which brings out all thatmust have confounded listeners in the youngBeethoven’s own pianism. Zimmermannmatches him well, too, diving into the wildswirls of figuration in tight unison with hispartner.

THOMSON

BEETHOVEN: Violin Sonatas 3, 6-8Lorenzo Gatto; Julien Libeer, p

Alpha 565—81 minutes

This is the last of three installments ofBeethoven violin sonatas. A previous disc inthis cycle was reviewed by Joseph Magil(Nov/Dec 2016). Gatto recorded the violinconcerto and romances (2014), so he has nowrecorded all Beethoven’s major compositionsfor violin. A section on his website is called“My focus on Beethoven”—his thoughts aboutBeethoven performance. A billing no doubtwould label him a “champion” or “advocate”of Beethoven. In the spirit of full disclosure,my doctoral research centered on theBeethoven Violin Concerto, so I especiallyappreciate his breadth of knowledge and dedi-cation to this great composer.

I will never forget a question during oralexaminations for my Master of Music degree:“Is Beethoven’s Violin Concerto romantic orclassical?” This inquiry is akin to asking if thebaptism of John is from heaven or of men.Gatto and Libeer believe these sonatas areclassical; romanticism is expunged from theirinterpretation; personality does not play a cen-tral role. An Enlightened Mozartean puritypersists through the most astonishingmoments.

People now speak of Beethoven as if hisascendance as revolutionary genius was fated,

but they quickly forget the inner turmoil andconflict as he indulged in the beginnings ofromanticism while his venerable, musicallyconservative and business-minded teacherHaydn lived nearby. These sonatas are full ofdrama enclosed in strict classical idiomshanded down by Mozart and Papa Haydn.Beethoven displays counterpoint mastery,sophisticated formal transitions, subitodynamic explosions, and a host of characteris-tic sforzando accents. The timings are execut-ed well by the performers, but the dynamicpalette is too limited when the music is stormi-est. Beethoven releases seething inner fury atthe end of 7:I, but the performers unnecessari-ly restrain themselves—especially Libeer. Thisis one of the most virtuosic and grim passagesin all the violin sonatas; he should wage war;there is no Enlightenment in this passage—only raw emotion. In 3:III I was struck by thin-ness in Gatto’s sound. The music itself issparse; a non-vibrato sound is too pale; listen-ers would welcome more warmth and sweet-ness. Their style fits perfectly in 8:III whereversparkle is needed and iridescent passageworkappears. Counterpoint passages are disci-plined and performed in the style of Bach,allowing firm pulse to dictate sound. Phrasingand dynamics are thoughtful but not as artifi-cial as many performers. I appreciate that thepianist does not over-pedal, and the violin’ssound is not pressed. Balance and engineeringare excellent. One could easily fall in love withboth the sound and ensemble skills of thisduo. This is an excellent recording. Gatto andLibeer are among the best interpreters ofBeethoven right now. The music feels alive.

KELLENBERGER

BEETHOVEN: Violin Sonatas 4-6Lucy Russell; Sezi Seskir, p

Acis 2958—70 minutes

I was a big fan of the Fitzwilliam Quartet—ofwhich Lucy Russell is the current first violin-ist—back in their Shostakovich-and-late-Beethoven Decca days, and so I honestly want-ed to like this. Unfortunately, there’s not muchto admire here. Russell is a good though notflawless “period” player (the Fitzwilliams nowplay both “period” and modern instruments,depending on the repertoire), decently if notinfallibly in tune, with all the usual instincts inall the right places—but nothing here sings (orzings, for that matter) as it might. This is mostnoticeable in the lyrical Spring Sonata, wherethe competition is even more formidable than


in the other works. But all three pieces sufferby it.

Russell plays a Gagliano violin with a Doddbow; Seskir a modern copy (by Thomas andBarbara Wolf ) of a fortepiano by JohannSchranz. The latter is an unusual and colorfulinstrument (I wish there were photos), andSeskir gets around it most deftly. Russell usesan unwound gut D string in addition to theusual plain gut A and E, enabling her, so shewrites, “to bring out the contrasted vulnerabil-ity and robustness of Beethoven’s soundworld”. Whether it does that or not, I couldn’tsay; but from the sound it’s solid gut, notroped—that means it has a clearer sound, andone less amenable to wooliness, but is alsoharder to keep in tune.

I imagine there are a great manyBeethoven discs like this floating around thisyear. Composers’ birthday parties rarely bringout only the best in musicians, and this is a bigone. Fortunately, with such music there areridiculously many choices; my own favoritesfor the sonatas are the sets by Arthur Grumi-aux and Clara Haskil (monaural); AugustinDumay and Maria Joao Pires; Pam and ClaudeFrank; and Isabelle Faust and Alexander Mel-nikov (though I haven’t heard all of the last).Don’t forget the very old but still inimitableKreisler and Rupp.

THOMSON

BEETHOVEN: Septet; see REICHABEN-HAIM: Violin Sonata; see Collections

BESSEGHI: Violin Sonatas, op 1Opera Quinta—Tactus 670290 [2CD] 109 minutes

These are chamber sonatas with violin as thelead voice. Although it is not clear where Ital-ian composer Angelo Michele Besseghi (1670-1744) was born, we do know that at some pointhe went to France and came under the patron-age of Louis Fagon (1680-1744) who served inKing Louis XIV’s private council and support-ed Besseghi for the rest of the composer’s life.

We also know that Besseghi was a highlyskilled violinist and played a Guarneri violin.With the title Sonate Da Camera A Violino SoloCol Violone O Cembalo and published in1710, Besseghi’s Opus 1 collection of 12 son-atas is modeled in some ways on ArcangeloCorelli’s widely known and very effective Opus5 (also 12 violin sonatas, from 1700).

The performances and the sonatas havemany attractive qualities ranging from lyricalvocal phrasing in slow movements—10 of the

12 sonatas begin with an Adagio—and delicatepassagework in Sonata 7 to lovely gravity-defy-ing upward syncopations in the final move-ment, Tempo Di Gavotta Presto, of Sonata 9,and nice echo effects with the violin replyingto itself in the scampering Presto finale ofSonata 11.

It took me a while to get the playback vol-ume and balance right, so you may have toexperiment. In some sections I found the vio-lin too much in the foreground and soundingharsh. This might be caused by the instru-ment’s sound or a close microphone. Lower-ing the volume didn’t help, because then theother instruments (viola da gamba, archlute,and harpsichord) were too soft. In time myears did adjust somewhat to the sound, and Idid find that the balance was much betterwhen I switched to headphon:es.

C MOORE

BIBER: Requiem in F minor;TUMA: Stabat Mater

Pluto-Ensemble/ Marnix De Cat; Hathor Con-sort/ Romina Lischka—Ramée 1914—61:34

After the 54 voices and instruments needed forthe Salzburg Mass, which has had at least sixrecordings, Biber’s F-minor Requiem is the“low-budget” alternative with only five voiceparts (doubled by strings and the three lowervoices also by trombones) and an independentfirst violin part. This profound work has beenrecorded six times (see Mar/Apr 2005), so thisnew release faces some serious competition.The Pluto Ensemble on this recording includes10 singers (5 soloists and 5 ripieni for the tuttipassages), and the Hathor Consort consists ofsingle players for the 5 string parts, 3 trom-bones, and organ. It’s not a large group, but thephotos in the booklet show everyone circlingthe microphones—and the resulting sound isboth full and blended.

I believe the overall direction is by MarnixDe Cat, who is also the alto soloist; he leads aneffectively paced and dramatic performance.My main problem with this recording is thatthe single first violin is often overshadowed inthe mix by the rest of the ensemble—a faultalso in the Paul McCreesh reading (Mar/Apr2005), and both De Cat and McCreesh omitthe original bassoon parts. The main reasonfor the balance problem is that De Cat ignoredthe indications in the original parts that thefirst and second violins were to have at leasttwo players in the tutti sections and only onewould play with the soloists. Two of the other


comparison recordings with larger forces aremuch less subtle: Gustav Leonhardt (Nov/Dec1993: see VALLS) and a recent release led byAntonio Eros Negri (Halidon, available only asa digital download), where the sopranos are abit too shrill. De Cat is much closer in style toErik van Nevel (Ricercar 81063, 1990) andPhilip Pickett (L’Oiseau Lyre 436 460, 1994);but whre Van Nevel is perhaps too slow, Pick-ett is lethargic—De Cat is just about right. I stillreturn to the 1969 recording with the ViennaChoirboys and Concentus Musicus (reissuedon Teldec in 1998). The violins sound abovethe full ensemble; and though the sopranosoloists from the Choirboys may be a bitearnest, the anonymous boy alto soloist is stillmore expressive than the countertenors on theother recordings.

Alongside ensemble sonatas by JohannHeinrich Schmelzer and Biber, and AndreasChristophorus Clamer’s Partita I in E minor,the significant bonus on this new release isFrantisek Ignac Antonin Tuma’s 18th Centurysetting of the Stabat Mater. Tuma had studiedwith Johann Joseph Fux in Vienna, and all ofhis sacred music demonstrates his countra-puntal skill (see May/June 1997). The 15-minute Stabat Mater divides the stanzas intosections with varying combinations of voicesand instruments and is given its first recordinghere.

The booklet includes an acceptable essay,excellent for learning more about Tuma,though there are some inaccuracies aboutBiber. The “sung texts” with incomplete Eng-lish translations (at the moment) are availableas a download; but both the Requiem and Sta-bat Mater are the customary texts. While Iwould not highly recommend this new releasefor the Biber, it is still important for the Tuma.

BREWER

BORISOVA-OLLAS: Angelus; Kingdom ofSilence; Before the Mountains Were Born;Creation of the Hymn; Open GroundStockholm Philharmonic/ Andrey Boreyko, Mar-tyn Brabbins, Sakari Oramo


Victoria Borisova-Ollas (b. 1969) was born inRussia and moved later to Sweden. Debussyand Vaughan Williams are major influences,but she does not shy away from more contem-porary orchestral language when called for bythe subject matter. The music is essentiallytonal and lushly orchestrated. Religious con-notations are prevalent.

Angelus (2008) is a tone poem depictingbells heard in the churches around Munich,where she was visiting at the time. Gregorianchant-like phrases are developed. The King-dom of Silence (2003)

opens with more bells and moves intomore sinister territory; it progresses to a lyricalpastoralism until fanfares introduce morevigor and things disperse into more bells andpeace.

Before the Mountains Were Born (2005)takes Genesis as inspiration. It opens with rel-ative chaos depicting the earth before God’sintervention. The world is saved by theappearance of heavenly forces and nature.

Creation of the Hymn was originally forquartet and is adapted for string orchestra. Ithas a Vaughan Williams-type texture and fla-vor. Open Ground (2006) was inspired bySalman Rushdie’s novel Ground Beneath HerFeet, about an earthquake and its noble andspiritual aftermath.

All told, this is a worthwhile introductionto a composer not as well known here as sheshould be. She is well served by these excellentforces. Notes by the composer.

GIMBEL

BOYER: Chansons & Airs de CourRatas del Viejo Mundo

Ramée 1910—53:51

Jean Boyer (before 1600-1648) was a singerwho was first mentioned in 1611 as cantor ofKing Louis XIII’s Chamber and Chapel, and in1629 was promoted to Ordinary Secretary ofthe King’s Chamber. Aside from the manyanthologies of serious airs de cour that includehis, three separate collections devoted toBoyer were published by Pierre Ballard inParis. He also published two collections ofchansons !@! boire et danser (drinking anddancing songs) with lyrics much more popular(if not outright ribald).

This is the second recording by the Ratasdel Viejo Mundo I have reviewed (July/Aug2019: 193) and I am glad to note that the quali-ty of the recording has improved. These airsand songs are clearly chamber music and donot require the resonance of a church (whichseems to be a fashion among early musicrecordings, even for secular chamber music).The performances work through the permuta-tions and combinations of voices and instru-ments, which along with a harp, gut-strungharpsichord, various lutes and guitarsincludes, anachronistically, a kankles—a


Lithuanian zither. The most effective tracks arethe ones sung by the four singers, with excel-lent diction and balance and a rhythmic elanas vivacious as the instrumentalists, thoughsome of the accompaniments sound a bitmore impressionist than baroque. Full textsand idiomatic translations are included,though they are sometimes slightly bowdler-ized in the drinking songs.

BREWER

BRAGA SANTOS: Quartets 1+2; SextetQuarteto Lopes-Graca; Leonor Braga Santos, va;Irene Lima, vc—Toccata 207—79 minutes

This dip into the chamber music of Joly BragaSantos, possibly Portugal’s best composersince the Renaissance, but better known forhis orchestral music than his string quartets,comes courtesy (again) of Toccata Classics,which has done more than any other label inrecent memory to ... well, I was going to say“revive fascinating but little-known music”, butthe condescension involved in saying any suchthing gives one pause, yes? It doesn’t need tobe “revived” by or for us; it was always there,and we were just utter chumps for not lookingat it. Anyway, here it is—this tranche, any-way—and here is what I have to say about it.

The first things that strike me, on listeningto either of the quartets, are their modal har-monies and their characteristic texture: long-limbed, arched lines over restlessly rhythmicalaccompaniments. It doesn’t “sound” Por-tuguese, to the extent that phrase even meansanything; for me the first referent was VaughanWilliams and the rest of the British Isles “cow-pat school”, only with a greater fount of energy.The First Quartet is nominally in D minor, butyou don’t even sense the minor-ness, only thevague archaism and the living line. That one ismainly in D Aeolian (i.e., natural minor); butthe Second Quartet, which is without a formalkey designation, ends up in a very pronouncedA Lydian.

The Sextet, later than either quartet andindeed among Braga Santos’s last works, is adifferent sort of thing. For one, it’s a good dealmore chromatic than its quartet predecessors,and the textures aren’t nearly so clear. Thepiece is said in the notes to have been inspiredby a visit to Lisbon by Alberto Lysy and hisCamerata Lysy—they played Schoenberg’sVerklarte Nacht. This piece is not really verymuch like that one, though, as its predecessorwas on the Lisbon occasion, it was premeredby a string orchestra rather than a sextet. The

textures are, naturally, thicker than before, andthe idiom much more chromatic. It is good tosee Leonor Braga Santos, one of the compos-er’s two daughters, playing second viola here.(Her sister, Piedade, wrote the general pro-gram note.)

Toccata is candid in acknowledging thatthese aren’t first recordings; the quartets wererecorded in 1990 for an LP long since deleted,and the Sextet more recently, in 2015. Bothlabels were Portuguese, so this is the music’sfirst shot at wider distribution. The perform-ances aren’t ideal, though they’re quite good.

THOMSON

BRAHMS: Cello Sonatas;MARTUCCI: 2 Romances

Luigi Piovano; Antonio Pappano, pArcana 479—59 minutes

Here we have a fine recording of two of myfavorite cello sonatas played by two musicianswho have been working together for 13 yearsand have much to say to us. Piovani studiedwith the well-known Radu Aldulescu and isfirst cellist with the Santa Cecilia Orchestra aswell as conductor of the Magna Grecia Orches-tra. Pappano is well known as a conductor.They put the depth and drama across with aclear understanding, and the instruments theyplay contribute to the depth and discernmentof their interpretations. Piovano’s cello is aGagliano made in 1710. They balance withcare and conviction. All repeats are observed.What more can we ask for?

Well, the liner notes consist partly of aninterview they had with Carlo Cavalletti thatcovers pleasant territory. The music is furtherdescribed by Guido Salvetti. All this is in Eng-lish, French, and Italian. And don’t forget thatwe also have two little Romances by GuidoMartucci (1856-1909). All is played with preci-sion and warmth of tone and grace of phras-ing. It is really rather special.

D MOORE

BRAHMS: 14 IntermezzosChristophe Sirodeau, p—Melism 22—63 minutes

Christophe Sirodeau (b 1970) is a Frenchpianist and composer. I have not encounteredhim or his music before, but his recordings ofpieces by Feinberg and Ullmann have beenreviewed favorably in these pages (J/A 2004,S/O 2008, J/F 2015). This appears to be his firstrecording of standard repertoire. It is dedicat-ed to the memory of his recently departedfather, which offers an appropriate motivation


for choosing the quieter pieces of Brahms’slate piano cycles. They are not arrangedchronologically but in a sequence the pianistconsidered pleasing; for example, the fourIntermezzos from Op. 76 surround the three ofOp. 117 (the only integral opus here). The oth-ers come from Opp. 116 (4), 118 (1), and 119(2). Brahms wrote 19 pieces with the titleIntermezzo, so five are not included, thoughthere would have been room for some of them(perhaps even all).

Sirodeau loves Brahms, as is clear bothfrom his playing and his liner notes. The per-formances are thoughtful, expressive, and ren-dered in warm sound. Given the outstandingquality of the music this is certainly an enjoy-able recording. Its misfortune is that quiterecently an excellent complete recording of theBrahms Intermezzos by Evgeni Koroliovappeared (Tacet 256, M/A 2020), one of severalclose runners-up to my “Critic’s Choice” inthis issue. The main reason why I did notchoose it is that I was not convinced by a pro-gram of only Intermezzos. There is a lack ofcontrast in a succession of mostly slow pieces,no matter how wonderful they are, and onemisses the expected faster pieces from thosesets. While this reservation perhaps appliesless to the present release, for reasons alreadymentioned, Koroliov’s recording is not onlycomplete but also preferable in terms of inter-pretation. Koroliov has a delicate touch, letsthe music flow naturally, and chooses idealtempos. By comparison, Sirodeau soundssomewhat heavy and deliberate, perhaps try-ing too hard to squeeze the last ounce ofexpression from the pieces. His rubato issometimes extreme, and his touch is ratherforceful in the occasional loud passages.Sometimes his tempo is too slow, and some-times his hands are not quite together. Koro-liov’s recording is the one to get if all you wantis the Brahms Intermezzos.

Another minus point is that this releasehas a promotional character. Sirodeau’salready rather personal notes, which includethe dedication, precede a long essay by a col-league that praises the present performancesextravagantly, a discography, a list of composi-tions, and reproductions of other Melism CDcovers. The booklet is more about Sirodeauand the label than about Brahms. In the music,though, Brahms still comes through strongly.

REPP

BRAHMS: Piano Sonata 3; Pieces, op 76;Rhapsodies

Peter Orth—Challenge 72850—77 minutes

Peter Orth, whose birth date seems to be awell-guarded secret, is a seasoned Americanpianist who has been living in Germany since1992. He has made only a few recordings, noneof which have been reviewed by us; theyinclude Beethoven’s Diabelli Variations andChopin’s Preludes. The liner notes, which arein form of an interview, show him to be athoughtful and modest person, and the photo-graphs confirm that impression.

So do his performances. His playing issolid and mature, expressive without any exag-geration, warm in sound and technicallyaccomplished. He aims for clear articulationand eschews virtuosity, but his tendency to beespecially deliberate in difficult pieces andpassages results in some stodginess. In thesonata, which is a youthful composition,greater drive and brilliance in I, III, and Vwould have been welcome; and II and IV aretoo literal and short on poetry. Annie Fischerin her 1961 Edinburgh recital (BBC 4054)—mydirect comparison here—threw caution to thewind and made numerous technical mistakesbut achieved a more riveting interpretation.

In the Op. 76 Pieces, for which my bench-mark on this occasion was the excellent WalterKlien (Vox 3612, M/A 2005), Orth tends to beslower in the fast pieces and faster in the slowones. No. 2 is not jocular enough, No. 5 is espe-cially ponderous, and 8 is not grazioso, asmarked; 6 is a little too fast and not sufficientlyexpressive. In the two Rhapsodies, Orth doesnot match Peter Rösel’s (Berlin 9032) energy,and the lyrical second theme of the secondrhapsody is not sufficiently contrasted with thefirst. These are minor criticisms of perform-ances that I quite enjoyed.

REPP

BRAHMS: Songs 10Sophie Rennert, mz; Lawrence Power, va; Gra-ham Johnson, p—Hyperion 33130—79 minutes

This is the 10th and final volume in GrahamJohnson’s decade-long project of recording allthe piano-accompanied songs of Brahms,each volume with a different singer. I’vereviewed five of them with great delight. (ARGmissed Volume 6 with Ian Bostridge.) Thisbrings the project to its conclusion with strongand glowing accounts of 30 songs.

The ordering of songs in each volume is


designed to present a sampling of Brahms’ssongs in roughly chronological order fromearly to late in his life. Like the previous vol-umes, this program is a mixture of songs andfolk song settings, familiar and unfamiliar.

`Liebestreu’, Op. 3:1, was Brahms’s debutas composer of lieder and shows him alreadyin full flower. One of his most familiar songs,`Die Mainacht’, composed midway through hiscareer, shows him at the height of his expres-sive powers. The eight Gypsy Songs, Op. 103,come from his mature years. ( Johnsonincludes all the songs of a particular opus onlyif there is evidence that Brahms intended themto be performed as a group.)

As Johnson points out in his erudite linernotes, it was the common practice for Brahmsto have his songs sung in home gatherings“and discussed in an environment of lively andcultivated enthusiasm” rather than “listenersbuckling down in respectful silence to a sub-stantial sequence of songs as if they were at apublic concert”. With that in mind, I found itbeneficial to read his commentary about eachsong, listen to the song, and then pause beforegoing on to another.

This valedictory volume presents some ofthe best singing of the series. Rennert’ssmooth and creamy voice is close to a contral-to and is nicely mirrored in the viola obbligatoof the songs with viola. She uses that tonaldepth in `Die Mainacht’ to great effect as sheconveys the “darker shadows” in the line “aberich wende mich, suche dunklere Shatten”before opening into the surging emotion of“und die Einsame Träne rinnt”. Johnsondescribes this moment as “weeping that startsfrom deep inside the body—a tear as lonely asthe protagonist [Brahms] himself”. It’s one ofthe most affectively powerful moments for mein all his songs, and she gets it just right.

That is followed immediately by two set-tings of Daumer texts: `Von WaldbekränzterHöhe’ and `Unbewegte Laue Luft’, with theirlibidinal eagerness of a woman to be unitedwith her lover. Rennert consistently catchesthe affect of each song. She brings boundlessenergy to the 8 Gypsy Songs and frolics in theczardas style that alternates the slow and fastsections.

She makes these songs luminous with asmooth legato lyricism in some and a sprightlyrhythmic swagger in others. Her diction isclear and precise, her phrasing is elegant, herbreath control is impressive, and her voicemaintains consistent beauty at all dynamiclevels. This is superb lieder singing.

Johnson’s commentary on each song isexceedingly valuable not only in the details heilluminates about the song but also about thechallenges these songs make on the pianist.

The sound quality and engineering ofthese recordings has been first rate. The lastthree I’ve reviewed have been recorded in thesame place with the same engineer and pro-ducer, which produced a consistent soundquality for the series.

The liner notes alone with texts and trans-lations are worth the price of this album.

R MOORE

BRAHMS: String QuintetsEnergie Nove Quartet; Vladimir Mendelssohn, va


Brahms’s two string quintets were written in1882 and 1890. They show the composer at hisvery best, and both are rich-sounding, excitingworks when played and recorded properly—and they certainly are here. The first is in threemovements, and the second is in four. Asbeautiful as the first is, I slightly prefer the sec-ond. Don’t think that this means that I skip thefirst and proceed directly to the second! Thereis an hour of wonderful music here, and onceit begins, I am captivated and must listen toboth from beginning to end. What surprisedme most when I got this was the quality of theLugano, Switzerland-based Quartetto EnergieNove. Drawn from musicians of the Orchestradella Svizzera Italiana, the group is interna-tional. The violinists are Hans Liviabella andBarbara Ciannamea, the violist is Ivan Vukce-vic, and the cellist is Felix Vogelsang. They arefortunate to have excellent instruments, andLiviabella plays a Stradivarius from 1708. Thegroup has a very full sound and is well record-ed. They play with plenty of enthusiasm butdon’t force the music, allowing the sound toblossom.

There are also excellent sets by the TakacsQuartet with violist Lawrence Power (Sept/Oct2014) and the Raphael Ensemble (July/Aug1996 & Overview Sept/Oct 2006). Mr Althousereviewed the Takacs and liked it but preferredthe Raphael, which I have not heard. MaximRysanov et al made a superb recording ofQuintet 2 that I reviewed and found “beyondcriticism” (July/Aug 2011). But the present oneis just as good with expansive yet very detailedsound. Wow!

Quartetto Energie Nove is planning torecord Beethoven’s late quartets. Let us pray


that the current fuss with the virus does notprevent that.

MAGIL

BRAHMS: Symphonies, allVienna Symphony/ Philippe Jordan

WS 21 [4CD] 162 minutes

Here we have a set of echt German sym-phonies played by a Viennese orchestra led bya French conductor on their label. In manyways the set fits the stereotype, but there ismore to it than that. Jordan writes that hehears Brahms as a composer of great songsand chamber music, and he applies thosequalities to the symphonies with song-like lyri-cism, chamber-like styling, and clarity ofinstruments and inner parts. He also notesthat Brahms often makes use of chorales andsong melodies in symphonic themes. To Jor-dan, the “earthy Brahms sound is...a cliche”.Rather than produce the “rich, thick Brahmssound”, he hears Brahms as looking back toBeethoven, Schumann, and Mendelssohn(even as he notes Schoenberg’s admiration forthe composer). The result is a “more slender,more sensitive and intimate sonic image”.Tempos are on the fast side, and textures arelight for Brahms. That may suggest perform-ances played by a chamber or a “period”orchestra, but neither is the case here. Thestring section sounds mid-sized and fairlywarm, and it uses vibrato. The winds and brasssound like modern instruments, though thetrombones probably have smaller than usualbores and an alto on first. The differencebetween these readings and most performanc-es is mainly in conception and style. They donot actually sound French, but there is justifi-cation for thinking of them that way.

Nowhere is this approach more strikingthan in the muscular First Symphony. Theintroduction is the fastest I have heard. Tex-tures are light, and the line sings. The orches-tral tone is darkish in color but light in weight.Where conductors lean heavily, Jordan flows.The result is different enough to justify his tak-ing first movement repeats, which he does inthe first three symphonies. (There is no suchrepeat in the Fourth.) Tempos through Iremain on the fast side but are not rushed. II ishalting in its way but keeps moving at a tempothat is fastish but not hurried. Textures are fullbut no more than that. III begins quickly andpicks up speed without seeming rushed, and italways feels that it is moving forward. Jordan’sFinale looks back to I, plus very long pauses

before the two episodes where the low stringsplay soft pizzicato, making things sound mys-terious. Annotator Rainer Lepuschitz writesthat the horn entrance sings an alphorn themethat Brahms heard in Switzerland. The trom-bone chorale is played as softly, darkly, andmysteriously as I have heard it, to eerie effect.When the chorale returns in full, it sings like achoir before the symphony ends in triumph.

Symphony 2 benefits from Jordan’sapproach. The second theme of I, introducedby the violas and cellos, famously suggests theBrahms Lullaby. This performance makes theSecond sound like a symphonic lullaby. It islight-hearted, chamberlike, and balanced sowell that woodwind solos carry well withoutstrain; the clarity of the low string lines sug-gests a string quartet. In the loud section, therising thirds are clearly and evenly passedfrom high to low instruments, and the hornsolo is nicely balanced. Often the horn “takesover” in this passage, but here it is a partner tothe other instruments. The Adagio is sweet,relaxed, intimate, and gentle. The louder sec-tion gets its due but matches the generalapproach. III is fairly quick, light, and folklike,with the midsection nicely spirited. The Finaleopens softly, but when the music breaks out, itdoes so with good speed and energy. Thewoodwinds are stellar here. The passagebefore the final celebration is gentle and soft,and the “big tune” sings. The ending can bedriven, but this one is not.

The Third Symphony maintains this style.The grand opening of I is on the fast side withlight textures and plenty of woodwind color.“Gentle” appears often in my notes. All of thismoves along well, abetted by the sleek stringsound. II is on the quick side, evoking theimpression of quiet singing; the clarinets addsweetness, the bridge before the low stringtheme is intimate, and the horns and trom-bones are dark and rich at the end. III feelssimple and heartfelt, with a clear-eyed mid-section. The soft passage before the maintheme returns in the typically contained Vien-nese-sounding horn to heavenly effect. Thereis some rubato in all this but not as much as inmany performances. The finale seems to sneakin, and the playing is sleek, strong, and neverheavy or too powerful. There is a spiritedpiquance to the string accents before the pow-erful climax, and the ending is warm andquiet.

No. 4 may be the weakest entry, but it isstill quite good. The opening violin figures arelike caresses and set the tone. The tempo may


be too fast, and the coloring could be a littledarker and more serious, but do not be tooconcerned about either point. All told, Jordan’sapproach—especially the lightness—does notwork as well here as in the other symphonies.II is on the quick side, but it is fluid, reallysings, and works better than the previousmovement. That Viennese horn sound and theclarinet are very pleasing. III is terrific—fastishof course, but joyous and jubilant. IV entersafter essentially no pause and is very extrovert-ed. The lyrical string passage before the slowsection is almost syrupy in a good way. Thefamous flute solo could be fuller, but it fits theinterpretation. The slight push and pull,phrase by phrase, of that slow section, works.The rest is quick, bold, and exciting.

Brahms afficionados will likely find theseperformances fascinating or maddening. I likethem for what they are and know of none likethem. The sound is excellent. Lepuschitz’sthoughtful and comprehensive booklet notesrelate and sometimes analyze Jordan’s ideasand approach. Putting each symphony on itsown CD is convenient but results in a four-CDbox, though it appears to be selling at mid-price.

HECHT

BRAHMS: Symphony 1; Tragic OvertureLeipzig Gewandhaus Orchestra/ Herbert Blomst-edt—Pentatone 5186 850—63 minutes

Blomstedt has been with us quite a while, andwe perhaps know him best from his years withthe San Francisco Symphony (1985-95). Hehas been music director of several Europeangroups and is still active. For this recording,made in Fall 2019, Blomstedt was 92. He is stilla fine conductor, as these performances willtestify; time has not slowed him down. Both ofthese Brahms works are rich and full of expres-sion, and the Leipzig orchestra sounds verygood, with excellent contributions by the solowind players. All the movements are taken atconventional tempos, and I was very happywith everything except for the very beginningof the symphony. The slow introduction is wellpaced, but feels too metronomic for me, andthen Blomstedt takes the exposition repeat,which may please some listeners. After thatthings are better. The slow movement is veryexpressive; it oozes with little bulges. Blomst-edt does keep it moving—it is an Andante, notan Adagio. III has a delightful rhythmic flow,and the finale has lots of weight and power—as does the Tragic Overture.

I am not wholly pleased with Pentatone’ssonics, which are thick and bassy with insuffi-cient “air” around the music.

This is not distinctive enough to recom-mend if you already have a favorite perform-ance. As I’ve said before, if I could have onlyone performance, I would take Furtwän-gler’s—crusty 1951 sound and all!

ALTHOUSE

BRAHMS: Symphony 4; Tragic Overture; Hungarian Dances 2,4,8,9,17-21

Swedish Chamber Orchestra/ Thomas Daus-gaard—BIS 2383 [SACD] 73 minutes

The symphony has been recorded hundreds oftimes—and mostly better. It’s not the sound,which is very beautiful, but tempos andorchestra size. One of my earliest childhoodmemories is that the orchestra had to getmuch bigger for Brahms—and I loved it. Themusic was rich and majestic; it required a bigorchestra. This is a chamber orchestra; I cannever accept that.

And every movement is too fast. The firsttwo movements are faster than any recording Iknow. The Scherzo (III) is not so bad thisfast—and a few other recordings are similar. InIV I think the fast tempo ruins it (only Levinecomes close). I can understand that it’s a bigtheme-and-variations, and often it sprawls andfails to cohere. But I can’t accept the sheerspeed here. Coherence at the expense ofexpansiveness and warmth?

The Hungarian Dances are Dausgaard’sown orchestration. Dvorak orchestrated 19-21,so it was unnecessary to do it again. But theothers recorded here were orchestrated later,so there was no harm in trying. Still, Ivan Fis-cher recorded all the Hungarian Dances twice,and both are better than this. Try this for aslightly different slant on them—less folk-like,more string-oriented.

The Tragic Overture takes a mere 12 min-utes. Conductors as varied as Bruno Walterand Georg Solti take 13:20 or more. I realize achamber orchestra allows faster tempos, but Idon’t enjoy this lean and mean tragic music.

VROON

BRAHMS: Violin SonatasJohn Fadial; Andrew Harley, p

Centaur 3711—72 minutes

I do not believe in the concept of recordingsaturation. A good recording justifies its exis-tence, and a bad recording does not. This isnot a top-tier recording of Brahms, but there


are moments that elucidate the pieces in anew way—an impressive feat considering theirrich history. The opening of I in the first sonatais too cheerful and enthusiastic. I miss thepeaceful serenity and pastoral qualities.Brahms wrote the sonata in his beloved vaca-tion locale, Portschach am Worthersee, in thesummers of 1878-79, and performers shouldobserve the gentle contemplations and restful-ness of the music. The piano swerves too far inthe other direction during the first themeabove the violin’s pizzicato accompaniment,stodgy and tired. They approach II with moredelicacy and tenderness. I felt I learned moreabout the music—a sure mark of a good per-formance. Clipping notes contribute to a mar-tial style in the contrasting sections. Melodra-ma enters near the end as the performerscommit to ominous stillness and coldness.The extreme contrast feels operatic and narra-tive-driven; listeners will intuit a tale behindthe music. Brahms rarely displays this muchpersonal touch; the performers relish the rawemotion. Warmth returns to finish the move-ment. Unfortunately in III the performersrarely find the right sound.

The second sonata is unremarkable: a slowand languorous III, a slow and ponderous IIwith covered melodies, and an average Iexcept that the stillness near the end is similarto the hesitancy in II of the first sonata.Brahms famously loves invoking Beethoven,but here he quotes himself.

The performers force transitions in I; it isbetter to allow the transitions to happen. Toomuch thought and nuance tarnish II. The beatis over-emphasized, and there is not enoughlyricism. They misrepresent the style andsound in III. Sequences are too similar in IV.The development sounds dainty, and 8thnotes poke like needles. But good playingresides here. Does this recording deserve toexist? Barely.

KELLENBERGER

BRAHMS: Clarinet Quintet; see MOZART

BRITTEN: Peter GrimesStuart Skelton (Peter), Erin Wall (Ellen), RoderickWilliams (Balstrode), Susan Bickley (Auntie);Bergen Philharmonic/ Edward Gardner

Chandos 5250 [2CD] 138 minutes

Leading the Bergen Philharmonic, of which heis Chief Conductor, and presiding over whatseems from the photos to be a semi-stagedconcert, Edward Gardner enjoys a rare level of

control over this exquisitely prepared perform-ance. His attention to sonorities and details ofarticulation affords many pleasures, and hebuilds the opera’s tension with thrilling inten-sity. The ebb and flow of the orchestral accom-paniment to the Act I ensemble `I’ll give ahand, the tide is near the turn’, taken a littlefaster than usual, keenly mirrors the pull offate, as inexorable as the sea. Brisk temposalso add frisson to the Grimes-Balstrode con-frontation (`And do you prefer the storm’),leading to a gloriously hair-raising rendition ofthe second `Sea Interlude’. It’s an approachvery much in the spirit of Britten’s own per-sonality as a conductor.

In the title role, Stuart Skelton’s somewhatthick tenor has neither the biting clarity ofVickers nor the impassioned elegance of Pears.But he does make a sharp contrast betweenGrimes’s brutish outbursts and the gentlenessof his internal monologs. I’ve always foundEllen’s character one-dimensional, especiallyin comparison with (or perhaps intentionallyin opposition to) Peter’s complexities and con-tradictions. But Erin Wall, like the greatHeather Harper of a previous generation,brings a powerful personal warmth to the rolethat fully fleshes out the woman behind thenotes. Her soprano is radiant, phrasing anddiction are direct and natural, and her per-formance serves as a remarkable testament toher artistry—the final testament, since she hasjust died at age 44. The choral forces and theentire supporting cast are excellent, includingbaritone Roderick Williams, whose ingratiat-ing vocal presence makes Balstrode a model ofkind concern.

ALTMAN

BRONSART: Jery und BätelyCaroline Bruker (Bätely), Harrie van der Plas(Jery), Laurence Kalaidjian (Thomas), SöhnkeTams Freier (Father); Malmö Opera/ Dario Salvi

Naxos 660476—67 minutes

Ingeborg von Bronsart, née Starck (1840-1913), was born to Finnish Swedes living in StPetersburg, Russia. By age 14 she was anaccomplished pianist and had begun to com-pose. Four years later she went to study withLiszt in Weimar and soon began performing inmajor cities (including Paris). In 1861 she mar-ried a fellow composer, Hans von Bronsart,and soon after, when he became an official inPrussia (at the royal theater in Hanover), shewas required to cease performing publicly.From that point on, she concentrated her


energies on composition, writing four operasand many chamber works, piano pieces, andsongs. An early piano concerto is apparentlylost. (Don O’Connor greatly liked her hus-band’s piano concerto; Jan/Feb 2019.)

This is my first encounter with Ingeborgvon Bronsart’s music. Jery und Bätely (1873)was apparently her biggest success as an operacomposer. Its libretto derives from a “love in avillage” singspiel text that Goethe wrote in1779. The story, briefly, is that Jery, a wealthyyoung farmer, has thus far failed to win thelove of the sturdy, principled milkmaid, Bätely.He offers money to his friend Thomas to winBätely for him, but Thomas overdoes things:ordering a glass of wine from her as if herhouse were an inn, threatening the lass physi-cally, and finally driving his herd of animalsacross her property and smashing her win-dows. He then attacks Jery. Bätely, belatedly,recognizes that she is attracted to the wound-ed, woebegone Jery. Thomas pays for the dam-age he has done, and all is forgiven. (There arebrief roles also for Bätely’s father, a shepherdboy, and a chorus of herdsmen.)

Goethe’s highly condensed text had servedas the free basis for operas by Auber (LeChalet, 1834) and Donizetti (Betly, 1836, rev.1837). The Auber version was extremely effec-tive, reaching 500 performances in its first 17seasons. Other works using some version ofthe text were composed by Peter Winter,Johann Friedrich Reichardt, ConradinKreutzer, and Julius Rietz.

I don’t know any of them. Presumably thecomposers were seeking to capitalize onGoethe’s renown. Bronsart’s style resemblesWeber, from 50 or 60 years earlier, but withoutWeber’s itchy inventiveness. The singers doconvey the basic thrust of the vocal lines. Butthe penny-plain harmony and foursquarephrase structure give them little to work with.

It doesn’t help that the six arias (honestlylabeled “Lieder”) and four duets are allextremely short—many shorter than two min-utes. The final duet (recognition of mutualaffection by the title characters), the two trios,and the finale are somewhat more substantial,but not enough to salvage the whole thing.

One oddity compounds the lack of dramat-ic development and interaction: in the duetsand larger ensembles the voices almost neveroverlap. This allows Goethe’s verses to beclearly heard. But, since the composer thenoften repeats some lines, she could haveallowed the singers to join their voices insimultaneous melodies or in the same line

doubled at, say, the octave or the sixth. Wasshe influenced by Wagner’s model of largelyavoiding any overlap in vocal lines? If so, thisseems a miscalculation, given how simple hermusical materials are in the work.

I admit that, when Jery and Bätely finallydo get to sing together in their last duet, I felt arush of appreciation. It also helps that themusic at that moment shows greater harmonicsophistication and fuller orchestration thananything previously heard. (MusicologistMelinda Boyd, in her booklet essay, arguesthat the work reveals more complexity andrichness as it goes along.)

I suspect that Jery und Bätely might comealive with less dutiful performances, perhapsespecially if all the singers were native Ger-man-speakers highly experienced in operettaor cabaret and could enliven the spoken andsung parts with nuances, such as hints of men-ace, pomposity, humor, and irony. Indeed, themost effective performer here, LaurenceKalaidjian (as the out-of-control Thomas), wasborn in Hamburg. Although his voice is some-times unsteady, he conveys a wider range ofemotions than do the others. Particularly lim-ited here is American soprano Caroline Bruk-er, whose non-native German pronunciation(e.g., in the crucial name “Jery”) is distractingand whose vocal tone is thin, sometimes like achild soprano.

It also would have helped if the singers hadhad a chance to perform the work on stage. Iwonder if they even knew the opera’s fulllibretto, which includes frequent stage direc-tions. (I consulted a copy at the Library ofCongress’s website.) For example, the librettomakes clear that, in Scene 9, Thomas is stand-ing outside Bätely’s house and that she finallyslams the window shut. (The recording lackssound effects.) Perhaps the singers only knewthe sung and spoken words but not the stagedirections.

The latter are entirely missing from thelibretto that Naxos makes available online.This is absurd for a little-known opera.

Might there be better vocal works by Bron-sart: her songs, perhaps? An otherwise incon-sistent composer can often find inspiration ina touching or forceful poetic text, as can bedemonstrated in songs by such composers asFelicien David (Sept/Oct 2014), Regine Wieni-awski Poldowski (July/Aug 2017), and CesarCui (May/June 2017).

LOCKE


BROSSE: A Symphonic JourneyBrussels Philharmonic/ Dirk Brosse

Antarctica 19—80 minutes

Dirk Brosse is a Belgian conductor and com-poser who has written over 200 works, includ-ing film, television, stage music, and sym-phonic compositions. He is currently MusicDirector of the Chamber Orchestra of Phila-delphia and has conducted many internation-al orchestras. The works here were composedover several years and are making their record-ed debut. Some of the music was written forfilms, but others are concert works. I wasimpressed by the variety of music and musicalstyles, and everything here is highly accom-plished. Brosse knows how to write music thatmeets the subject’s requirements whileremaining wholly individual, melodic, andinventive. He is expert at introducing themesand developing them in an interesting way.His orchestrations are colorful and beautifullyenhance the music. You can hear the influenceof Bernard Herrmann, John Williams, Rach-maninoff, and Prokofieff, but Brosse has devel-oped a unique style that is appealing.

The works here include the excellent andpropulsive Philadelphia Overture, the suiteSea Life Aquarium, written after a visit to theAntwerp Zoo, and the Radetzky Waltz a livelyand elegant dance using the music of JohannStrauss, Sr. The Adagio for Strings is an impres-sive, reverent, and somber piece dedicated tovictims of the Syrian Civil War.

There is music written for the sound andsilent films Back to Utopia and AmorePedestre, with memorable themes. The GrandCanyon of the Colorado is an ethereal piecebeautifully scored to envision misty panora-mas. The final selection, the Olympic Fanfareand Hymn, is appropriately magisterial.

The only piece that I found disappointingwas the suite Fur Elise at the Movies; it sup-posedly uses Beethoven’s themes as an hom-age to various films. The music is quite good,but I didn’t hear the relationship ofBeethoven’s music to the films.

The Brussels orchestra plays excellentlyand follows the conductor’s lead with preci-sion. The sound is demonstration quality.Brosse’s new disc demonstrates his accom-plishments as a composer, and the music isboth compelling and enjoyable. The English-only booklet offers information about theselections and the composer.

FISCH

BRUCKNER: Mass 2 in E minorwith motets: Ecce Sacerdos; Tota Pulchra Es;Virga Jesse; Locus Iste; Ave Maria; Christus Fac-tus EstKing’s College Choir; Academy of St Martin in theFields/ Stephen Cleobury

King’s 35 [SACD] 57 minutes

Stephen Cleobury died from cancer just over ayear ago (November 22, 2019) at the age of 70.This was recorded in March and June of thatyear and became his last recording; thepoignant liner notes tell us that in his finaldays he was concerned with making final editsfor this recording and also listening to all ofWagner’s Ring.

Cleobury directed the Choir of King’s Col-lege, Cambridge for 37 years and also servedas Chief Conductor of the BBC Singers. Thisrecording includes Bruckner’s Mass No. 2 (theone with wind accompaniment since the pre-miere took place on the square outside LinzCathedral) and six of the more popular Bruck-ner motets. Chief among these is the splendid,grand Ecce Sacerdos Magnus, which also useswind accompaniment (three trombones plusorgan).

There are people for whom the choral sunrises and sets with King’s College, and forthem no further recommendation is needed.This is wonderful music, and everything isexpertly done. Others might argue, though,that the King’s sound, the British boys’ sound,isn’t ideal for Bruckner. Continental boys’choirs tend to have a warmer sound, and therealso mixed choirs who can do a pretty goodjob with Bruckner. A good comparison herewould be Rilling’s recording of the Mass alongwith the Te Deum and Psalm 150 (Hänssler98119, July/Aug 1998). What is impressiveabout the British singers, though, is the purityof their sound, which makes the thick choralwriting very clear—and their intonation isalmost perfect.

A wonderful disc, all in all, and a wonder-ful tribute to Cleobury, a musician who will belong missed. Texts, translations, and unusuallyfine liner notes with a good discussion of theCecilian movement.

ALTHOUSE


There is an inverse relationship betweensocial status and the size of televisionscreens. The same applies to the number ofcars in the driveway.

BRUCKNER: Overture in G minorwith Symphony 0; MAINTZ: Chorale Prelude LI

Hansjörg Albrecht, organOehms 476—62 minutes

with Symphony in F minor; March in D minor; 3Pieces

Rudolf Innig, organ—MDG 917 2174—70 min

I have often wondered why Bruckner, adevoutly religious man, did not leave a largecorpus of organ music. His father was anorganist, and by the age of 10 young Anton wasable to deputize for his father at church servic-es. He went on to play, assuming positions atthe Augustinian monastery of St Florian, thenLinz Cathedral, and finally at the ImperialChapel in Vienna. He gained internationalfame for his improvisations and was acclaimedin Paris (by Gounod, Saint-Saëns, and Franck)and London, where he gave a series of recitalson the organ at Crystal Palace. In additionmany have felt that his symphonic music tookinspiration from the organ; his terraceddynamics and slow harmonic rhythm with fre-quent pedal points suggest organ style. Per-haps his interest in and skill at improvisationmade it unnecessary for him to write down hisefforts at the organ. In any case all we have is ahandful of preludes and a couple of fugues,though it is certainly possible that many earlyworks have been lost.

Here we have two CDs of Bruckner’s sym-phonic music transcribed for organ. The worksare early. There are nine numbered sym-phonies, written from 1865 to 1896. Precedingthese by only a short time are two others: aSymphony in F minor, generally known as theStudy Symphony (1863); and another in Dminor, which is given the number 0 or calledDie Nullte (c 1863-64). With these two discs,then, we have both of the “pre-numbered”symphonies, along with orchestral pieces, allfrom 1862-63. Everything pre-dates SymphonyNo. 1.

Hansjörg Albrecht is known primarily asthe director of the Munich Bach Choir andOrchestra. His CD is the first of a project torecord all of Bruckner’s symphonies on organ;this one is listed as Vol. 0 (cute). All are to bedone at “original locations”, which in this caseis the splendid instrument at St Florian, whereBruckner was a choirboy and later the organ-ist. (The instrument has been updated sinceBruckner’s time.) In addition, each of the tendiscs is to be filled out by new compositionswritten specifically for each volume. Here we

have a five-minute chorale prelude by PhilippMaintz, a nice, colorful piece, quite modern instyle, that supposedly relates to Bruckner’s F-minor Mass (I don’t understand how.) For theOverture in G minor Albrecht uses RudolfInnig’s transcription; for Symphony 0 the tran-scription is by Erwin Horn.

The organist in the other CD is RudolfInnig, who has enriched the catalog over theyears with the complete organ works of Barber,Brahms, Mendelssohn, Schumann, and Messi-aen. Now in his early 70s, he still plays excep-tionally well. Here he plays the Goll organ atthe Marktkirche in Hanover. The transcrip-tions used are his own, and his liner notes areunusually informative and interesting.

Both of these issues are very well done andcan be recommended to organ lovers. Bothinstruments sound splendid, though the StFlorian instrument is a bit grander and thebuilding is more reverberant. Complete stoplists are given in the notes. Both players arefirst rate, and indeed, their performances ofthe Overture in G minor (the only piece incommon) are quite similar (the timings 12:13and 12:20). I confess, though, that once my ini-tial curiosity was satisfied, the music wasn’tvery interesting. The organs are capable of alot of tonal variety, but they don’t substitutefor an orchestra. I would be curious to hearwhat Albrecht will do with one of the latersymphonies, where the music is stronger thanin these early works. Again, though, I suspect itwill be a curiosity and not a serious threat tothe wonderful orchestral originals.

ALTHOUSE

BUSONI: Early Piano PiecesHolger Groschopp—Capriccio 5416 [3CD] 3:05

Busoni is a composer whose works I do notappreciate, and very few have remained in mycollection. Thus I was not looking forward tolistening to 3 hours of totally unfamiliar pianopieces composed in his teenage years. But Iwas in for a surprise!

This release is titled “Early Masterpieces”.Busoni was born in 1866, so he was between11 and 17 years old when he wrote them. Onepiece on CD 2 is even from 1873. There are 71pieces altogether, with an average duration ofabout 3 minutes, and 10 are recorded here forthe first time. The ones on discs 2 and 3 arearranged chronologically according to theBusoni-Verzeichnis (BV); their opus numbersdo not correspond to the order of composi-tion. At the end is a bonus track—a piece by


Anna Weiss-Busoni (1833-1909), the compos-er’s mother.

On CD 1 there are two cycles: a set of 6pieces called A Village Festival, Op. 9, followedby a march, Op. 32, that Busoni meant to sub-stitute for one of the pieces, and 24 Preludes,Op. 37, arranged into four books of 6 each.

I listened to all of this with amazement andunflagging attention. Busoni was clearly aprodigy of the highest order, as the famouscritic Eduard Hanslick (cited in the liner notes)already recognized in 1876—before the pres-ent compositions. These pieces have nothingimmature about them; even the one from 1873measures up to the others. They are extremelyinventive and varied. Their thematic materialis clever, they are rhythmically interesting, andtheir harmony, while conventional, is used inunhackneyed ways. A single exception (Pre-lude No. 13) seems to point forward harmoni-cally in its chord sequences, anticipatingReger. With rare exceptions, the pieces are notvirtuosic and playable by amateurs, and nearlyall have dedicatees.

What is truly astonishing is that there is noinfluence whatsoever from romanticism—notfrom Schumann, Brahms, or Liszt, nor evenfrom Chopin in the Preludes—and really nonefrom the classicists either. A whole century waslost on Busoni! Although his music soundsmore “modern”, its roots are in Bach and hisperiod. It is linear and often polyphonic,though not with Bach’s rigor and complexity.Its texture is generally light and transparent.Many pieces have baroque titles such as Min-uet, Gavotte, or Gigue—or even Preludes andFugues. Nearly all pieces are dance-like ratherthan song-like, and rather abstract. Even thefew pieces with more specific titles do not dif-fer much in character from the others; there isminimal “tone painting”. Giving some piecesdescriptive titles (as in the Medieval Carica-tures, Op. 33) is Busoni’s only concession toromanticism, but his attempts to convey con-crete characters or scenes actually diminishthe musical substance. In several instances histitles do not match the character of the piece:his Scherzo, Op. 4—one of the finest and mostextensive pieces here—has a moderate tempoand an even slower middle section; his Scènede Ballet, Op. 6, is a virtuosic exercise withchord sequences; and there is nothing noctur-nal about his Danza Notturna, Op. 13. No, hisstrength lies in “pure” music.

The piece by his mother, calledImprovvisata and composed 11 years beforehe was born, is quite different in style. It is an

Italian song with accompaniment, surroundedby virtuosic passages reminiscent of Liszt.

The excellent and indefatigable performerof all this is the German pianist HolgerGroschopp, who also wrote the liner notes. Hisprevious recordings of the technically andmusically far more demanding Busoni tran-scriptions have been reviewed without enthu-siasm (M/A 2002, N/D 2009, N/D 2014), buthere he seems to be in his element. His playingis clear and engaging and shows the “extreme-ly even touch” praised by Brent Auerbach(N/D 2009). I tend to agree with Groschopp’sjudgement that the pieces on CD 1, especiallythe 24 Preludes, are the best here; but the dif-ferences in quality are really slight and incon-sistent. This suggests to me that Busoni’s musi-cal language and compositional skills did notevolve much in this period, and perhaps thisoffers a clue as to why he eventually had tocome up with a “new aesthetic” that contami-nated his own style and made him turnincreasingly to grandiosity, transcription, andphilosophy.

REPP

BUSONI: 2-Piano Pieces Aldo Ciccolini, Aldo Orvieto, Marco Rapetti


In 1910, Ferruccio Busoni (1866-1924), whohad been working on a completion of Bach’sArt of Fugue, published the first version of hisFantasia Contrappuntistica in a private edi-tion. There followed three different publica-tions of Contrapuntal Fantasy: Prelude to thechorale `Glory to the Lord in Heaven’ andFugue in four obbligato voices on a fragmentof Bach. In 1912 and 1916, Busoni publishedtwo different “minor editions” of the FantasiaContrappuntistica. The final, definitive versionof this monumental work came in 1921; it wasfor two pianos. Here we get a stellar perform-ance from March of 2000 by Aldo Ciccolini andAldo Orvieto.

Ciccolini student Marco Rapetti joins Orvi-eto for the remaining 2-piano works on thisprogram, three of which are listed as worldpremiere recordings. These are two substantialoriginal works—Prelude and Fugue in C minor(1878) and Capriccio in G minor (1879)—anda transcription of Schumann’s Introductionand Concert Allegro. The Schumann is a stan-dard second piano reduction of the orchestraparts; the original piano solo part is unaltered.

Two Mozart works complete the program.Duettino Concertante is a wonderful, quite


original reworking of the Finale from PianoConcerto 19. Then there is Busoni’s transcrip-tion of the Overture from The Magic Flute.

We get good recorded sound and informa-tive notes very well translated from the origi-nal Italian (not usually the case). The pianoensemble is top notch for both pairs ofpianists. The technical demands of Busoni’swriting are handled admirably, and thisshould be considered a must-have for anyoneinterested in the composer or 20th Century 2-piano music in general.

HARRINGTON

BUSONI: Violin SonatasIngolf Turban; Ilia Scheps, p

CPO 555213

Busoni (1866-1924) was one of the last musi-cians who was just as important a composer ashe was a performer. What is remarkable is thatthis had been the norm for hundreds of years,but beginning in the 20th Century, it is rare.

Busoni wrote two violin sonatas, the Firstin 1889 when he was 23 years old and the Sec-ond in 1898 at age 32. Entering middle ageoccasioned a big change in his artistic person-ality, and he later referred to this Sonata, Opus36a, as his true Opus 1. It is easy to hear why.Sonata 1, in the conventional three move-ments, is unimaginative and not memorable;but Sonata 2 sounds like it comes from a dif-ferent world. Conventional form is jettisoned,and the nearly 35-minute work extends across11 sections. Busoni’s inventiveness is remark-able. Just as remarkable is that he would con-tinue to evolve as a composer and soon cometo look down on this work as conventional.

Ingolf Turban and Ilia Scheps are excellentmusicians, fully up to this music’s technicaland expressive demands. Good sound.

MAGIL

BUXTEHUDE: Organ Pieces 1Friedhelm Flamme—CPO 555 253 [2SACD] 2:16

Dietrich Buxtehude (1637-1707) marks the cli-max of the North German tradition of organplaying and composition in the 17th Century.He was widely admired in his day, and more ofhis organ pieces have come down to us than ofany other German composer before JS Bach.Organist Friedhelm Flamme is a noted author-ity on this music, and it is appropriate that hisseries of the complete organ works of Buxte-hude should follow closely on the heels of hiscomprehensive recorded survey of the North

German School for CPO. I have reviewed sev-eral of those releases including works by Vin-cent Lübeck (CPO 777 198; N/D 2006),Hieronymus Praetorius ( 777 345; J/F 2013),Michael Praetorius (777 716; J/A 2015), JakobPraetorius (777 959; M/A 2017), and HeinrichScheidemann (777 562; J/A 2017).

My praise for the performances on thoserecordings was often qualified. Sometimes(but not always) Flamme employs a detachedarticulation to the detriment of phrase coher-ence. That is less the case in these perform-ances of Buxtehude than in some of the earlierNorth German masters. Some registrationsrubbed me the wrong way, but more aboutthat later. There is no question that theserecordings constitute a valuable document ofan important chapter in the history of baroqueorgan composition by an artist who knows thatrepertory from the inside out.

For this opening volume of Buxtehude,Flamme has chosen the three-manualChristoph Treutmann organ at the abbeychurch of St George in Grauhof near Goslar, aninstrument used for some of the recordings inthe North German series. It was completed in1737 and is the best preserved of that builder’sinstruments. The most recent restoration wascarried out from 1989 to 1992. GerhardAumüller points out in his detailed essay onthe instrument that it combines characteristicsof the North and Central German schools oforgan building, particularly in its use of gambastops of a kind common in Silesia and itssmooth blending of registers. Its well-tem-pered tuning makes it better than meantonefor pieces in relatively remote keys, such as thePrelude in F-sharp minor (K 146) and the Pre-lude in E (K 141)—both here. A considerableamount of action noise may be annoying tosome listeners, especially in the quieter pieces.Fans of the baroque organ tend to regard thatas just part of the territory.

The plan for the project is to structure thecontents of each CD as a recital program thatdraws on the variety of genres found in Buxte-hude’s organ works. Thus we have a mix of thelarge-scale preludes (sometimes erroneouslycalled preludes & fugues), individual choralepreludes, liturgical verses, chorale variationsand fantasias, a pair of canzonettas (K 167 and225), the Chaconne in E minor (K 160), andPassacaglia in D minor (K 161). The contrastsin style and volume are certainly welcome tothe listener, far more so than hearing all theexamples of a given genre in succession.

Choices of registration and tempo can vary


extremely from one artist to another. For themost part, I found Flamme’s choices, whetherin the grandeur of the preludes or the delicacyof some of the chorale preludes, to be admir-able and a fine exposition of the colors avail-able on the Treutmann organ. A few registra-tions struck me as odd. For example, the Cha-conne in E minor (K 160) is bombastic, with aneverything-but-the-kitchen-sink registration.There is just too much sound; the effect isoppressive and tends to obscure the details ofBuxtehude’s contrapuntal writing. I have longthought of this as a piece for mezzo-forte foun-dation stops with perhaps some brightersounds towards the end. Most of the otherrecordings I have heard share my outlook.

At the other end of the spectrum, Flammetreats all but the final section of the Prelude inF-sharp minor (K 146) as a vehicle for quietflute tone with tremulant rather than the moreconventional principal chorus with or withoutchorus reeds. In the end, Flamme’s playing isalways authoritative, and his skillful rhythmicflexibility ensures that the music never soundsstiff. With the help of a registration assistant,he varies the sound between the sections ofthe larger free pieces. This promises to be animpressive set of recordings.

GATENS

CASTELNUOVO-TEDESCO: Songs Caroline Helton, s; Kathryn Goodson, p

Blue Griffin 549—65 minutes

This is Volume 3 in Helton’s series, Songs froma Lost World of Italian Jewish Composers. Vol-ume 1 is L’Infinito (Equilibrium 123, July/Aug2014, p202) and volume 2 is La Tregua (BlueGriffin 425, Nov/Dec 2017, p246). Our review-ers enjoyed the program but commented thatthe performances weren’t the best. Others’tastes and tolerances vary, especially whererare repertory is concerned, but I had to stopafter a handful of songs. Helton’s care for themusic comes across in her phrasing, but Ifound her voice intolerably wobbly and lack-ing a solid core. Texts and translations.

ESTEP

CASTELNUOVO-TEDESCO: Violin PiecesFulvio Luciani; Massimiliano Motterle, p

Brilliant 95927—60 minutes

Mario Castelnuovo-Tedesco’s (1895-1968)career can be divided into two halves. Hebegan in his native Italy, but after the passageof the Italian Racial Laws in 1938, he turned to

fellow Italian Arturo Toscanini, himself alreadyan emigre, and fellow Jew Jascha Heifetz forhelp immigrating to the United States.

The Adriatic Nocturne (1924) is from hisItalian period. Castelnuovo-Tedesco was a sortof very conservative impressionist, and listen-ing to this I can imagine myself some eveningon the shore of the Adriatic enjoying the seabreeze. There are also arrangements by Heifetzof two selections from the Shakespeare Songsof 1932, `Sea Murmers’ and `Tango’. They arevery brief trifles suitable for encores.

After the composer arrived in America in1939, he sought employment writing commis-sions, and he wrote Violin Concerto 3 forJascha Heifetz. He had already written his Vio-lin Concerto 2, The Prophets, in 1931—Heifetzrecorded it later. Heifetz was not satisfied withthis new concerto, perhaps because it is notvery imaginative, so he never performed it.Fulvio Luciani gave its premiere in Milan in2016.

The rest of the program includes arrange-ments of the Op. 117 Intermezzos by Brahmsand 12 of Chopin’s Preludes. The Brahmsarrangements were published in 1953; theChopin never were. Both sets of arrangementspale compared with the originals.

Castelnuovo-Tedesco was a mediocrecomposer who ended up working mainly inHollywood, and perhaps his greatest accom-plishment was training three of the best filmcomposers: John Williams, Henry Mancini,and Andre Previn. It seems that his great giftwas teaching.

Luciani plays a violin built by the Cre-monese master Lorenzo Storioni around 1810or 15.

MAGIL

CHAUSSON: Symphony;HONEGGER: Symphony 3;TCHAIKOVSKY: Symphony 4;BERLIOZ: Benvenuto Cellini & Beatrice

and Benedict overturesParis Conservatory & Suisse Romande orches-tras/ Robert Denzler

Decca 4840262 [2CD] 127 minutes

Robert Denzler was born and died in Zurich(1892-1972). His recordings with Decca cameabout because of his friendship with ErnestAnsermet in Geneva. The Berlioz and Tchai-kovsky were recorded with Ansermet’s orches-tra, the Suisse Romande.

I have always thought that the most beauti-ful recording of Chausson’s symphony is this


one. It is lush and velvety and string-dominat-ed—and the Decca sound is simply gorgeous.It was recorded in 1956! Decca at that time(London in the USA) was simply way ahead ofother record labels in sound. This is stereo,too!

There used to be quite a few recordings ofthis symphony. I have Fournet, Ansermet, andDutoit; and I think the first two are deletednow. I really like Fournet in French music(Jan/Feb 2011), but his sound is not as warmand velvety as Denzler. The Ansermet is thesame label as Denzler, coupled with Fauré; butit disappeared more than 10 years ago. Ialways liked Ansermet recordings, but theDenzler Chausson is hard to beat.

The only symphony of Arthur Honegger(Swiss composer born the same year as thisconductor) that I ever really liked is this one,the Symphonie Liturgique, and I think that ismainly for III, `Dona Nobis Pacem’. Karajan’sBerlin recording is still the one to have. Den-zler’s Honegger and Berlioz (1954) are notstereo. Honegger’s 5-minute `Song of Joy’ isappended to the symphony; it’s a pleasant,song-like piece that is seldom heard.

The Berlioz overtures sound their record-ing age (1954)—muffled and not very ener-getic or vital.

That leaves the 1961 stereo Tchaikovsky4th. I can think of many better recordings, so Iwould never recommend that you buy this setfor the Tchaikovsky. Denzler sounds much likeBeecham from the same period—but SirThomas was always unique, and I wouldn’tgive up his Tchaikovsky 4. They sound simi-lar—that is, I think their engineers had a simi-lar approach to recording an orchestra. It isblended, homogenized sound. Nothing standsout (except perhaps an obtrusive breath takenby the horn around 14 minutes in and anabrupt splice near the beginning of II). Theconducting here is confident but convention-al—never moving or startling. I thinkTchaikovsky demands more.

VROON

CHAUSSON: Piano Quartet; see RAVELPoem of Love & the Sea; see Collections

CHESKY: Abreu Danzas; Song of the Ama-zon; Descarga 1-2

Marisa Martinez, s ; Descaregas Orchestra,Orchestra of the 21st Century

Chesky 456—47 minutes

David Chesky’s Abreu Danzas (2019) is a balletcomposed of catchy, interrelated Latin Ameri-

can dances along the lines of Roberto Sierra,brilliantly orchestrated and flawlessly crafted.This is a welcome enterprise that will put asmile on your face—certainly needed thesedays. I loved all of them.

Song of the Amazon (2019) is a colorfuland moving piece illustrating the sound andatmosphere of the region, where Chesky andhis family spent much time. It is beautifullysung by Ms Martinez. Descarga 1 and 2 (also2019) are dances in a similar style.

Performances are enthusiastic andextremely well played. Text is included for thesong. One considerable flaw: the conductor isnot credited. Notes contain helpful informa-tion, but are not by the composer and need amagnifying glass to read. Nevertheless, this is aterrific release. Don’t miss it.

GIMBEL

CHOPIN: Nocturnes, all; piano piecesJan Smeterlin

Decca Eloquence 4841308 [2CD] 138 minutes

This Polish born pianist (1892-1967) will beremembered by readers of a certain age for hiswarm interpretations of the music by his coun-trymen Frederic Chopin and Karol Szy-manowski. As a friend of the latter he main-tained a close relationship for many years.During his time under scholarship in Viennahe studied with Leopold Godowsky. He andhis wife Didi lived in New York for a while andrecorded much Chopin for several labels.

The Nocturnes are presented complete,and we also have a BBC London recital from1949 with two Ballades and several Mazurkas.


Word Police: triage

This word has only recently entered diction-aries. It means a system to allocate benefits orscarce commodities. So it is a bureaucraticand political word. Also, recently it has beenused as a verb. To triage is to decide who getsthe benefit or commodity. The implicationseems to be that such a decision is difficultand is bound to seem unfair to someone.

I like to reject new and unnecessarywords, but this one has colors and implica-tions that no other word has, so it is serving apurpose. Still, it seems that people who use itare almost always bureaucrats. It would besad if the word simply came to mean “difficultdecision”.

The latest usages of it mean “treatment”.Why? Stupidity.

In addition there is the Etude Op. 25:3 and aMazurka made for Decca in 1946 that werenever issued.

All of these recordings are in good monau-ral sound, with only an occasional tinge ofboxiness, and should present no impedimentto enjoyment for our ARG readers. They allshow the pianist as a fine, highly nuancedartist with a natural sense of rubato, andshould be enthusiastically gobbled up by anyreader who cares about the world of finepianism.

The notes are good and the presentationfurther enhanced with several photographs.

BECKER

COLISTA: Sinfonie a 3Ensemble Giardino Di Delizie/ Ewa AnnaAugustynowicz—Brilliant 96033—75 minutes

I had high praise for this ensemble’s Lonatiprogram (Brilliant 95590, J/A 2019), and I’mabout to do the same here. Composer andlutenist Lelio Colista (1629-80) was hailed inRome as “an Orpheus” and even as a boy hewas on stage—as a dancer—amidst the opu-lence of the Barberini court’s theatrical pro-ductions. Later he performed as a musician atthe highest churches and courts in Rome.

These pieces date from Alexander VII’spapacy (1655-67), they are preserved in theGiordano 15 manuscript in Turin’s BibliotecaNazionale, and we know that some were per-formed in 1664 on Christmas Eve at SantaMaria Del Popolo in Rome. They were com-posed with the assumption that the finestplayers were available to play them—the repu-tation of Rome as having “the greatest instru-mentalists of the time” spread well beyondthat city and beyond Italy.

Their full noble sound belies the fact thatthere are only 5 players in Ensemble GiardinoDi Delizie. Around half of the sinfonias haveharpsichord in the continuo, and others areanchored by the historic organ where therecording was made, St Francis Church inTrevi, Italy. Its oldest pipes date from 1509.

The playing is very fine, full of verve andpanache. There’s a fine breadth of phrase asthe music is given time to breathe, and the ebband flow in rapid passagework is nimble andvaried. Graceful dancelike sections alternatewith fluid fugues (a hallmark of the Roman tra-dition), and in two of the sinfonias there’s anindication in the score that if the playerswish—and are up to the challenge—they

should insert an improvisatory sectionbetween the first and second movements.

C MOORE

COOKE: Oboe Pieces; 2-Piano SonataMelinda Maxwell, ob; Harvey Davies, HelenDavies, p; Sarah Ewins, v; Susie Meszaros, va;Heather Bills, vc—MPR 108—76 minutes

The British composer Arnold Cooke (1906-2005) may not have the name recognition ofhis contemporary Benjamin Britten; yet heremains an important figure in 20th CenturyEnglish music. He studied at Cambridge withEdward Joseph Dent (1876-1957) and in Berlinwith Paul Hindemith (1895-1963); and in 1938,after five years as a professor at the Royal Man-chester College of Music, he moved to Londonto further his career as a composer andteacher. During World War II he served as anofficer in the Royal Navy, and in 1947 heobtained his doctorate from Cambridge andan appointment as composition professor atTrinity College in London. He retired fromTrinity College in 1978; and he wrote musicuntil he suffered a stroke in 1993.

Cooke’s catalog includes one ballet, twooperas, keyboard music, vocal and choralworks, orchestral music, and a considerablevolume of chamber music. His music com-bines the sweet lyricism of English nationalismwith the intricate counterpoint of Germanpractice. This British project encompasses ahalf-century of his library, from the Sonata forTwo Pianos (1937) to the Intermezzo for Oboeand Piano (1987). In between appears theOboe Sonata (1957), written for LeonGoossens (1897-1988); the Sonata for Oboeand Cembalo (1962), written for the just asrenowned Evelyn Rothwell (1911-2008); andthe Oboe Quartet (1948), written in responseto a commission from Cambridge musicpatron Lys Hackforth and premiered byGoossens and the Mary Carter String Trio.

Maxwell has a pleasant sound and goodfingers; and her declamations at the peaks ofthe musical landscape are heartfelt. Yet heroverall timbre is dry and sometimes chirpy,her legato is a little wobbly, and her renditionscan be rather plain. Harvey Davies is a terrificcollaborator in the sonatas, offering a beautifultouch, excellent technique, and keen artisticinstinct and delivery. In the Sonata for TwoPianos, he joins his mother Helen Davies for amesmerzing keyboard duet that sounds likeone mind. The string trio in the Oboe Quartetdiffers a bit on sonic philosophy—the violin


and viola are gossamer and the cello is rich—but on the whole the reading is effective.

HANUDEL

COUPERIN, A-L: Harpsichord PiecesChristophe Rousset—Aparte 236 [2CD] 101 min

It’s good in isolation, but not great againsttough competition.

Armand-Louis Couperin (1727-89) was anephew of Francois Couperin. In his early 20she published this single book of harpsichordpieces in Paris (1751). Half of the pieces are ineither G major or minor, and the other half arein B-flat major or minor (an especiallypoignant key). The music is enchanting.

Rousset brings his usual technical polishand straightforward powerful drive throughthe given notes and rhythms. The virility ofthis interpretation is sure to please listenerswho like such high energy, along with all thenotated repeats. He is better at the fast musicthan the slow. L’Affligee and Les Tendres Sen-timens could have had more delicate simplici-ty or more intensity.

The recorded sound is excellent. Theinstrument is a Paris original by J-C Goujon,from the first half of the 18th Century. J-J Swa-nen enlarged it in 1784.

In the available older recordings, everyoneelse has trimmed some repeats to get themusic onto a single disc. Some of the piecesare probably too long with the repeats, any-way, going through the same emotional jour-neys twice.

I concur with Rob Haskins (Mar/Apr 2014)that Charlotte Mattax Moersch’s disc for Cen-taur has been among the best available. Shebrings more characterization and more rhyth-mic nuances to the music than Rousset does.She omitted the four pieces of Les Nations atthe end of the book.

Jennifer Paul (Sept/Oct 1994) included allthe pieces. Her performances have gentlegrace and a pliant tempo rubato that I findvery attractive as a contrast to Rousset’s hard-er-edged drive. She lets the music flow easily,where Moersch takes a more cerebralapproach to bring out details. The tempera-ment on her harpsichord is more moderate,too. Paul’s wistful interpretation of La Gregoireis exquisite.

Like Paul, Jean-Patrice Brosse (Pierre Ver-any 700026, 2001, not reviewed) included allthe pieces. He has more rhythmic drive thanRousset, and his 1774 Kroll harpsichord has aspecial tone in the bass. It’s exhilarating. Some

of the bass notes develop a distorted buzz ashe plays them vigorously, especially noticeablein L’Intrepide and L’Arlequine. His recordingis apparently deleted, but used copies occa-sionally become available.

From 2004 (Nov/Dec 2005), Sophie Yates’srhythmic profiles sound stodgy and prim nextto the imaginative characterizations by theseother players. Her touch is deftly controlled,but her interpretations don’t engage my emo-tions. She omitted Les Nations. Gustav Leon-hardt in 1987 made a Philips recording that isterrific, but it includes only three of this com-poser’s pieces: L’intrepide, the Rondeau, andL’arlequine . Dorota Cybulska-Amsler(July/Aug 2020) included four selections ingood performances, but that recording isspoiled by intonation problems.

Rousset’s set costs more than twice asmuch as either of the single CDs by Moerschor Paul. Although it is perfectly played techni-cally, and in excellent sound with all therepeats, I can’t prefer it. The competition hereis that strong. The way out of this problem is toget as many of these as you can to hear thevastly different interpretations.

LEHMAN

CRAMER: Piano Concertos 1, 3, 6Howard Shelley, London Mozart Players

Hyperion 68302—78 minutes

This completes Shelley’s Cramer Piano Con-certo Series. Like the earlier issues (the firstwas on Chandos), this one is superbly craftedand rewarding. Cramer could rightfully be saidto fill the gap between classical and romantic,though there is a tendency to look backwardsrather than forward.

Readers weaned on some of the compos-er’s technically aimed pieces will be pleased tofind that there is nothing pedantic about anyof these concertos. To the discriminating lis-tener they will be an absolute delight, withflashes of Mozart’s influence appearing quiteoften. While no one would claim that Cramerwas the equal of mature Mozart, the man cer-tainly had taste, as well as the talent to absorbthe best from the music world of his time.

Shelley continues to be an excellent guideto this world, and the London Mozart Playerscould not be bettered. The Steinway piano iswell reproduced, and Jeremy Dibble’s notesare a model of their kind. Do not miss thisone—or the earlier ones, for that matter.

BECKER


DEBUSSY: Images II; Preludes II; Suite Bergamasque

Alessandra Ammara, pPiano Classics 10210—72 minutes

Ammara gives us a fresh take on Debussy, hit-ting all the right notes in these familiar pieces.In Suite Bergamasque, her interesting use ofthe damper pedal stands out—and also inImages. She aims for clarity of sound with ablossoming melody. I was also impressed andsurprised by her rendering of `Clair de Lune’. Iwas moved by her wide range and impeccabletiming. The pulsating rhythm in `Passepied’and immaculate control are enchanting. TheImages show that she has a brilliant technicalmind when it comes to sound. Her sound istransparent when needed, with a whimsicalbent. This approach may not work for othercomposers’ works, but it certainly works withimpressionists. Contender for 2021 Best of theYear.

KANG

DEBUSSY: 2 Arabesques; Claire de Lune; Images I; Ballade; Feux d’Artifice

with CHINESE MUSIC: Autumn Moon Over theCalm Lake; Dance of the Waterweeds; SpringDance; Colorful Clouds Chasing the Moon; LittleBamboo Raft; Liuyang River; Music at Sunset;Ode to the Yellow River

Sabrina Xiao He, p—Ivory 20190—71 minutes

It is surprising how well the Chinese pieces(composed 1959-1980) go with Debussy (1888-1913). The Chinese are well schooled in West-ern piano writing as exemplified by Debussy,and all of the works here have a certainimpressionist flavor along with a Lisztianvocabulary. All one has to do is listen toDebussy’s `Pagodas’ to know the French mas-ter was no stranger to elements of Orientalmusic. Still, the compositional expertisebetween a group of contemporary Chinesecomposers and Debussy is as different as nightand day.

Sabrina studied at the Sichuan Conserva-tory from age 13 and came to the US to earnher Bachelor’s, Master’s and PhD. A Chinese-US Cultural Exchange Ambassador, she isquite active in both China and the US (as wellas having a number of European credits). HerDebussy is great music played quite satisfacto-rily. Without any comparative performances,the Chinese pieces should be considered fairlypredictable music played very well. I am famil-iar with a number of pieces by Western com-

posers based on Chinese themes or styles. Theones that are closest to popular music (AbramChasins’s `Rush Hour in Hong Kong’ or thesoundtrack to the movie Mulan) most resem-ble the piano pieces here. The Debussy piecesgive you a good idea of the pianist’s abilities:sensitive, well-shaped phrases and a nice lega-to style that suits most of the works here.

HARRINGTON

DELLA JOIO: Trial at Rouen; Triumph of St Joan Symphony

Heather Buck (Joan), Stephen Powell (PierreCauchon), Luke Scott (Father Julien); BostonModern Orchestra Project/ Gil Rose

BMOP 1073 [2CD] 120 minutes

The story of Joan of Arc has been the sourcefor many theatrical works, a story of a youngwoman who believes God had called on her tohelp her people, wins victory for them, andthen is betrayed and turned over to the enemyto be mocked, humiliated, and finally execut-ed. In spite of immense, crushing pressure byher persecutors, Joan never wavers in her faith,going to her death certain that she was God’sservant and had acted as He commanded.

Norman Dello Joio composed in just aboutevery genre imaginable: chamber music,choral, ballet, opera, piano, symphonic—anddid it all very well. I remember singing hisoriginal choral music as well as any number ofhis arrangements in high school and college.He won a Pulitzer Prize in 1957 for his Medita-tions on Ecclesiastes for string orchestra. In histhorough notes, Robert Kirzinger tells us TheTrial at Rouen, set to the composer’s ownlibretto, originated as a television opera forNBC and aired in April 1956. Dello Joio laterrevised it for the stage and renamed it The Tri-umph of St Joan. That was given its stage pre-miere by the New York City Opera in 1959.

Perhaps if I saw the opera I would like itmore. This is not a “numbers” opera; every-thing flows from one scene to the next with lit-tle interruption. The music is tonal and attrac-tive, but the vocal lines never seem to go any-where, written as they are mostly in the middleof the voice. The text is clearly articulated overthe orchestra, yet the music and therefore thedrama never builds to any sort of climax. It allbegins to sound alarmingly the same, and en-nui sets in halfway through the central, lengthytrial scene. The final moments of the operadepicting St Joan’s execution do supply a smallmusical catharsis, but not enough to offset theblandness of the previous 90 minutes.


The singers on this recording are all excel-lent. Stephen Powell has sung leading roles atalmost all the major US opera houses, includ-ing a number of Met appearances back in the90s. He is in great demand for master classes.His rich baritone makes something ominousof Pierre Cauchon, though this is barely sug-gested by the music. Heather Buck sings Joan’splain lines with lovely tone. The composerdoesn’t give her any real vocal opportunities,but she conveys Joan’s faith and sincerity withgreat conviction. Luke Scott displays anotherwarm, beautiful baritone in his role of FatherJulien. Ryan Stoll is heard briefly as the lecher-ous jailor and is effective—though his evillaugh needs some work.

The chorus has more interesting music tosing than the soloists and is very good. GilRose and Boston Modern Project deservepraise for bringing this opera to a wider audi-ence. We are also given a performance of theTriumph of St Joan symphony, which I foundmore interesting than the opera.

Notes and complete texts in an elegant,beautifully illustrated booklet.

REYNOLDS

DEVIENNE: TriosLe Petit Trianon—Ricercar 416—72 minutes

French bassoonist, flutist, and composer Fran-cois Devienne (1759-1803) last appeared inthese pages in a collection of flute sonatasplayed on period instruments by Joanna Mars-den and Mark Edwards (July/Aug 2019). Herewe have his Opus 17: 4 & 5 for bassoon, violin,and cello published around 1782 and Opus 66:1-3 for flute, violin, and cello published in1783. They appeared amid a wealth of cham-ber music written in France by Pierre Vachon,Francois-Joseph Gossec, Giuseppe Cambini,and the Jadins.

Other sources have Opus 66 as a set ofquartets for flute and strings in A minor, Bminor, C, and D recorded by the Kuijkens onAccent or Naive (May/June 2005) and 1 & 3 byMusica Reale in Super Audio sound for Chan-nel (2015, not reviewed). The complete set ofsix trios for Opus 17 was recorded with Cana-dian bassoonist-composer Mathieu Lussier onATMA (S/O 2006). The Trio in G minor, Opus66:2 appeared on Eclectra with other trios byCarl Stamitz, Joseph Haydn, and Beethoven(Nov/Dec 1999: 251 and Jan/Feb 2000: 197). InJuly 2018 Brilliant released an album of sixtrios for flute, viola, and cello with flutist SaraLigas (Jan/Feb 2019); all are distinct from

these and date from the early 1780s. Three setsof trios are Opus 66. The earliest edition pub-lished in 1783 was a set of three in D, G minor,and C, which we have. The edition publishedaround 1795 was a set of three in G, D, and Dminor. Later there was published a set of sixaround 1798-1801 in G, G minor, C, D, F, andA—not composed of the two earlier sets. Likehis contemporary Pleyel, Devienne’s publica-tion history is complicated and his Americanbiographer William Montgomery sorted thisout as well as he could in 1975.

The Opus 17 trios have two movementsand the Opus 66 have three; repeats are taken.The writing differs between them. In the Opus17 trios, a bassoon solo line is mostly offset bythe violinist and cellist, who form a duet. TheOpus 66 trios have three lines that are moreindependent, with writing that offers plenty ofinterest, contrast, and imaginative exchange.The bass lines are always engaging rather thanperfunctory, perhaps since Devienne, assomeone who played a bass instrument, wasmore attuned than usual to the need for inter-est here. The outer movements of the Trio in Gminor end in F major.

The playing is entirely satisfactory and hasenough character to sound distinct from mod-ern instruments. The bowed instruments dosound “stringy” without coming across aspoorly played. The winds are capably com-manded through fairly difficult passages andalways with excellent phrasing. Though thereare only touches of vibrato from the violinist, Ifound the playing expressive. Alterations to therhythm on occasion add further variety. If youare willing to accept the essential qualities ofperiod instruments, you ought to enjoy this.

The name of the ensemble comes out ofFrench history. Between 1663 and 65, LouisXIV purchased the hamlet Trianon just outsideVersailles. A chateau called the Marble Tri-anon was built in a park. Between 1758 and 68,Louis XV had a smaller neoclassical chateaubuilt called the Small or Petit Trianon. Fromthen on, the original building would be calledthe Large or Grand Trianon. Olivier Riehl playsa flute after maker August Grenser (1720-1807)of Dresden copied in African blackwood;Xavier Marquis plays a modern copy of a bas-soon by Paris Prudent Thieriot (1732-86);Amandine Solano plays a violin made byAegidius Klotz in 1777, and Cyril Poulet plays acello by an unknown Eastern European makerfrom the late 18th Century.

GORMAN


DICKINSON: Violin Sonata; Quartets 1+2; 4 Violin Solos; 2 Pieces

Peter Sheppard Skaerved; Roderick Chadwick, p;Kreutzer Quartet—Toccata 538—71 minutes

Peter Dickinson, born in 1934, has apparentlyled both a calm life and an interesting one.Apart from a few years in America (as a gradu-ate student at The Juilliard School), he haslived in the UK, serving for a while as hismezzo-soprano sister’s accompanist, teachingat various universities, writing books on music(Barber, Copland, Lennox Berkeley, Billy May-erl), and composing when he liked. The lastwork here says “revised 2018”.

Most of the music here, though, is earlier,much of it from the Juilliard years of 1958-61and some earlier even than that. The 1950swere a rather rough time to be a composer,especially in the United States. It’s no greatsurprise that Dickinson both wrote some pret-ty thorny music at that time and simultane-ously began studying the composers, like Bar-ber and Copland, who didn’t.

There are three biggish pieces here, andmany smaller ones. The 1961 Violin Sonata,almost the last product of his stay at Juilliard, isan example of Dickinson at his knottiest: aquasi-serial composition, with `Greensleeves’(notes octave-displaced in the violin part) asthe central movement and a finale that beginsby running up against a wall at ever-tighterdistances until the violinist crashes through.The movements are titled: 1. Fast; 2. Slow; 3.Fast. Geddit? Oh, they must’ve loved this fel-low at J-school.

The First Quartet of 1958 appears to havebeen greeted as “over-modernistic” by NewYork critics (!) on its first professional perform-ance there. It seems only middling-gnarly tome, though it is the only quartet I’ve heard todate with actual runs of notes in upbow stac-cato in the first violin part. (Correction: Theonly quartet I’ve heard do so that wasn’t anarrangement of “Hora staccato” or some such;I mean original music for the medium. Myhusband reminds me that the MendelssohnOctet’s Scherzo does this. I don’t think it’squite the same.)

The Second Quartet (1976), meanwhile,falls into the realm of thought-experiment. Aquartet is playing something or other, veryslowly and quietly, while from time to time a(taped) fragment of a piano rag breaks in.Gradually it becomes apparent that what thequartet is playing is just parts of the rag, mas-sively slowed down and de-rhythmicized. The

interruptions from the tape become more andmore frequent; the quartet players start toshow signs of disgust, the cello suddenlythumping to a halt, and so forth. The pianointerruptions keep increasing; the distress inthe quartet keeps growing. Formerly strictly-tonal harmonies start to curdle, then growentirely rancid. Finally the rag breaks forthentire, and the players try to keep up with it,only to remain (as the composer puts it) “com-ically out of synchronization”. As Dickinsoncontinues: “This confrontation superimposesone of the most polished forms of blackmusic—ragtime—with Europe’s most sophisti-cated development in chamber music—thestring quartet.” That it is: a deliberately blurredsimulacrum of racial “harmony”.

The little pieces are mainly for violin solo,four works spanning 1955-59. Two were origi-nally for flute. The other two pieces, withpiano, are in great contrast to the sonataabove. One is a song to be sung by a young girlas hunters try to trap a unicorn in an unfin-ished opera of Dickinson’s; the other is an out-take from Dickinson’s Violin Concerto, writtenin memory of violinist Ralph Holmes. It’s theopening of Beethoven’s Spring Sonata, onlyreimagined as a 30s pop tune.

THOMSON

DUPONT: Songs Rachel Joselson, s; Bo Ties, p


Gabriel Dupont was a promising student ofWidor’s whose life was cut short by tuberculo-sis; he died in 1914 at age 36. Even in his lastdecade when he was perpetually at death’sdoor, he continued writing. Most of the songs,even the ones written before his illness, areimbued with melancholy. They are all wellcrafted but lack the inspiration and charm ofHahn and Fauré, or of the brilliant work of thelittle-known Auguste Descarries that Ireviewed recently (ATMA 2799, Sept/Oct2020).

Joselson has a pleasing voice that is strongover her entire range, but her interpretationsare fairly straightforward; it wouldn’t hurt toimport more personality into the songs. Thedistant acoustic tends to blur her consonants,but texts and English translations are includ-ed.

ESTEP


DVORAK: Cello Concerto & Pieces; Silent Woods

Kian Soltani; Berlin Staatskapelle/ Daniel Baren-boim—DG 483 6090—62 minutes

Cello Concertowith TCHAIKOVSKY: Rococo Variations (origi-nal)Sandra Lied Haga; Svetlanov Symphony/ TerjeMikkelsen—Simax 1363—62 minutes

The trouble with the Dvorak concerto (ifindeed this is a problem) is its position at thetop of Cello Mountain with few competitors(Elgar perhaps?). Every cellist who can get theinstrument out of the case and tuned up thinksabout recording it. We, then, have to chooseamong Casals, Rostropovich, Ma, Harrell,Rose, Piatigorsky—and the list goes on.

Now we have two more from young cel-lists, both still in their 20s. Kian Soltani wasborn in Austria to a family of Persian musi-cians; he now holds Austrian citizenship. Hecame up through the ranks as first cellist withthe West-Eastern Divan Orchestra underBarenboim’s leadership, but now he is (Covidpermitting) appearing with orchestras aroundthe world. Immediately apparent is his gor-geous sound, particularly on the A string. Thewarmth of his playing is matched by completetechnical security that conquers any difficul-ties in the concerto. He is aided by the fineplaying of the Berlin orchestra and terrificsound from DG. The program is filled out byfive short Dvorak pieces, arranged (three bySoltani himself ) for solo cello and a celloensemble—members of the orchestra. Thesepieces, all lush and romantic, are simply love-ly, and one (‘Lasst mich allein’) is the song thatis worked into the slow movement of the con-certo.

Even younger than Soltani is NorwegianSandra Lied Haga, who was born in 1994. Shetoo is a fine player with the likelihood of agreat future ahead of her. She plays the Dvorakat tempos almost identical to Soltani, but hersound is more “stringy”—one might say morenasal—and the Russian orchestra isn’t at thelevel of the Berlin Staatskapelle. This is cer-tainly a worthy performance, but not at thelevel of Soltani’s. Her companion piece,though, is the wonderful Rococo Variations,which she plays with great feeling and securi-ty; and it’s the original version, not heard until1941 nor published until 2004. (I also note shestudied for six years with Truls Mork, whomade a well-regarded recording of the Varia-

tions with the Oslo Philharmonic and MarissJansons.) The Tchaikovsky has many moreopportunities for virtuosic display than theDvorak, and I confess I enjoyed Haga’s RococoVariations more than her Dvorak.

In the Dvorak I would put Soltani in theselect company of Casals, Rostropovich (withGiulini), Ma (with Masur), and, to pick some-thing more recent, Zuill Bailey. Haga’s Dvorakis less impressive, but the original version ofthe Rococo Variations would make this a rea-sonable choice as well.

ALTHOUSE

DVORAK: Symphony 7; Serenades; Slavonic Dances;

BRAHMS: Hungarian DancesHamburg Radio/ Hans Schmidt-Isserstedt

Decca Eloquence [2CD] 4840365 132 minutes

A while back I reviewed an Eloquence reissueof a performance led by Hans Schmidt-Isserst-edt where I somewhat praised the perform-ance but thought the sound negated the pointof reissuing it. There is an echo of that in playhere. The monaural sound for the Dvoraksymphony, Slavonic Dances, and the Brahmswill not win any rewards; but the performanc-es are excellent and in the spirit of all theworks, so they will do nicely for Schmidt-Isser-stedt fans.

The conductor and his German orchestraproduce a Dvorak Seventh that would doCzech performers proud. I is energetic andbrilliant. II moves along well, but still managesto probe along the way. The opening clarinetsolo is beautifully phrased, and the wood-winds produce just the right sound. III is vigor-ous—perhaps a touch too much—and the trioexhibits plenty of warmth. The finale is strongand nicely set in the Czech tradition.

The four Slavonic Dances (3 from Op. 48and 1 from Op. 72) go well with the symphonyperformances. I found the Slavonic Dancesboring if I listened to too many in one sittinguntil I heard the infectious complete set led byJiri Starek. From the evidence here, a Dorati setmight have been interesting, too. The soundfor the works covered so far is harsh enough inthe violins to be bothersome. The performanc-es are still enjoyable, but they should not beyour only recordings of these pieces. TheBrahms fares best in the sound departmentbecause it does not often soar into the highviolin range. The Dvorak serenades are fineperformances in decent stereo. What thisamounts to is another mixed-quality Elo-


quence that is hardly a must, but should bewelcomed by enthusiasts for the conductor.

HECHT

ELGAR: Cello Concerto; VAUGHAN WILLIAMS: Dark PastoralDai Miyata; BBC Scottish Symphony/ ThomasDausgaard—MDG 6502181—40 minutes

Japanese cellist Dai Miyata, who turns 35 thisyear, is in way over his head interpretively inElgar’s Cello Concerto. The introductions to I,II, and IV are ponderous. He doesn’t give realsweep to portamentos. He doesn’t grasp theform of II or give full voice to the climaxes. Hetreats III as if it’s tender and dainty rather thanextravagantly passionate (or am I too weddedto Jacqueline Du Pré with John Barbirolli andthe London Symphony?). In the finale he andThomas Dausgaard can’t settle on a tempo,and after three minutes the pair simply lacksintensity. Nor does Dausgaard draw out theinner voices of the orchestra. In fact, his tempochanges in the entire concerto relate so poorlythat there’s no natural flow that unites thefour-movements-in-one work.

What’s listed as Vaughan Williams’s DarkPastoral is really David Matthews taking mate-rial from what Vaughan Williams intended asthe second movement of a cello concerto hestarted writing for Pablo Casals in 1942 (andnever completed) and adding his own fillerand orchestration. Matthews admits that thepiece is about one-third Vaughan Williamsand two-third him. (I’d make it even more.)The motifs are so sparce and so repeated thatthere’s practically no substance to the 11 min-utes, and the orchestration doesn’t remind meof Vaughan Williams at all. To use this as fillerfor a 29-minute concerto is no reward at all.

FRENCH

ELGAR: Falstaff; Sea PicturesElina Garanca, mz; Staatskapelle Berlin/ DanielBarenboim—Decca 4850968—59 minute

Sea Pictures, Edward Elgar’s only song cycle, isbased on five poems, one by his wife, Alice. Hewrote it for alto Clara Butt, whose wide vocalrange allowed for a tessitura that was low for amezzo and high for an alto. The only docu-ments I know of her work with the piece aretwo recordings of `Where Corals Lie’ from1912 and 1916. The first complete one I knowof was with Leila Megane under Elgar’s batonin sessions from 1922 and 1923. Maria Brun-skill followed in 1925, and Gladys Ripley in tworecordings from 1946 and 1954. Those singers

were altos, and their performances are worthhaving, especially Ripley’s, which are in goodsound. Most recordings from the stereo erahave been made by mezzos. The best is JanetBaker’s first one, with Barbirolli (preferable toher remake with Vernon Handley). Other goodones are Della Jones for her rendering of thetext delivered in a small voice that adapts wellto the piece, and Brigitta Svenden’s lyrical andflowing one. Among later recordings that Ihave sampled are good ones by mezzos SarahConnelly with Simon Wright (M/J 2007) andKathryn Rudge with Vasily Petrenko (N/D2020).

This is Daniel Barenboim’s second record-ing of the work after a decent one from the LPera with mezzo (some say alto) Yvonne Min-ton. His present soloist, Latvian mezzo ElinaGaranca, is generally associated with lighterroles such as in Mozart and Rossini operas andOctavian in Strauss’s Rosenkavalier. She hasalso taken on heavier roles like Delilah in theSaint-Saens opera, Eboli in Don Carlo, and thetitle role in Bizet’s Carmen. She has sung at theMetropolitan Opera and appears often at theVienna Opera. I have enjoyed her Mozart andloved her performance of Wagner’sWesendonck Lieder from this year’s SalzburgFestival. Her new Sea Pictures makes her oneof the few non-native English speakers torecord it, and it is a very different interpreta-tion from the British singers mentioned above.Her tone is rich, full, and burnished. The resultis lyrical, warm, and subtle, sung in some waysas if this were Strauss’s Four Last Songs. Hermezzo is somewhat bright in color and light inweight. The high register is strong and creamy,and the voice projects well enough below thestaff to produce decent low Gs in `Sea SlumberSong’. Her fastish vibrato is noticeable but nottoo much. She sings with wonderful flow andsensitivity. She does not project the Englishtext as clearly or as dramatically as Britishsingers do, but it is comprehensible. Baren-boim’s tempos are fast. His interpretationmatches the singer’s style, and the orchestraplays beautifully with a lighter color thanusual. Baker and Barbirolli are slower, darker,weightier, and employ much more rubato.Baker is also closer to an alto than Garanca is.If the latter sings with more flow, Baker caress-es notes expressively while keeping thingsmoving. Ripley (my second favorite afterBaker) and the other British singers lie inbetween but lean toward Baker. Great as Bakerand Ripley are, there is something hypnoticand addictive about Garanca’s performance.


Many Elgarians deem Falstaff the compos-er’s best orchestral piece. It is unique amonghis output, and I wonder how many peoplewould recognize it as Elgar at a first hearing.The composer called it a “symphonic study”,but it is a work of remarkable descriptive pow-ers, perhaps even more than Enigma Varia-tions, though not every conductor approachesit that way. Two of my favorites, Barbirolli andBoult, take a symphonic view. Solti takes thedescriptive approach one better and treats italmost as a comedy. Andrew Davis’s secondrecording, on Teldec, is symphonic; but hisrecent effort for Chandos, and one of the best,is dramatic.

This Falstaff is also a second recording forBarenboim, who falls firmly in the descriptivecamp with a reading that is lively, light in tex-ture, and deft in movement. True, the openingis somewhat lacking in vigor and a little heavyon downbeats, but `Eastcheap’ picks things upwith added spark and a nice singing quality.`Boar’s Head’ maintains that approach withsneaky but high-spirited caper music. Thefamous bassoon solos are expressive but couldbe more boastful. The solo work in `DreamInterlude’ is excellent in the winds, sad in thesolo violin, and beautifully wistful. `Falstaff ’sMarch’ is a nicely descriptive wake-up, fol-lowed by bustling, jaunty, and lively battlemusic. `Return’ is wistful, and the exchangesin `Interlude’ between the winds and coveredstring chords are very well done. `New King’ isurgent and hurried in a good way. `Progress’produces some real pomp and virtuosicorchestra playing, with Falstaff’s death sad andsympathetic. This is a fine performance of itskind, though I still prefer Boult, Barbirolli, andDavis’s last one in no particular order.

It is generally assumed that Elgar does nottravel well outside the British Isles, but theStaatskapelle Berlin sounds comfortable withhis music, lending it a suave, slightly darkcolor. It does not hurt that they are playingunder a devoted and experienced Elgar con-ductor. The sound is excellent. Anthony Bur-ton’s notes are thorough for Falstaff, adequatefor Sea Pictures, and include song texts in Eng-lish, German, and French. What they do notinclude is biographical information about Gar-anca. I do not recall Barenboim’s earlierrecordings of these pieces.

HECHT

ELGAR: Cockaigne Overture; Introduction& Allegro; Violin ConcertoYehudi Menuhin, v; NBC Symphony/ MalcolmSargent, Arturo Toscanini

Somm 5008—70 minutes

This is Volume II in a series of remastered1940s Elgar performances from the US. Mal-colm Sargent leads the overture and concerto,Arturo Toscanini the Introduction and Allegro.

The performances are competent; the NBCOrchestra strings especially play with theexcellent ensemble and dexterity this musicdemands. Menuhin, of course had played theconcerto as a teen with Elgar conducting. Hewas 29 for this performance and plays themusic with assurance and elegant phrasing.There is a small cut in II and a longer one inIII. Done for commercial, not artistic reasons,these shave about eight minutes off the playingtime. They were all recorded in NBC Studio8H, aka the Acoustic Dead Zone Of The Ameri-cas. The listener must make some sacrifices. Inthe Cockaigne, the bass drum accents towardsthe end lack depth. People will buy thisrecording primarily for its historical value. Thesound has the immediacy of radio broadcasts Iremember pleasurably from childhood.

O’CONNOR

FAURE: 13 BarcarollesNamji Kim, p—Centaur 3820 — 53 minutes

Kim offers solid interpretations, if a bit limitedin range. In the first Barcarolle, her melodicsound can be a bit thin sometimes, especiallyin cantabile sections and the sostenuto sec-tion. When she blossoms into forte dynamics,she could have a fuller sound. She is muchbetter in the second Barcarolle in terms ofcolor and texture. Barcarolle 3 requires a bitmore imagination to come alive, and could bemore playful especially in its key changes.Everything sounds a bit too much the same.Barcarolle 13 is well played, but again showslimited range, especially in the melody. Thereis no sudden drop of sound or large increase ofsound in moments that need more build upand dramatic energy.

KANG

FELDMAN: Coptic Light; String Quartet & Orchestra

Arditti Quartet ; Vienna Radio Symphony/Michael Boder, Emilio Pomarico

Capriccio 5378—53 minutes

Coptic Light, Feldman’s final work, is quite dif-


Justice follows the pursuit of truth better thantruth follows the struggle for justice.

ferent from his pianissimo chamber pieces.The orchestral fabric—the work was inspiredby Coptic textile art—is fairly thick, with thedifferent instruments slowly weaving in andout of each other. The entire ensemblebreathes slowly, or perhaps laps at the shorelike a quiet lake. But the lake is in some alienworld, and the atmosphere breathed is not ofearth. There is always a feeling of foreboding,as if the listener is trespassing. In the last fewminutes, the anxiety comes even more to thefore with pointed yet bated warnings from thebrass.

Michael Tilson Thomas’s recording (Argo448513, Nov/Dec 1999) is slower paced: 29:50instead of 27:26. It breathes more naturallyand has more subtlety. Boder’s is more overtlyagitated from the start, lessening the contrastat the end. Some things appear more clearly,though, including eerie low stirrings in thefinal few bars.

String Quartet and Orchestra shares manyof the same lugubrious tone clusters but ismore static, hovering rather than washing overyou in gray waves. Although this is still notmusic for the impatient, the ideas changemore often; the writing is more pointillistic.And are those microtones or approximateintonation? The performances are fine other-wise. Feldman’s chamber music appeals to memore, but I’m glad I’ve heard this.

ESTEP

FISCHER: Violin & Viola;HASSLER: My Mood Is Confused

Antoinette Lohmann, v, va; Furor Musicus; FurorAgraricus—Globe 5274—65 minutes

This is one of the most unusual releases I havehad to review. Furor Musicus and Furor Agrar-icus specialize in baroque music and play onperiod string instruments with harpsichord.What is interesting is that on the two tracksthat include the aptly named Furor Agraricusare instruments of the type used by peasantmusicians. These instruments are so low-classthat they are generally ignored by old-musicspecialists. One of these is a fiddle made froma wooden shoe! Another is the bumbass,which is a bass violin made from a large box,though it can also be made from a broomstickwith an inflated pig’s bladder attached as theresonator. The kistegitarre is a guitar alsomade from a box. Of these peasant instru-ments, the hurdy-gurdy has the most sophisti-cated, complex construction. They can beheard on two tracks: The Difference Between a

Proper Violinist and a Peasant Fiddler and Pal-ace and Peasant Violinist Prepare to Play andDance a Ballet by Johann Fischer (1646-1716).These are humorous works, and they have allsorts of rude noises added that would never beheard in a concert hall—perhaps to representfarm animals. The refinement of the violin isdelightfully contrasted with the bold coarse-ness of the wooden shoe fiddle! Fischer wasthe spiritual ancestor of PDQ Bach! These twoworks are the real reasons to get this. I justwish that the booklet gave more detailed notesand photos of the instruments. Good sound.

MAGIL

FREDERICK THE GREAT: Flute Sonatas;DE MARCHI: Preludes & Variations

Claudia Stein; Andreas Greger, vc; Alessandro DeMarchi, p—Naxos 574250—78 minutes

About half of these selections are unpublishedor recorded for the first time, including threeof the six sonatas. Check our Index for otherrecordings of music by Frederick, his courtflutist Johann Quantz, their accompanist CPEBach, and the court’s director of music CarlGraun. Three military marches by the kingappear on a 1994 collection from Capriccio.There was also a 10-disc set, Music of OldCities and Royal Courts on EMI, covering Ger-man-speaking Europe in the 18th Century. Ithas the only recording of a Symphony 3 in Dfrom 1742. Similar collections came to us onChandos 541 (Jan/Feb 1994: 174) and Harmo-nia Mundi 902132 (July/Aug 2012: 261); aflute-guitar program on Meridian 84558 wasnot reviewed.

The notes by Detlef Giese of the BerlinOpera point out that “almost his entire life’swork dates from before the Seven Years’ War in1756, which brought Prussia and its ruler tothe verge of ruin...”

Claudia Stein plays a modern flute, andAlessandro De Marchi plays a fortepiano thatis a replica of the king’s Gottfried Silbermanninstrument. The preludes and set of variationscome from our keyboard player; one preludeby Friedrich Marpurg is added as well. Thefirst De Marchi prelude we hear is for soloflute. The second is for cello.

A considerable range of tempos and idealbalances among the three performers set anyfurther judgements on a favorable basis. Sincethe flutist is at the center of musical activity,she carries the program. “Inflected” is theword I’m going to choose to represent anapproach to musical interpretation that is fun-


damentally rhetorical or conversational. Thisis not “historically-informed performance”.This approach is based on smoothness of lineand evenness among notes. It is never insensi-tive but could be called conservative. Thevibrato varies from gentle to strong, andalthough I never object to what I hear, I wouldcharacterize it overall as dated from our stand-point. I think you would like this if you had,say, a recording of Bach sonatas by a moderninstrument player such as David Shostac(July/Aug 2001) or Laurel Zucker (Mar/Apr2002). Her sound is just not consistently aslovely as Shostac’s. However accomplished herplaying might be, sometimes it is ungraceful,even brusque.

After Frederick died, Graun’s successor,Johann Reichardt (1752-1814), set a Latin textbased on one of Horace’s odes (What man orhero—Quem virum aut heroa) by recently-married court chamberlain Marquis GirolamoLucchesini, spelled Luckesini when the workwas published the next year. This funeral can-tata was published again in 1912, recorded in1983 and issued on LP.

In the late 1830s and early 1840s AdolfMenzel worked on 379 woodcut illustrationsfor Franz Kugler’s History of Frederick theGreat (1840-42). His later oil painting, “TheFlute Concert at Sans Souci” (1850-2),appeared on an ARG cover (Sept/Oct 2013).

GORMAN

FUCHS: Discover the Wild; Point of Tran-quility; From the Field to the Sky; Rush; UnitedArtists; Christina’s World; Forever FreeGreg Case, sax; US Coast Guard Band/ AdamWilliamson—Naxos 573567—59 minutes

Kenneth Fuchs, composition professor at theUniversity of Connecticut, has compiled a listof very good recordings by the London Sym-phony with JoAnn Faletta conducting. Here hiswind music is played by the US Coast GuardBand, and I must say that after hearing schoolband after school band—regardless of theircompetence—it is a pleasure to hear one at aprofessional level. When hearing new worksplayed by school bands, one doesn’t alwaysknow what one isn’t hearing, or what oneshould hear. With a band like this, we heareverything quite clearly. All of the musiciansare excellent, all instrumental sections worktogether beautifully, all contribute to a whole.

`Discover the Wild’ (2010) is a rambunc-tious overture, Point of Tranquility (2017)quite the opposite. The program includes

three concert-length fanfares: `From the Fieldto the Sky’ (2012), `United Artists’ (2008), and`Forever Free’ (2013).

The big pieces are Christina’s World (1997)and Rush (2012). The 14-minute Christina’sWorld—inspired by the Andrew Wyeth paint-ing—attempts to portray “her world of sea andpasture, of yearning for home, and a sense ofloss and fulfillment”. Here Fuchs’s ability todepict in sound a visual image and the ideas itbrings to mind is quite evident. At least it is inthe opening minutes, where breathy wood-winds seem to conjure the sight of the grassyhill. As for the bombastic sections, though, Idon’t know what they have to do with thepainting. I suppose that in the end, it is more apiece of music than a sonic portrayal of visualart.

Rush is a 2-movement, 15-minute concer-to for alto saxophone and band. Greg Case,one of the USAF Band’s co-principal saxo-phonists, is the soloist. The opening of I(`Evening’) begins almost inaudibly, Case’svery quiet note seeming to grow out of noth-ingness. The movement is entirely for wood-winds, harp, and quiet percussion. II (`Morn-ing’) begins almost like I, with a very quiet sax-ophone cadenza. There is a hint of blues, andthen the brass join in with energy. I greatlyenjoyed this fascinating work and the excellentperformance.

KILPATRICK

FUCHS: Violin Sonatas 1-3Hyejin Chung; Warren Lee, pNaxos 574213—86 minutes

Robert Fuchs (1847-1927) was a much-admired composer and teacher: a friend (andoccasional imitator) of Brahms, and mentor toa rather astounding bevy of later composersincluding Enesco, Mahler, Zemlinsky, andSibelius. He wrote in most genres—his stringserenades are tolerably well-known—butchamber music seems to have been his pri-mary line, a fine line if these three sonatas areanything to go by. (There are at least threemore where they came from, and Chung andLee plan to record them all.)

The first thing one notices in this music ishow easily it slips into and out of third-relatedkeys. The first sonata, in the unusual key of F-sharp minor, spends most of its time some-where else; in fact, there is almost as much F-sharp minor in the following D-major Sonataas in this one, because that work, too, con-stantly modulates to third-related keys. The


effect is at once startling and charming,because the utter naturalness of the movesmutes their ordinary shock value.

The slow movement of the First Sonata,like the other two in this set (these are allthree-movement works) is wistful and a littlesad; the finale brings a return to affirmation,though neither here nor anywhere else doesFuchs assert any mood with brute force.

Here as elsewhere, there are one or twointensely Brahmsian passages in the pianowriting, but for the most part the piano is thin-ner and more transparent that you’d expect ofBrahms. The violin writing is fairly low-key,avoiding the upper regions almost entirely andsticking to the lyrical middle, where it works tobest advantage.

The Second Sonata is the real charmer ofthe three, with a lovely slow movement and achipper finale that begins almost like a Kreislercharacter-piece, and ends—winningly andunexpectedly—very quietly with a last pizzica-to. The Third is rather different. Unlike theFirst, it tends to take its minor mode seriously,and so the first movement is tempestuous,even blustery. The slow movement is a set ofvariations—nominally in B-flat, but in fact themany third-related modulations in the initialtheme (replicated in each later variation)mean that, once again, the music is seldom inany one key for long. In the finale the bluster isback, but even that has a sort of rightnessabout it. There is nothing in any of this musicto suggest genuine disquiet.

Sibelius is quoted as describing Fuchsthus: “a clever orchestrator, professional to hisfingertips, and very happy as a composer”.Damning with faint praise, perhaps—and yet,an ideal hopelessly out of reach of most com-posers. How many, really, could you describeas “very happy”? Certainly not Sibelius him-self.

THOMSON

GALYNIN: Orchestral Suite; Scherzo; Aria; Quartets 1+2

Anastasia Latysheva, v ; Academy of RussianMusic/ Ivan Nikiforchin

Toccata 514—65 minutes

Here’s an album for the person who has every-thing. Music by Herman Galynin (1922-66), aRussian who led a troubled life: orphaned as achild, survived the war, battled schizophreniaor bipolar disorder from the early 1950s, anddied in an institution, yet composed lucidlywith a secure grasp of form.

Galynin also had a strong grasp of how towrite for strings, evident on this album. In the21-minute Suite (1949) Ivan Nikiforchinshapes I’s energized lines into expressivephrases of intensity and tenderness. Accentshave character. The Scherzo has the fleetnessof Mendelssohn and the playfulness ofShostakovich. The Intermezzo, almost a studyor etude with hypnotic repetition and a melan-choly emotion, is unexpectedly intense. TheFinale is almost obsessive as Nikiforchinexpands the strings (5-5-3-3-2) to their fullrange; it opens with tightly bound harmoniespromising a bright resolve.

The five-minute Scherzo (1966) and seven-minute Aria (1959), which open the album, arefor violin and string orchestra. It is immediate-ly clear that both the orchestra and concert-master Anastasia Latysheva are superbly tun-ed and perform with tight rhythm and ensem-ble. The forward motion in the Scherzo is pro-pulsive but never feels pushed. They also cap-ture the lovely melancholy in the clear harmo-nic movement of the Aria. The Scherzo was thelast piece the composer wrote. He never heardit performed, and this is its first recording.

The two string quartets are performed bythe orchestra’s principal players. Quartet 1 (21minutes) has four clear voices, whose tuningand ensemble are flawless. I hear echoes ofboth Shostakovich and Prokofieff in the music,yet Galynin combines all elements into hisown voice or style. It’s not the melodies or har-monies but the rhythms and gait that give I itsidentity. Following a short Vivace, the Andanteis a theme and variations with a difference. Ittakes work to be conscious of the evolvingtheme because, as voices enter, they becomewoven into a denser texture, as if the threadsare tightening. It’s a haunting trip. The Prestois motive, urgent, pressing, almost a chase,with a second theme that is more lyrical. Hereas elsewhere Galynin uses semi-fugal ways ofdeveloping and modulating the music.

Quartet 2 was written in 1956, after hisseries of hospitalizations began. It was firstperformed in his hospital ward. Each move-ment is about three minutes long. The Adagiohas tight, sweet harmonies. II is a galop. TheAndante has a lonely minor-key melody withan intense B section and uses motivic imita-tion. The Moderato finale has an accentedrhythmic melody. Both quartets are well writ-ten, and the players take no note for granted.

The engineering is warm and balanced.What I haven’t mentioned is that Ivan

Nikforchin is 25 years old, and his own lengthy


liner note shows a conductor with the intellec-tual prowess to research extensively a compos-er whose scores have been edited, corrected,and changed over the years to the point ofabuse. He founded the Academy’s orchestraand choir in 2016 at the age of 21. It performsmainly in the three halls of the Moscow Con-servatory and devotes itself to 20th- and 21st-Century Russian music. Concertmaster Laty-sheva is 22! I can’t wait to hear more fromthese precocious artists.

While this album is an all-Russian produc-tion, you could never tell that by the linernotes. Every word is in superb English, and thenotes give a thorough history of the composer,sensible analysis of each work, background onall the artists, and recording details. Bravo,Toccata!

FRENCH

GASSMANN: Opera AriasAnia Vegry, s; NDR Philharmonic/ David Stern


Florian Leopold Gassmann (1729-74) is one ofthose composers that most of us have heard of,but whose music is rarely played. Not much ofhis early life is documented, and some of thedetails are lost to time. According to BertHagels’s detailed notes, his early musical train-ing was from the local church choir director,who discovered his musical talent. Gassmannfled his hometown in order to avoid having tosubmit to his father’s dictate that he learn atrade. At some point, having heard that theseat of music was in Italy, he left his nativeland and traveled straight to Venice. Manyhardships later, in the carnival season of 1757he first came forward as a stage composer withthe opera seria Merope to a libretto by Aposto-lo Zeno. His success grew and for the next fiveyears an opera composed by him was staged inVenice, including another opera seria Catonein Utica—we have here three arias from it.Emperor Joseph II named him the successor toGeorg Reuter the Younger, the incumbentmusic director, who had died in March 1771.He had now climbed to the top in the hierar-chy of musical professions in the realm of theHapsburgs. He was not able to enjoy the postfor long; he died January 21, 1774 when he wasnot even 45 years old, following a travel acci-dent.

Most of these arias are from his operaseria, but a few are from opera buffe.Gassmann’s music is delightful: tuneful,expressive, and original in its treatment of the

orchestra, especially the woodwinds. Thecomposer follows the expected format ofopera in his time, yet always does so withattractive melodies, with the skillful use of theorchestra to underline the texts. Some of hisoperas must be extant; this made me want tohear one in its entirety. His music is not quiteon the level of Mozart or even the best ofSalieri, but it is certainly worth reviving.

Ania Vegry has a colorful soprano that sheuses with skill and obvious enjoyment. Sheeasily accommodates Gassmann’s sometimesintricate vocal writing. Gassmann requires noextremely high notes, but a skilled singer isneeded nonetheless. Vegry specializes inMozart heroines (Pamina, Ilia, Susanna, andServilia, to name a few), but she has also sungGretel, Annchen, Sophie, Gilda, and Cune-gonde in Bernstein’s Candide. If Gassmanndoesn’t really give her a chance to show off herhigh notes, she still has charm and musicality.David Stern leads the NDR Philharmoniceffectively. People who love music from thisperiod should acquire this, not only because ofthe performances, but because it gives a morecomplete picture of the musical milieu. Excel-lent sound, texts and translations.

REYNOLDS

GERSHWIN: Rhapsody in Blue; Americanin Paris: I Loves You Porgy; FascinatingRhythm; 3 Preludes; I Got RhythmShelly Berg Trio; Royal Philharmonic/ José Sere-brier—Decca 28889—77 minutes

Sign of the times: this is an album producedindependently and licensed to Decca andreleased as Decca Gold. Make no mistake: thisis a purely “pops” album. The Shelly Berg Trio(piano, bass, drums) inserts lounge-lizardmusic in Rhapsody in Blue at three differentplaces. Soloist Berg leans so heavily on thepedal that phrases end with veritable toneclusters. Serebrier’s smarmy interpretation ofAmerican in Paris end with a lady namedLedise singing `Home Blues’. She’s fine, but it’sjust someone’s cute idea to add it on. `I LovesYou Porgy’ blends into `My Man’s Gone Now’from Porgy and Bess as two vocalists alternatewith trumpeter Arturo Sandoval. The 3 Pre-ludes are in Serebrier’s “oh so cool” (that is,rhythmic) arrangement with a jazzy tilt. And in`I Got Rhythm’—a part rhythms, part lounge-lizard arrangement—Berg as piano soloistshows he’s not as good he is with the trio.

If it’s Gershwin with a “pops” tilt you wantin most of these works, nothing beats Earl


Wild, Arthur Fiedler, and the Boston Pops onRCA, and it comes with a terrific Concerto in F.

FRENCH

GINASTERA: Piano Pieces; see ALBENIZ

GIORDANI: 6 Cello Duos, op 18Charlie Rasmussen, Anton TenWolde


Tommaso Giordani (c1730-1806) spent mostof his professional life in Dublin, though hescooted off to London for a few years followingan accusation of plagiarism. These are cutetwo-movement duos for two cellos. Tim Stern-er Miller’s liner notes inform us that thesepieces are listed in various ways in differentsources, sometimes referred to as sonatas andpublished as Opus 18 in Paris and London butelsewhere as Opus 4. So watch out!

These are attractive, musically straightfor-ward, almost simplistic works that must makethe players smile as they do in their photo-graph. They are gracious to each other andblend well in their clear-cut recording. It’s a bitclose-up for comfort, but you can deal withthat.

D MOORE

GOLEMINOV: Quartet 4;see SHOSTAKOVICH

GORECKI: QuartetsMolinari Qt—ATMA 2802—57 minutes

These are Gorecki’s complete quartets (thereare 3). No. 1 (Already it is Dusk, 1988) openswith cosmic mystery and goes on to strenuousdance. Both sections are juxtaposed, endingwith quite meditation.

2 (Quasi una Fantasia, 1991) is in 4 move-ments. I is a plodding funeral march relievedby a Beethoven prayer; II’s march is moreinsistent and jagged, but still ends in thatprayer. III (Arioso) follows the same trajectory(march-prayer). Finally, IV’s dance is wild,with the final prayer resigned.

3 (Songs Are Sung) is by far the mostdemanding of the set. Most of it consists ofunrelenting slow music with little or no relief.Misery is the watchword consistently. Somemight say that this is a definitive sample of“too much of a muchness”, but it may be solacefor those seeking encouragement for depres-sion.

These are certainly the most importantworks of this kind since Shostakovich, andGorecki is every bit as individual as any 20thCentury master. The Molinari is a superb

group, competitive with the Kronos’s pioneer-ing work on Nonesuch. If you don’t have thatset, definitely get this one.

GIMBEL

GORTON: Ondine; see MESSIAEN

GRAZIOLI: Harpsichord Sonatas; Variations; Pastorale

Chiara Minali—Brilliant 95935 [2CD] 155 min

Giovanni Battista Grazioli (1746-1828) pub-lished these two sets of sonatas in Venice in1780. It’s the kind of keyboard music where apleasant phrase goes by, you know what thenext three consequent phrases will be, theyhappen, and by the end of the piece you’veforgotten everything that happened.

I don’t know of any competing recordings.This performance is probably adequate,unlikely to be challenged by a competitorsoon.

Minali says in her booklet essay that“Grazioli would appear to have been kindlyand sensitive, and in his compositions his styleis restrained, elegant, and far removed fromvirtuosic ostentation”. In other words, it’s pret-ty enough but not deeply interesting. She saysthat her project is “intended as an homage to acomposer who has been wrongly neglected”. Iwould suggest that this composer has beenneglected because his music doesn’t offer usenough to care about, beyond its moments ofpleasant euphony. This is no Haydn in therough.

All the sonatas are in three movements.There is a seven-minute set of dull formulaicvariations at the end. The only organ piece is asomnolent Christmassy pastorale that mean-ders for 11 minutes in parallel thirds andsixths.

Almost everything is in major keys. The lefthand usually has an uninspired series ofaccompanimental figures from broken triads.Minali sets impatient tempos with these, butthen she slows down temporarily wheneverthe right hand encounters difficulties withfaster notes.

The harpsichord is a modern copy of Ruck-ers from 1638. It sounds decent enough, butthe unisons are out of tune very often whenMinali couples the manuals together. Thattuning problem and her hasty tempos give animpression that this may have been a slapdashproject to get through everything in a rush.Despite the general thinness of the musicalcontent, I wanted to hear more relaxation and


grace in it, and more probing to differentiatethe pieces from one another.

LEHMAN

GUASTAVINO: SongsLetizia Calandra, s; Marcos Madrigal, p


Carlos Guastavino (1912-2000) was fromArgentina. His ability to match voice andpiano led to his being called “the Schubert ofthe Pampas”. He had his own approach tomusic—pretty much a romantic one. He didnot “experiment with sounds”. He simply wrote500 intimate pieces, often for voice andpiano—and they all sounded somewhat 19thCentury. Why not? He was the most importantsongwriter in Latin America while he wasalive, and he set the poems of all the greatwriters, from Pablo Neruda to Borges.

The notes claim, correctly, that “rarely inthis global age do we come across a dialogbetween language and interpretation as per-fect” as we have here. Even the sound seemsperfectly suited to these pieces. There is no“edge”; it is smooth and glowing.

VROON

HAGEN: Lament;ASHEIM: Muohta-Language of Snow; NORDHEIM: Aurora

Hans-Kristian Kjos Sorensen, Daniel Paulsen,Terje Viken, perc; Ensemble Allegria Strings; Nor-wegian Soloist’s Choir/ Grete Pedersen


This probably wound up on the wrong desk.Yes, it’s a choral release, which explains why Igot it. But with all the prepared electronics, fly-ing saucer noises, and general avoidance ofmelody and rhythm, the music should havebeen listened to by ears more attuned to thecontemporary idiom than mine. Ah, well.

The only work making direct use of a text isArne Nordheim’s Aurora, which is keyed toDante and elements of Psalm 139. Crafted forchoir, soloists, two percussionists, and pre-pared electronic sounds, it is the most colorfulwork of the program, bells and various combi-nations of vocal sounds hint at the luminousharmony of creation.

The least compelling work is Nils HenrikAsheim’s Muohta, which brings on a comple-ment of strings to accompany a wordless dou-ble-choir depicting 18 different types of snow-fall as spoken in the Sami language of the Arc-tic. If you’d care to meditate on The Languageof Snow—snow so deep it must be waded

through, snow that sticks to your clothes, snowwith ice between its layers, snow with indenta-tions caused by animals, and 14 other kinds—this exercise in musical meteorology is for you.

Lament is a 16-minute descent into thedark void of despair. A bit of EE Cummings in-spired it; but it is beyond words, with the choir,percussion, and a prepared recording creatingdisembodied voices coming together andmoving apart. Distant thunderclaps in Part IIgot my attention, which means I found La-ment more interesting than the Sami snow-storm. The notes are helpful and the sonics areimpressive.

GREENFIELD

HANDEL: AriasTeseo, Alcina, Giulio Cesare, AtalantaMargriet Buchberger, s; Il Giratempo

Perfect Noise 2004—51 minutes

“Proud queens, brave soldiers, and wickedwitches” proclaims the back of this package,giving us the theme of the recital. Handel cer-tainly loved his women and took them serious-ly, writing brilliant music, full of character, forthem. The notes tell us that Handel foundhimself in a sticky situation from 1726 to 1728because he had two rival prima donnas, Faust-ina Bordoni and Francesca Cuzzoni, undercontract, both of whom jealously guarded theirclaims of superiority over the other, havinglocked horns with each other on more thanone occasion. Handel did his best to makesure that both singers had sufficient displayopportunities and that neither felt upstaged bythe other.

We can never know today what either oneactually sounded like, but Margriet Buchber-ger stakes her own claims to this repertorywith a shining, silvery voice that can move likethe wind or break our hearts with plaintivesounds. The characters she interprets are verydifferent from each other: the ever seductiveCleopatra, the frighteningly vindictive Medea,the powerful, yet vulnerable Alcina, and so on.Somehow Handel manages to see to the heartof these women and gives us music of incredi-ble variety. Buchberger differentiates the char-acters through vocal color and ornamentationdesigned to match the woman she is portray-ing.

Il Giratempo is an outstanding periodorchestra that mirrors Buchberger’s singingand assists in her characterizations. The book-let offers provocative, sometime strange pho-tos of Buchberger in costume for the various


roles, though who each is supposed to be isnot made clear. One photo clearly has Buch-berger as Cleopatra with an asp between herfingers—though that part of the story happensyears after the events of Handel’s opera.

The sound is warm and clear. Texts andtranslations.

A treasurable disc!REYNOLDS

HANDEL: Concerti Grossi, op 3Berlin Academy/ Georg Kallweit

Pentatone 5186 776—54:11

It would seem that Handel’s Opus 3 concertosare the poorly served step-children among hisinstrumental works. Beginning with JohnWalsh’s first edition in 1734, which was poorlyproofread and included what was perhaps aspurious concerto (now labeled “4b”), theproblems were compounded even in therevised edition. In his review of an earlierrecording led by Lars Erik Mortensen of thisset (July/Aug 2012), Mr Barker supplied a con-cise overview of some earlier recordings,prefering five that I also still enjoy: John EliotGardiner (Erato 45981, 1981), Hans-MartinLinde (Jan/Feb 1996), Christopher Hogwood(originally Oiseau-Lyre, reissued on Avie, July/Aug 2006), Roy Goodman (Nov/Dec 1993),and Richard Egarr (May/June 2007). Compar-ing these recordings and some of the other dis-cussions of Opus 3, it is clear that there is nosingle version of these works. Many of the ear-lier recordings are performances based onlyon Walsh’s revised edition (Gardiner, Linde,and Egarr). Hogwood recorded a speculativeversion of the sixth concerto based on re-search into the watermarks on Handel’s origi-nal manuscripts. Goodman used that, too, andalso recorded concertos “4a” and “4b”. Both in-cluded the second movement of Concerto 6(with solo organ) as an appendix.

This new release, led by Georg Wallweit, isbasically a performance of the revised versionbut lacks drama, contrast, and, like Mortensen,interprets the quicker movements much toofast, especially in the organ solo of Concerto 6.Handel’s inventiveness in these works de-serves the full creative engagement of theirinterpreters.

BREWER

HANDEL: Italian Solo CantatasDitte Marie Braein, s; Marianne Beate Kielland,mz; Christian Kjos, hpsi—Simax 1365—61 min

Titled “Arcadian Affairs”, this new releaseincludes five cantatas for solo voice and bassocontinuo that Handel composed during hissojurn in Italy. Of the three soprano cantatas(`Nice, che fa? Che pensa?’, `Chi rapi la pace alcore?’, and `Lungi dal mio bel nume’) per-formed by Dite Marie Braein, only `Chi rapi lapace al core?’ has other available recordings(Nov/Dec 2001; July/Aug 2006). Braein’s voiceis somewhat covered, a little shrill in the upperregister, but it is clear and flexible in Handel’smelismas and assured in the chromatic pas-sages, making this a more effective recordingthan others. Two cantatas (`Fra pensieri quelpensiero’ and `Lucrezia’) are sung by mezzo-soprano Marianne Beate Kielland, whosevoice seems well suited to Handel’s vocal lines.`Fra pensieri quel pensiero’ has been recordedby countertenors Axel Kohler (Sept/Oct 2009)and Victor Jimenez Diaz (Columna 384, 2019),and altos Sonia Prini (Ludi musici 4, 2009) andMarie-Nicole Lemieux (Mar/Apr 2003), butKielland’s interpretation seems to more closelymatch Handel’s musical style. Prini’s recordingalso includes Handel’s `Lucrezia’ transposedto a lower pitch, as does Kielland. In Prini’sinterpretation some of the tempos are so slowthat she has to take extremely audible breathsat the ends of some phrases. Kielland’s pacingis much more natural.

The idea of this recording is shaped byChristian Kjos, who thinks that the solo can-tatas are more likely to have been performedby voice and harpsichord only. He has bothresearched and performed many of the solocantatas in order to develop accompanimentsthat are supportive of the voice but also incor-porate something like what Handel may haveimprovised. Compared to all the other record-ings, in every instance he has made intelligentmusical decisions that create performancesthat have more flexibility than when otherinstruments have been added to the harpsi-chord. Perhaps the greatest contrasts are withtwo performances of `Lucrezia’ by sopranosVeronique Gens (Sept/Oct 1999), who uses acontinuo “band” of four instrumentalists,while Marc Minkowski assembled a mini-orchestra of seven players and arranged extrainstrumental parts for Magdalena Kozena’srecording (Jan/Feb 2002). In both cases, theaddition of the extra instruments lessens the


Fear is more contagious than any otheremotion.

—RUTH ANSHEN, THE REALITY OF THE DEVIL

possibility for subtle variations of tempo andtexture (I imagine that Minkowski actually hadto conduct his group).

Much more than an academic exercise,this new release should be a model for how tointerpret the large repertoire of Handel’s solocantatas. In addition to an informative essay inthe booklet by Kjos, full texts and translationsare included.

BREWER

HANDEL: SamsonMatthew Newlin (Samson), Klara Ek (Delilah),Lawrence Zazzo (Micah), Luigi di Donato(Manoah & Harapha), Julie Roset (PhilistineWoman & Isrealite Woman), Maxime Melnik(Messenger & Philistine); Namur Chamber Choir;Millenium Orchestra/ Leonardo Garcia Alarcon

Ricercar 411 [2CD] 2:29

Handel’s Samson (1743) is a product of thecomposer’s ripe maturity. The work was a suc-cess in its day, with several revivals and revi-sions in his lifetime. There have been relativelyfew recordings, and most of them leave muchto be desired.

The was a concert performance July 4,2018 at the church of St Loup in Namur as partof the Namur Festival. There are 19 singers inthe choir and an orchestra of period instru-ments. There is no harpsichord in the contin-uo ensemble, but we have a cabinet organ anda rather assertive theorbo that introduces therecitatives with a bit of noodling. The oratoriois heavily cut, and many of the recitatives areabridged. The recording by Harry Christo-phers and The Sixteen (Coro 16008, first issuedin 1996 on Collins 7038) runs nearly an hourlonger at 3 hours and 25 minutes.

Some concert recordings are almost indis-tinguishable from good studio recordings, butnot so in this case. There is a great deal ofextraneous noise from standing and sitting,shuffling of pages, and movement on the plat-form. These sounds might not even be noticedby a member of the audience—perhaps noteven on a DVD—but here they are a seriousdistraction. Balance is not always ideal. Theinstruments have greater presence than thevoices; and if anything, it should be the otherway around.

The performance itself is highlyrespectable but not above reproach. Conduc-tor Leonardo Garcia Alarcon delivers a readingwith high energy, but in some places it is fran-tic and raucous. Tenor Matthew Newlin singsthe title role with purity and refinement.

Countertenor Lawrence Zazzo as Micah has atone that is too heady for this role. Bass Luigidi Donato has serious difficulty with Englishdiction in the double role of Samson’s fatherManoah and the Philistine warrior Harapha. Ifind his lyrical delivery of Manoah preferableto the vehemence of Harapha, where his toneis not always attractive. A pleasant surprise isthe clarity and virtuosity of soprano JulieRoset, who gives stunning performances of `YeMen of Gaza’ near the beginning of Act I and`Let the Bright Seraphim’ at the end of Act III.

Some years ago, John Barker, our quon-dam encyclopedic authority on this repertoryand recordings of it, wrote an overview of Han-del operas and oratorios (J/F 2003). He couldname “only six comprehensive recordings” ofSamson, and found most of them deeplyflawed. He expressed enthusiasm for a moderninstrument recording of 1978 with RaymondLeppard directing a stellar cast of Britishsoloists: Robert Tear, Janet Baker, Helen Watts,John Shirley-Quirk, Norma Burrows, FelicityLott, and Philip Langridge. It first appeared onLP from RCA and was later reissued on CD byErato. Mr Barker praised it for dramatic vitalityand lamented the fact that it was then nolonger available. A quick online search todayshows it currently available (second hand?).Barker respected the recording by Christo-phers but found it superficial and lacking indramatic vitality.

GATENS

HARTMANN,E: Piano Quintet; Quartets; Andante & Allegro

Elisabeth Zeuthen Schneider, Nicolas Dupont, v;Tony Nys, va; Justus Grimm, vc; Daniel Blumen-thal, p—Da Capo 8.226183—76 minutes

It has been a pleasure to make the acquain-tance of yet another neglected Dane—musicalhistory at a certain point appears to be full ofthem—but Emil Hartmann can honestly claim“unjust neglect”, if this release is anything to goby. Here is a solid hour and a quarter of veryfine chamber music, expertly played and near-ly flawless in design.

The obvious comparison point is FelixMendelssohn, and not just because Hartmannwas Niels Gade’s brother-in-law, though obvi-ously it doesn’t hurt. Hartmann seems espe-cially Mendelssohnian in the G-minor PianoQuintet, Op. 5, partly because the piano allowshim light touches his strings-alone writingdoesn’t seem to contemplate, but also becausecertain overt resemblances come to the fore.


The Scherzo shares its mien and even a goodbit of its thematic material with Mendelssohn’sFirst Piano Trio, while the finale has anepisode involving a chorale, just likeMendelssohn’s Second Trio. For that matter,the whole texture—flying keyboard, eagerlyassisting strings—is Mendelssohnian. All thesame, the keyboard can’t exactly dominate astring quartet as it can a violin-and-cello duo;the piece becomes a sort of mini-concerto, ora squaring-off between equal partners (orantagonists?). Here the texture is close toMendelssohn, which in piano-quintet termsmeans it’s a few decades out of date; Schu-mann and then Brahms had upended a genreformerly dominated by people like Boccherini.

The succeeding two string quartets contin-ue to waft Mendelssohn, with occasional over-tones of Schumann. Op. 14, in A minor, is thejollier of the two, if we can use that word indescribing a release consisting entirely ofmusic in the minor mode. Indeed, the flowand the general idea of the music suggestshappiness rather than melancholy, and theperformers follow suit. The following quartet,in C minor (Op. 37) hasn’t the same buoyancyand occasionally threatens to bog down.

There remains the Andante and Allegro inA minor, Op. 12, which is for violin and pianoand is just slightly too long. I like the piece, buttowards its end it does seem to become clottedwith technical difficulties that needn’t bethere.

All of these recordings are world pre-mieres, and it’s frankly astonishing how goodthey are. May we all have such people to watchover our legacies.

THOMSON

HARTY: SongsKathryn Rudge, mz; Christopher Glynn, p


Sir Hamilton Harty (1879-1941) was respectedas a pianist, composer, and conductor of theHallé Orchestra and the London Symphony.As a teenager before I knew anything abouthim I often heard his name on classical radiowhen recordings were broadcast of Handel’sWater Music or Fireworks Music “arranged byHamilton Harty”.

Although he is best known today as a com-poser of orchestral music, Harty was also a finesong composer. This release of 23 songs and 2piano pieces includes 17 world premiererecordings, 5 in new editions created fromoriginal manuscripts by Harty’s biographer

and music authority Jeremy Dibble of DurhamUniversity. Most of the texts are by Irish poets.The songs are new to me and sound a lot likeBritish parlor songs of Arthur Sullivan or oth-ers of that period. This seems to be the firstrecording devoted to Harty’s songs.

The songs show considerable variety.Some have a modal quality. Some are moredramatic, especially `Sea Wrack’, a ballad oftwo men at sea harvesting seaweed, one ofwhom accidentally dies; `To the Gods of Har-bour and Headland’ with its rousing pianowriting capturing a turbulent sea; and `TheLowlands of Holland’, Harty’s snappy setting ofa British folk-tune. Other songs are tender(such as `A Cradle Song’ and `Lullaby’). Oneof the finest songs, `The Stranger’s Grave’, is apensive and solemn reflection on mortality. Allare worth hearing for their romantic melody,chromatic inventiveness, and descriptivepiano writing.

Harty claimed that he transcribed `Adieu,Sweet Amaryllis’, the final song of the program,from “an old manuscript in the possession ofJohn Broadley, Esq. of Bristol” by John Dow-land. No such manuscript is known to exist,and Dibble concludes that Harty wrote boththe words and the music. The melody is in theDowland style, but the accompaniment is aharbinger of what Britten did in his “realiza-tions” of Purcell songs.

Kathryn Rudge has a warm and sumptu-ous voice and uses it exceedingly well whetherin the dramatic songs or the quieter ones, col-oring it effectively. Her voice brought to mindthe rich sound of Kathleen Ferrier. Her atten-tion to the text is exquisite. Her diction isimpeccable, especially her enunciation of con-sonants at the end of words. Texts are includedbut they’re hardly necessary. It would help tohave some of the Irish texts footnoted toexplain words and phrases that tend to beunfamiliar to North Americans (e.g. “lovesicklenanshee” or “alanniv asthore”).

Christopher Glynn offers nimble and skill-ful collaboration and performs two unpub-lished solo piano pieces from early in the com-poser’s life. As a leading pianist of his timeHarty always identified his role in song recitalsas collaborator rather than accompanist. Hecalled his songs duets for voice and piano andexplicitly listed his Five Irish Sketches thatway. Glynn can claim the same title—and therecorded sound strikes an ideal balancebetween voice and piano.

Harty’s songs may never find a major placein the English song tradition, but they deserve


to be much better known. It is hard to imaginea more convincing account of these works.Perhaps with such a fine performance they willsee new life. Informative liner notes by JeremyDibble and full texts in a nicely designed book-let.

R MOORE

HAYDN: Quartets, op 33Doric Quartet—Chandos 20129 [2CD] 128 min

Sigh. There goes the Doric Quartet again,demonstrating anew, as it has several timesbefore (with Opp. 76, 20, and 64), that it proba-bly plays Haydn better than any other ensem-ble on the planet. My joy at this release is tem-pered, just slightly, by a tinge of regret thatthey haven’t yet miscalculated anything, so faras I can tell. It’s all ideal.

By “ideal”, I don’t mean cold or regular orpristine; quite the contrary. This Haydn is,above all, intensely alive. It has a feline way ofleaping, scampering, tearing madly aroundand then shifting suddenly into deep repose.Catlike, too, is the way it handles the tactus. Ifyour idea of Haydn involves anything like apriggish steadiness of tempo, you’d best dropit. This Haydn stretches, yawns, curls itself upinto a little ball and then strikes out with a furyof spirited scratches. Once or twice I nearlythought they overplayed it—the developmentof the first movement of Op. 33:2 practicallyhalts altogether for a second—but it’s part oftheir conception of the Haydn string-quartetanimal that it’s the play of motifs and texturesthat create the tempo. And they do bring it off,infallibly. It’s that conception of energy—kinetic energy and potential energy, but alsowith the idea of a living mind constantlybehind it all—that makes it such exhilaratingmusic-making.

Another part of it is that, though the fourplayers aren’t deliberately different in soundfrom each other, neither do they try to play “asone”. They try, in fact, to play as characters in adrama, where the parts are all distinct, all act-ing in consort, and yet all reacting in real timeto each other’s actions. This is, indeed, exactlythe conception of Haydn’s quartet texture laidout by the excellent New Zealand-based musi-cologist W. Dean Sutcliffe, who all through thisseries supplies the program notes. I cannot butthink he is their artistic advisor as well as theirannotator, so closely does their conception ofthe music hew to his own.

Articulations are crisp in the fast move-ments, gentle elsewhere. Tempos are on the

brisk side, sometimes dauntingly so (the finaleof Op. 33:3 was a bit much for my husband,though he loved the also nimble one to Op.33:2), but the slow movements strike me asjust right: not dreamy so much as quiet andunhurried but always alert. That includes, inci-dentally, the scherzo of Op. 33:3. No. 4 (paceHans Keller, who hated it for some reason) getspositively goofy in its finale, as it should.

Ah, well, I suppose we just wait for the nextopus. Which will it be? I vote for Opp. 54 and55, but any will do.

THOMSON

HENRIQUES: Violin PiecesRomance; Nordic Dance; Erotikon; Mazurka;Romance; Witch’s Dance; Religious; Wiegenlied;Kleine bunt Reihe; Canzonetta; Grief; Ballerina;Novellettes; Petite Valse; BerceuseJohannes Soe Hansen, v; Christina Bjorkoe, p

Dacapo 226151—77 minutes

I once knew a woman who seemed remarkablyinnocent, naive, and simple; she never spoke anegative word about anyone or anything, glaz-ing over when conversation turned critical ordivisive; she deftly reframed horrific situationsinto positive opportunities. She seemed igno-rant of the world or perhaps too foolish to seeits troubles. Later I discovered her failure todescend into polemics against the injustices ofthe world was not out of inability, but unwill-ingness; she preserved and pursued thanklessgood will in a bitter and spiteful world.

I find the same qualities in the music ofFini Henriques, whose romantic miniaturesare overwhelmingly charming, optimistic, anddeliberately naive. Even the most sober musicis undergirded with purity and religiosity, aworld view demanding careful introspectionbefore extrospection, preferring peace overdiscontentment, joy over fatigue, and beautyover subversion. Only good music can supplysuch therapy.

This is a digestive of violin encores. Out of23 tracks, only 3 exceed four minutes; manyfollow a standard ABA format. They aredelightfully easy on the ears and on the sensi-bilities. Nothing much needs to be said aboutthe performers; they do not get in the way ofthe music; in other words this is a perform-ance of beauty and artistry and one of thefinest I have heard this year. Listeners will notbe disappointed.

KELLENBERGER


HERRMANN: Whitman; Psycho; Souvenirs de Voyage

William Sharp, narr; Netanel Draiblate, Eva Chao,v; Philippe Chao, va; Benjamin Capps, DavidJones, vc; Post-classical Ensemble/ Angel Gil-Ordonez—Naxos 559883—71 minutes

These three Bernard Herrmann works includethe world premiere recording of music for the1944 radio play Whitman. Radio plays werepopular and often produced through the mid-1950s. Bernard Herrmann was the musicdirector of CBS when he was commissioned towrite Whitman for the radio network. He wasalready well known for his film scores to Citi-zen Kane (1941) and Jane Eyre (1944) andwould write many more outstanding filmscores. He was also conductor of the CBSRadio Symphony, where he introduced manylisteners to several 20th Century composers.

The text for Whitman is poems by WaltWhitman arranged by writer Norman Corwin.Corwin was known for his radio plays, and inWhitman he used the poet’s text verbatim,only arranging the poems to emphasize thewar-time issues facing the country. Corwin,who also worked for CBS, asked Herrmann towrite the music for his first text-with-musicradio play. It was performed only once. Thepiece was restored in 1964, but not performedagain until 2016.

Whitman is a compelling work, and it’seasy to understand the effect it must have hadon war-time audiences. Although some of thesentiments may seem cloying to today’s audi-ences, the poems are used effectively, the mes-sages are clear, and Herrmann’s contributions(mostly background) expertly supports thetext. Corwin weaves the poems into a mean-ingful presentation of American spirit. He useda narrator to convey Whitman’s poetry, and MrSharp reads these poems with the gravity andimportance of the subject matter.

The Souvenirs de Voyage (1967) is a 3-partsuite for quintet using themes based on Her-rmann’s movie score to Alfred Hitchcock’sVertigo. If you’re familiar with that film scoreyou’ll recognize the music to the seven-minutelove scene; it is hypnotic and compelling—oneof the great film scores. Herrmann reuses thelove theme interwoven with other motifs toconstruct one of his most absorbing concertworks. It’s hard not to like this piece, and thequintet plays it excellently.

The third work is Psycho: A Narrative forString Orchestra (1968+1999)—a reconstruc-tion of the film’s themes by John Mauceri. If

you’re expecting a suite you’d be wrong. Mau-ceri has expertly constructed a concert workthat uses some of the film’s familiar themes,including the famous “slashing violins” showersequence. The piece is consistently interestingas a stand-alone concert work.

This is definitely worth your time, and ifyou’re a Herrmann fan the Whitman radioplay is required listening. The orchestra, quin-tet, conductor, and sound are excellent.

FISCH

HINDEMITH: Kammermusik 4-7Stephen Waarts, v ; Timothy Ridout, va; ZiyuShen, va d’amore; Christian Schmitt, org; Kron-berg Academy Soloists; Schleswig-Holstein Festi-val Orchestra/ Christoph Eschenbach

Ondine 1357—73 minutes

A bit over a quarter century ago, two sets ofHindemith’s complete Kammermusikenappeared almost simultaneously on the CDmarket: one by the Concertgebouw Orchestraunder Riccardo Chailly, the other by EnsembleModern under Markus Stenz. They bespoke asudden interest in music previously only inter-mittently (and indifferently) remembered.Other releases followed—I think the BerlinPhilharmonic did one—and now there is thisnewest cycle, from the Kronberg AcademySoloists and the Schleswig-Holstein FestivalOrchestra under Christoph Eschenbach.

The Kammermusiken are chamber con-certos—and there are only solo parts, thoughafter the first work in the series (the famouslybratty Kammermusik 1 of 1920-21, with itsraucous foxtrot finale ending in a sirenscream), there is one very definite primarysoloist. Here all the solo work is very fine. Thestandouts for me are Stephen Waartz in No. 4and Ziyu Shen in No. 6. The former has one ofHindemith’s knottier violin parts to cope with,and does it spectacularly—right down to theextraordinary finale, an unending stream ofrapid notes as lithe and whippy as a grasssnake, around which the orchestra adds littlepunctuations: a note here, a percussion rattlethere, a whiff of waltz time somewhere else.Shen handles the viola d’amore part as well asI have ever heard it done, and with capacioussound, too—despite the sparse instrumenta-tion, the instrument is still often in danger ofbeing drowned out. I would love to get a lookat his (or her) instrument.

The music is 20s Hindemith, with all thatimplies, not excluding the sometimes juvenilesense of humor. Hindemith had a sort of tic


involving brass-band, military-style music,and there’s some of it here, including a wholemovement of No. 5, the viola concerto. There’snothing to top No. 1’s siren in the finale (or forthat matter the finale of the Fourth—nowFifth—Quartet, which sits on a C pedal for sev-eral minutes before resolving it into a resound-ing D-flat-major chord: Ta-da! The End!), butthere is quite a lot of clumsy jollity nonethe-less. It’s a thing one comes to miss in later Hin-demith, where the skill has become at oncemore refined and somehow duller.

THOMSON

HOFFMEISTER: Flute Pieces 1Boris Bizjak; Lana Trotovsek, v; Piatti Quartet


The program consists of a duet, two trios, aquartet, and a quintet, all for flute and strings.Like Telemann, Franz Hoffmeister (1754-1812)studied law before embarking on a career inmusic; he is remembered today for his pub-lishing (based in Vienna) as much as for com-posing. He is also the namesake for theHoffmeister Quartet, which has appeared inthese pages several times. If you enjoy musicfrom the late 18th Century you ought to appre-ciate his chamber output. It’s like a Germanicanalog to Devienne.

London-based Slovene performer BorisBizjak plays a modern Yamaha flute madefrom grenadilla or African blackwood. He hasa clear sound deployed here with little vibratoand lots of elegance. No matter what he does,the instrument sounds with ease, never givingthe impression that the playing is pushed orrestrained. Tempos seem well chosen and bal-ances are superb. The string players who col-laborate deliver stylish interpretations thatmatch perfectly. Such refinement can charmand enchant you to relish what you hear.

We missed his recording of pieces for twoflutes on the Hedone label and his solo album.The Bizjak sisters who perform as a piano duoare Serbian and not related.

GORMAN

HONEGGER: Sonatina; see KODALYSymphony 3; see CHAUSSON

HOWELLS: Requiem; see Collections; with anthems; see STANFORD

HUMMEL: Piano Sonatas 4+6Antonio Pompa-Baldi


Pompa-Baldi has released the third volume of

his Hummel series. Sonata 4 is technicallychallenging, with octave runs, 16th notes, run-ning thirds, and lyrical passages. It is full ofexpression, and he executes the passages flaw-lessly, with articulations true to the markings.Staccatos are precise, and not pedaled. Sonata6 is even more technically oriented, with dou-ble thirds everywhere and jumps. There is abeautiful cantabile in III. Some of the moreexpressive parts of the movement, especiallyin the upper register of the piano, seem a bitthin and almost borderline out of tune.

KANG

HVOSLEF: Piano Concerto; Traumspiel;Barabbas

Leif Ove Andsnes; Bergen Philharmonic/ EdwardGardner, Eivind Gullberg Jensen, Juanjo Menja

Simax 1375- 79 minutes

Norwegian Ketil Hovoslef (b. 1939) writes in afree and unpredictable style. His music is com-pletely original in conception and defiesdescription with conventional terminology.The Piano Concerto (1995) is in the usualthree movements, though they do not seemcoherent thematically. There is a dreamlikeaura in all these works. The piano writing issometimes concerto-like but often devolvesinto quiet simplicity. In the faster music I wasreminded of Bartok, but the slower music isoften more celestial.

Ein Traumspiel (Dream Play, 2009) driftsthrough his unconscious (there is even a waltzdrifting in). Coherence is kept at a minimum,but if you can keep your attention it is bothpuzzling and interesting.

Barabbas (2004) is written as an “operawithout singers”. Its text is from a version of thebiblical story by Norwegian playwright Michelde Ghelerode. It is said to be descriptions ofthe prison, Pilate’s mansion, and Calvary; butthe musical connection is anybody’s guess.

All told, this is like nothing you’ve everheard before; snap it up if you are curious.Notes by the pianist and composer.

GIMBEL

IDENSTAM: Metal AngelGunnar Idenstam, org—Toccata 495—73 minutes

I usually let you know right off the bat what Ithink of a recording. Here is one that thrilledme beyond words. Yet it’s all by a living com-poser, and it could not have been written 70 or90 years ago.

Gunnar Idenstam was born in Lappland(Sweden) in 1961. Metal Angel consists of 19


pieces for large symphonic organ, each associ-ated with a different angel “in a fantasy Gothiclandscape”. He has made 3 suites of 5 piecesfor this recording, but he also hopes that indi-vidual pieces will be played in organ recitals.(The Toccata in Suite 1 is a good candidate.)

He acknowledges the influence of theFrench school. (“Many pieces could most suit-ably be described as French toccatas.”) One ortwo pieces started life as piano improvisationsand were later rescored for the organ. Manyare theme-and-variations in style, and tunesare repeated a lot, as in minimalism—but onan organ you can vary the registration endless-ly, so it never seems dull. And you can buildthe registrations into something quite remark-able.

Some pieces are rather hymn-like—youcan almost hear an angelic choir. Each piecehas a written description. The overall idea is,“What if there are angels all around us, livingin a parallel world, who try to communicatewith us and guide us?” He tells us that themusic also reflects our time of conflict and cli-mate change and worldwide disease. It wascomposed from 2013 to 2019.

This is a wonderful journey in glorioussound. “This instrument has everything I wantfrom an organ.” It also has everything I want.The listener need not make the whole journeyat once, but you should at least once. Andalmost anything you sample will thrill you withthe sheer sound. You may be moved to tears,as the composer admits he was. (That is aninteresting subject; I have seen other livingcomposers in tears listening to their music. Itmust be something like giving birth.)

Let us be grateful that there are still a fewcomposers who can move us deeply—and thatthere are audio engineers this brilliant.

VROON

IRELAND: SongsMark Stone, bar; Sholto Kynoch, p

Stone 80260—67 minutes81007—62 minutes

Mark Stone is a stalwart advocate for Englishsongs and has been doing a great service forlovers of this literature. He has recorded all thesongs of George Butterworth, Havergal Brian,Frederick Delius, Ronald Corp, and CharlesWilfred Orr on his own Stone label. He hasrecorded all the songs of Roger Quilter, and the4th and final volume is awaiting release. He ishalfway through a survey of all the songs of

John Ireland. When finished it will be the firstcomplete recording of them all.

Volume 1 makes a strong start with threeMasefield settings, beginning with probablyhis best-known song, `Sea Fever’. The patriotic`Here’s to the Ships’ mirrors similar songs byElgar, his teacher Stanford, and others fromaround the time of The Great War. Many ofthese songs are settings of texts by A.E. Hous-man: his cycle of five poems from A Shrop-shire Lad on the shortness of life and anotherthree-song cycle on the theme of finitude,which ends with a song without words forpiano solo.

The program includes a sequence of warpoetry settings of Housman, Rupert Brooke,and Eric Thurkell Cooper before concludingwith five popular ballads he composed underthe pseudonym of Turlay Royce. These finalsongs sound like they come from the era ofparlor songs by Arthur Sullivan and others ofthat style; they are in marked contrast toalmost everything we’ve heard previously.

Volume 2 includes two songs cycles, Songsof a Wayfarer and Marigold. These and othersongs have texts by William Blake, Shake-speare, James Vila Blake, Dante Gabriel Ros-setti, Ernest Dowson, Arthur Symons, andEmily Bronte. The variety and breadth of thesesongs is impressive, from simple to complex,including the impressionist `Penumbra’ andthe sweet lullaby `Slumber Song’.

Mark Stone studied at the Guildhall Schoolof Music and Drama. He is a recipient of the1998 Decca Prize at the Kathleen FerrierAwards. In addition to a distinguished careeras a song recitalist, he has a commandingcareer on the opera stage in Mozart andStrauss roles. After studying mathematics atKing’s College, Cambridge he worked as aChartered Accountant and as an investmentbanker before the sounds emanating from thenearby Guildhall School of Music and Drama(in London) lured him. In an interview withthe Oxford Mail he says, “Eventually I walkedin, auditioned, and found myself on their (out-standing) opera course.” He studied singing atGuildhall from 1995 to 1998 and founded hisown label, Stone Records, in 2008 “as a vehiclefor my own projects” and discovered that italso supplied a means for others to record.

Stone’s performance is excellent. He bringsall the right affect to each song. His voice iswarm and elegant. His legato style is attrac-tively flexible, with both sweetness in softerpassages and drama in others. With impecca-ble diction and careful control over dynamic


shading, these are performances of distinc-tion. His fine partner for these program isSholto Kynoch, founder the Oxford Lieder Fes-tival about 10 years ago, who is particularlynimble in passages that depict the sea.

Stone’s introductory notes give a clear andconcise account of Ireland’s life. His notesabout each song are valuable. His attentive-ness to the nuances of these songs comesthrough in performances of great commit-ment.

R MOORE

KALAFATI: Symphony; Legende; PolonaiseUniversity of Athens Choir; Athens Philharmo-nia/ Byron Fidetzis—Naxos 574 132—82 minutes

Though of Greek descent, Vassily Kalafati(1869-1942) spent most of his life in St Peters-burg. He studied at its conservatory underRimsky-Korsakoff and eventually taught there,and Stravinsky was one of his pupils. He diedduring the Nazi siege of Leningrad. His sym-phony (1912) was his dissertation project incomposition at the conservatory. Thataccounts for its traditional musical languageand no doubt its solidity of form. Insofar asone hears any Russian influence in I, it’s remi-niscent of Rubinstein rather than the Russiannationalists. Its developments tend to be bythe book, but are quite compactly put together.The scherzo uses a lighter touch in its scoring,with pleasing touches of whimsy. The slowmovement has a somber English horn melodywith pointed woodwind accompaniment. Hisdevelopment of its material is long on beauty,rising to Tchaikovskian heights of passion. IVis a good and proper finale, alternating threefugal segments with lyrical relief episodes. Allthis ingenuity leads to a festive conclusion.

The symphonic poem Legende (1928) wasa runner-up in the Russian division of Colum-bia’s Schubert Centennial contest. That eventalso embraced entries like Brian’s Gothic andSchmidt’s Third symphonies. The piece sup-posedly uses three Schubert themes. I’m noSchubert maven, and I didn’t catch any ofthem. It skillfully incorporates a wordless cho-rus, and the scoring shows the influence ofStravinsky of the Firebird—a case of theteacher now learning from the pupil. Themusic is consistently pleasurable—I’m a suck-er for orchestra and vocalise choirs—but so laxin structure as to suggest a paste-up of Russianexcerpts. It could make an effective ballet,where the musical logic can be more casual.

The Polonaise (1905) is from the family

tree of Tchaikovsky’s Eugene Onegin. It’s aspirited piece that would be a great encore orpops concert item, should the latter ever revivethe custom of playing real music. The Athensorchestra and chorus handle their work ably,with Fidetzis’s conducting to match. If you likethe music of, say, Glazounov, you’ll find thisrecording enjoyable.

O’CONNOR

KAPUSTIN: Cello Concerto 1; SCHNITTKE: Concerto 1

Eckart Runge; Berlin Radio/ Frank StrobelCapriccio 5362—70 minutes

“Transition” is the title of this program. Butwhat does that mean? Well, as quoted in theliner notes from Der Taugespiegel, “EckartRunge embodies a magical mutability beyondall musical stereotypes and boarder lines.” Butwho is the boarder?

Nikolai Kapustin (b. 1937) writes in a mod-ern jazz idiom that turns this listener on andclearly does the same for Runge and his col-leagues. Runge has run over Kapustin beforewith his Sonata No. 2 and three more of hispieces (Genuin 89150: July/Aug 2010) playedwith Jacques Ammon on the piano. I liked thatone, and the present Concerto, written in 1997,is well worth hearing.

Alfred Schnittke (1934-98), wrote Concerto1 in 1986; it has been recorded several times. Itis a huge work in four movements, lasting wellover 40 minutes in this dramatic, thoughtfulperformance. Torlief Thedeen recorded iteffectively with Leif Segerstam and the DanishRadio Orchestra (BIS 507: May/June 1991).Arved Ashby liked Natalia Gutman’s recordingwith Kurt Masur and the London Philharmon-ic (Jan/Feb 1993). Mr De Jong liked the evenearlier one with Gutman and the USSR Sym-phony under Gennady Rozhdestvensky(Melodiya 67: July/Aug 1992). A little later, Iheard Maria Kliegel with Gerhard Marksonand the Saarbrucken Radio Symphony (Naxos554465; March/April 1999). All these areimportant releases, but the new one stands upto them well.

Runge plays with great variety of approach.That is what this highly contrasted music asksfor. He was cellist in the Artemis Quartet forthe last 30 years. He will play the premiere per-formance of the Kapustin next year, and moreis coming. He studied with Edmond Baert inBrussels and David Geringas in Lubeck. Ienjoyed this.

D MOORE


KASTALSKY: Requiem for Fallen BrothersAnna Dennis, s; Joseph Beutel, b-bar; CathedralChoral Society, Clarion Choir, Saint Tikhon Choir,Kansas City Chorale; Orchestra of St Luke’s/Leonard Slatkin—Naxos 774245—64 minutes

Don’t confuse this with Memory Eternal,which also was composed by Alexander Dim-itrievich Kastalsky in tribute to the fallenheroes of The Great War. After much ado, thatwork became an a cappella affair crafted withan eye to the strict rules of musical engage-ment set down by the Russian OrthodoxChurch. Steven Fox’s Clarion Choir-one of theensembles in action here—brought thatremarkable work to us in a Naxos recording(573889, Jan/Feb 2019).

Kastalsky’s Requiem, though, is a very dif-ferent affair. He began planning a tribute to theFallen Brothers of The Great War early in theconflict, picturing (as the notes say) a “musicalcollage” incorporating the liturgical traditionsof the original allied powers. This would meanthat sacred music from Orthodox Russia andSerbia, Catholic France, and Anglican Britainwas on his mind at the outset. Before long, ofcourse, the European war exploded into aglobal conflagration as imperial possessionsjoined their mother countries on the battle-field, Italy pivoted and declared war on Aus-tria, and America joined up to administer an18-month coup-de grace to Germany.Through it all, Kastalsky kept writing, windingup with a multi-national, pan-theologicalmemorial spanning 17 movements. Heenriched the Roman Liturgy for the Dead withan opening prayer spoken in Italian, with Zna-menny chants, Orthodox hymns and bits ofTolstoy representing Mother Russia, and withmelodies redolent of Serbia and Romania. Healso used Anglican hymns and texts, Gregorianchant representing Catholic France, `Rock ofAges’ from America’s Protestant hymnal, andan instrumental `Hymn to Indra’, the HinduGod of the Heavens. (India, after all, came inwith Canada, Australia, New Zealand and sev-eral African colonies to support the Brits. Theydidn’t call it a World War for nothing.)

This over-the-top diversity might haveexploded into musical gibberish had a lessercomposer been on the job. Yes, his Requiem isan episodic work as the various languages andmelodic references come and go; but there ispoignant, majestic music, and the effect of thewhole thing is moving, if not downright devas-tating.

The liturgy commences amid the ominoustolling of bells. The Kyrie churns but alsouplifts, the `Rex tremendae’ is majestic to afault, and the `Confutatis’ (with Tolstoy’swords echoing) hits like a ton of Slavic bricks.There’s a glorious Sanctus reminiscent of TheRussian Five and a `Domine Jesu’ that linksthe Roman liturgy with Russian chant and atext extracted from the Anglican hymnal(“Now the labourer’s task is o’er”). The bass-baritone sings that handsome arioso, and it’swonderful.

I can’t quibble with any element of theperformance. Each of the choirs has a historyof excellence in the Russian repertoire, andthey sound wonderful mixed altogether. TheNaxos engineers were able to turn Washing-ton’s cavernous National Cathedral into aglamorous backdrop for clear and full-bodiedsound. This “World Premiere” performance ofKastalsky’s Requiem was recorded in October,2018 as part of the centennial commemorationof The Great War. Without question, the workwas—and is—a worthy and resounding tributeto the untold millions whose deaths will forev-er symbolize the grand futility of armed con-flict.

GREENFIELD

KHACHATURIAN: Spartacus Adagio; Clar-inet Trio; Dance; Sabre Dance; Lullaby; ViolinSonata; Song-PoemMariam Kharatyan, p; Adam Gruchot, v; Leonar-do Sessena, vc; Stig Nordhagen, cl

Simax 1373—58 minutes

Confronted with an entire album of Khacha-turian, the question arises: will his two great-est hits be included? Definitely. Don’t befooled by the heading “Chamber Works”,because the Adagio from Spartacus appears inan arrangement for piano trio. It is weak andtoo sweet, a poor choice to open the album.The trio transcription of `Sabre Dance’, howev-er, does work. The lone Armenian in thisNordic ensemble, pianist Mariam Kharatyan,and violinist Adam Gruchot bring a gypsy jazzflavor to it, and I would favor it over the usualorchestral version any day.

On the Violin Sonata, the energy level flagsa bit, and we are dangerously close here toNew Age music. In III the pace picks up and itbecomes more like violin recital fare. Again theword “fiddling” comes back to me, and theindividual listener will have to decide whetherthat is positive or negative.

The Clarinet Trio (with violin and piano) is


melodic and occasionally conjures a mood,but this is simple chamber music. The pianoparts almost sound like the work of a compe-tent jazz or blues accompanist trying to laydown a basic rhythm for an unfamiliar soloist.More to the point, the parts just don’t gotogether. Gruchot is expressive, and he workshard to redeem the piece. On the brief Dancefor violin and the `Lullaby’ from Gayaneh, heagain gets to show some flair. Ending thealbum, the Poem for violin and piano is a love-ly six-minute lollipop.

This is one of those cases where perhapsthe compositions could have been placed in amore effective sequence. I come away uncon-vinced that Khachaturian was even comfort-able with chamber music, despite some flash-es of fire from these musicians.

DUTTERER

KIRSCH: Isles of Dreams; Elegie; 2 Im-promptus; Trio Pastoral; One Summer Day; 3Nocturnes; PastoraleRachel Talitman, hp; Marcos Fregnani-Martins,fl; Dirk-Michael Kirsch, ob; Heike Steinbrecher,Eng hn; Laurent Houque, va; Carolina Prieels, vc

Harp 505043—76 minutes

This is one where the cover art put me off lis-tening for some time, but when I did listen Ifound myself pleasantly surprised, and mydelight grew as the program went on. Thecover art shows a fantastic island scene; onewoman strums the harp while the caryatidsometimes built into a harp’s column turns outto be another, dancing woman, twirling withher arms to the sky. Blues, greens, and yellowsare the predominant colors. The label, Harp &Co., apparently specializes in harp music andis based in Belgium. The list of performersstarts off with flute (ye Gods, over an hour offlute and harp, thought I) and ends with theharpist. My apologies to the designer, but thegeneral mien of the thing rather yelled “twee”at me.

The composer isn’t the harpist but theoboist, and his inclusion of oboe and Englishhorn (and viola and cello) in several of theworks here bespeaks a stronger and some-times sterner compositional personality. TheIsles of Dreams are the nine PortugueseAzores, one movement to each. (The middlefive, the “grupo central”, get one instrumentper island, the others accompanying; the otherfour are full ensemble.) I like the piece verymuch; there is all manner of textural fun inthere, and some hard noises too (from viola,

cello, and English horn). Mr Kirsch expects thepiece to be played alongside the Ravel Intro-duction and Allegro (for flute, clarinet, stringquartet, and harp), and therefore offers a clar-inet alternative to the English horn. But I pre-fer the original.

The other pieces are all smaller, but notnegligible. There’s a solo for English horn (noharp at all) and two flute-viola-harp trios, thelonger of them with alto flute. There’s a smallwork for oboe and harp, a piece for flute andharp, and two for harp alone. The last coupleare most in danger of falling into the flute-and-harp stereotype, but they never really do,though they certainly do trip about its edgessometimes. This is serious music, though alsopredominantly tonal and attractive.

At the end, out from behind the curtainsteps the composer himself, to play his Op. 3Pastorale, very nicely indeed.

THOMSON

KODALY: Duowith HONEGGER: Sonatina; SKALKOTTAS: Duo; XENAKIS: Dhipli Zyla

Jonian Ilias Kadesha, v; Vashti Hunter, vcAvi 8553017—66 minutes

with XENAKIS: Dhipli Zyla;VASKS: Castillo Interior; RAVEL: Sonata; BARTOK: Romanian Folk Dances (arr)

Marc Paquin, v; Orfilia Salz Vega, vcIBS 92020—73 minutes

with KODALY: Solo Cello Sonata;LIGETI: Solo Sonata

Hellen Weiss, v; Gabriel Schwabe, vcNaxos 574202—65 minutes

KODALY: Solo Cello Sonata;LIGETI: Solo Sonata; EOTVOS: Poems to Polly; KURTAG: Faith; Janos Pilinszky: Gerard de

Nerval; Shadows; John Cage Homage; Hilary Jig; SZABO: Solo Cello with CowbellsIldiko Szabo—Hungaroton 32813—75 minutes

Welcome to Kodaly month for violin and cello!Both his duo and his sonata are about half anhour long and they are beautiful virtuosicromantic works written in 1914 and 1915. Icouldn’t resist piling all four of these recently-recorded discs into one review.

Kadesha is from Greece and Albania. Helives in Berlin and has a fine history for one soyoung. Hunter is from London and has animpressive reputation. They are both mem-bers of the Trio Gaspard and are thus used to


working together. They begin their presentjourney with Iannis Xenakis’s `Dhipli Zyla’,written in 1951, a short experiment in soundand fury alternating with questions andanswers taken here with an amusing flavoralternating argument and total agreement.Clearly these two players are out to enjoythemselves in the underbrush. The KodalyDuo follows, played here with love and detailand a silliness that suits it well. Arthur Honeg-ger’s 15-minute Sonatina creeps in quietly asthe players whisper together and then knocktheir heads together as the music directs them.Finally we have a 20-minute Duo by NikosSkalkottas (1904-49) written in 1947—anothercurious and emotionally eventful work power-fully played. I like the beautiful way theirminds work together in performance and theirhighly informative liner notes. All in all, this isa program to be strongly considered.

Paquin and Vega have a more seriousapproach—also effective, but a little lessfriendly in recorded sound. They also beginwith `Dhipli Zyla’ followed by the Kodaly Duo,both played with fine style but so dramaticallythat you’d better keep the volume down oryou’ll get hurt! Now we meet Peteris Vasks (b.1946) inside a castle, presumably in his nativeLatvia where we are whispered to until we hearworldly noises outside. It is a work of contrasts,to which the following Ravel sonata comes as asomewhat welcome return to reality. Or is it? Itis a curiously otherworldly piece that fits per-fectly here, but is scary sometimes. As a relieffrom all of this, the players have arranged Bar-tok’s Romanian Dances, originally written forpiano and later arranged for orchestra by thecomposer. They work well for violin and celloalone, and they conclude a sensitive and pow-erful program played with passion and fervor.

With Weiss and Schwabe, Kodaly takesover with not only the Duo but his Solo CelloSonata, leaving only space for Gyorgy Ligeti’s(1923-2006) little 8-minute Solo Cello Sonatato separate the two gigantic monsters. The twoplayers work so dramatically well together inthe Duo that we miss Hellen when she leaves.Ligeti sounds so lonely without her. He slithersup and down in pizzicato chords and calls outpassionately from the stratosphere in his`Dialogo’. Then he gets adjusted in the Capric-cio, and that warms Schwabe up to tackle theincredible Kodaly solo sonata, for which heneeds to lower the two lower strings a half-step. Now you have to play what you see, notwhat your eyes tell you is on the page. It’s atough game, and he plays it with accuracy and

determination, though it should be mentionedthat there is a surprising change in the record-ed volume halfway through the first move-ment. Otherwise this is a fine release.

Ildiko Szabo takes over now, all by herself.Her program begins with the Ligeti SoloSonata in a more leisurely reading thanSchwabe, though not less exciting. Now wemeet Peter Eotvos in `Two Poems to Polly’, andsuddenly he (through her) speaks words to us.But do we understand them? Yes, if the lan-guage is yours. It’s not mine, and I wish therewere a translation. But some of it is in English!But where are we going? I never find out, but itis beautifully done and you’ll enjoy it as it is.Back to the cello alone, we have Gyorgy Kurtag(b. 1926) with a weird collection of shortpieces dedicated to different colleagues, end-ing with a World Premiere Jig. The consider-able 14-minute suite by Csaba Szabo (1935-2003) comes in with varied bow-strokes andstrangely arranged pitches, after which theentrance of a cowbell is almost a relief. Butthen his granddaughter Ildiko gets to singagain! Can we take it? Between that and theretuned cello, we’re off into a strange world,after which Kodaly appears as a welcomeguest. This is the weirdest of the four programspresented here, but it is played with polish andgood recorded sound.

As you see, these all are worth hearing. Toplay either of the Kodaly works, you need fin-gers of steel and musical depth—and all thesemusicians have both.

D MOORE

KOECHLIN: Songs of NectaireNicola Woodward, fl

Hoxa 190207—71 minutes

In case you might not be especially familiarwith Alsatian French composer CharlesKoechlin (1867-1950)—quite an unfortunatecircumstance—check our Index for recordingsof his Jungle Book and Persian Hours. Thecharacter Nectaire appears in Anatole France’sRevolt of the Angels published in 1914 andtranslated to English that same year. He is amarket gardener in Paris who has a boxwoodpipe he plays when visited by two angels—Arcade, who is male, and Zita, who is female. Itwas common for stage names in the late 19thCentury to begin with the letters A and Z. Theangels say, “play to us on your flute, if you arenot afraid that the Earth and Heaven will bestirred to their depths thereby”. The historicalbasis for the character was Nectarius of


Auvergne, a Christian missionary and martyrin the 4th Century.

Between April and September of 1944,Koechlin wrote 96 Songs of Nectaire in 3 setsof 32. They amount to the largest-scale unac-companied work in the flute literature. Thebest way to describe them is to quote a pas-sage: “Wielded by dextrous fingers and filledwith the breath of creation, the rustic pipe res-onated like a silver flute. The music told oflove, fear, vain quarrels, triumphant laughter,the serene clarity of intelligence, and thearrows that pierce the monsters of ignoranceand hatred. The music also spoke of joy andpain bending their twin heads over the Earthand of the desire that creates worlds...” Thatlast phrase became No. 26 in this set.

In 1996 Alexa Still recorded some of allthree sets for Koch International (7394). Alsothat year Brazilian flutist Jose Ananias SouzaLopes made the first recording of `Play of theLight’ (Op. 198:3) along with three others onPaulus 11418 produced by the Society of SaintPaul in Staten Island, New York. In 1997 and98, the eminent Pierre-Yves Artaud, who spe-cializes in avant-garde playing, recorded theentire set; later, so did Dutch flutist and broad-caster Leendert de Jonge on Basta 3091552(not reviewed), which has a 32-page booklet.In between, American flutist FrancescaArnone made the Songs of Nectaire the sub-ject of her doctoral thesis at the University ofMiami. In the autumn of 1997, ChristinaSinger recorded some of all three for Bayer(100106, July/Aug 1999). Michel Debostrecorded a few pieces on Flute Panorama 3(Skarbo 1993, Jan/Feb 2000: 197). Arnoneincluded a significant portion of Opus 198 onher debut recording named after one of thepieces, Games of Light (MSR 1457, July/Aug2014: 169).

Nicola Woodward has been placed in avery resonant space. Her sympathetic rendi-tions merit attention. She can accent and honkas well as taper and whisper. Her very fullsound is a pleasure to hear, and her deft fin-gers never seem to err, even given a workoutrepresenting victorious laughter. On Bayer,Christina Singer has been placed in a soundspace just as resonant, and her sound is if any-thing lovelier. I also like Francesca Arnone onMSR, both when she is big and blowsy and softand intimate. In his brief contribution, JoseAnanias Souza Lopes has a sound so vibrantit’s almost unbelievable.

It is unfortunate to have so little documen-tation accompanying this release. The notes

place this composition in the wrong year, 1945,and state that the songs were written over 4months rather than 6. The time span requiresclarification. Both of the first two books werecompleted in the spring; writing the third wentthrough the summer into September.

The notes could have mentioned that thiswork was for Jean Merry-Cohu (1897-1983), anelectrical engineer and performer whose firstwife, Eleanor Forster, was the sister-in-law ofRoger Sessions. Merry recorded the Songs on 5long-playing records for the Hachette SoundEncyclopedia.

Morton Feldman’s “dedication” pieces ForPhilip Guston (1984) for flute(s), piano orceleste, and percussion and For ChristianWolff for flute and piano or celeste are similarin scope though not solo and exist in one largeglob, not as a set of miniatures. Anyone whomight like the Koechlin or Feldman simplymust have the recording Marieke Schneemannmade of solo flute works by Eugene Bozza onBrilliant (Nov/Dec 2018), too.

GORMAN

KOMITAS: Divine LiturgyAgate Burkina, s; Armen Badalyan, Janis Kursevs,Karlis Rutentals, t; Gundars Dzilums, bar; Hov-hannes Nersesyan, b; Latvian Radio Choir/ Sig-vards Klava—Delos 3590—80 minutes

Soghomon Soghomonian (1869-1935), com-monly known as Komitas, was a force in theworld of Armenian music. He was the compos-er, ethnomusicologist, conductor, arranger,and priest who embraced the folk traditions ofhis homeland and, as the notes put it, “detect-ed the tectonic kinship of folk music to themusic of the Armenian church”. His take onOrthodox liturgy was completed early in 1915,just weeks before the Turks unleashed the hor-rors of genocidal murder on the Armenianpopulation of the Ottoman Empire. Komitassurvived the killing fields but was gutted emo-tionally with a severe case of PTSD that neverabated. He spent the last two decades of hislife in psychiatric facilities near Paris.

In 2019, the 150th anniversary of the com-poser’s birth, these singers became the first-ever non-Armenian choir to perform andrecord the Komitas Liturgy. Maestro Klava andhis choir made use of a new arrangement byVache Sharafyan who added women’s voicesto the all-male original and streamlined thescore to make it more amenable to the concerthall. Even with these changes, I suspect Komi-tas remains better suited to the cathedral. I say


this not just because the interpolations fromthe Deacon and Priest interrupt the choralflow on occasion, but because a lot of the writ-ing comes in short bursts that don’t always set-tle in as full-scale choral masterpieces.

The ineffably beautiful Sanctus is a truestunner that runs for 4 minutes, with the basssoloist (Priest) appearing briefly at the end.`Who is the Lord Our God’ for the choir andsolo tenor takes a little less than 3. I could seeboth works gracing any choral concert any-where. But most of the other interludes areeither much shorter or intensely collaborativeaffairs with the priest or deacon interactingwith the choir. What can I say? To me, it feltmuch more like a church service than a con-cert.

The choir is wonderful, with the modalshakes and squiggles of the Armenian stylesounding exotic and spiritually charged. I alsoadmire the soloists who are strong, but lyricalenough to spin out lines of Armenian chantwithout wobbling out of control. For some rea-son neither my Onkyo player nor the familyBose would accept the digital coding on thisdisc, which played on the car stereo only.

GREENFIELD

KOZELUCH: Trios 3Trio 1790—CPO 555096—58 minutes

Given a name like Trio 1790, you can beassured of period instruments and little-known composers, and these veterans are intheir element completely with Kozeluch, aCzech admirer and rival of Mozart. I reviewedKozeluch’s so-called Scottish Trios by thesame ensemble (N/D 2018), finding them tobe a fine stylistic bridge between Mozart andBeethoven; the works here are in the samemold.

Published in the 1780s (when such workswere still a bit of a novelty), Trio in A (P.IX:8) isa fairly standard Viennese School piece. Allthree musicians are up to it, but HaroldHoeren stands out with his robust tone on thefortepiano, which is hardly usual for thisinstrument. In Trio in C minor (P.IX:11), he isperhaps a bit too dominant, though that is alsohow pieces like this were often written in thoseearly days—keyboard-heavy, with strings inthe background. This is a graceful composi-tion, stylistically impressive, especially theclosing Allegro. Based on the trios, he was per-haps average at melody, and better than that atflair, though there are no nuances or dynamicsurprises to speak of.

In fact, by the time a third trio comesalong, the one in F (P.IX:12), you already knowwhat to expect: affable chamber music withkeyboard fireworks. Kozeluch was popular inhis day, and it’s easy to hear why. If Trio 1790intends to go further, I’m hoping that theCzech has a curve ball of some sort.

DUTTERER

KRIEGER: Harpsichord & Organ PiecesAlejandro Casal

Brilliant 95873 [2CD] 136 minutes

This is Johann Krieger (1652-1735), not hismore prolific older brother, Johann PhilippKrieger (1649-1725). He published his twobooks of keyboard music in 1697 and 1699.Book 1 is mostly six partitas (dance suites),plus a handful of extra dances. Book 2 hasricercars, fugues, toccatas, and preludes. Thelast two pieces in the 1699 book are the mostambitious: a nine-minute chaconne as a con-tinuous variation set, and an organ toccatawith an athletic pedal part.

As one might expect from turn-of-the-cen-tury music in Germany, this sounds likePachelbel or Kuhnau. (Krieger and Pachelbelhad the same teacher.) Krieger’s signature ticis to use chromatic scales as melodies.

Casal plays fittingly and cleanly. To breakup the sameness of pieces in Book 2, heswitches to organ for about half of them andplays it with a similar efficiency. This organ ina Portuguese cathedral has Herbert Kellner’stemperament from the 1970s. Casal’s harpsi-chord temperament for everything else is aregular 1/6 comma, but adjusting the sharpsand flats as needed.

In Book 1 he sometimes pauses so longbetween phrases that the meter becomesambiguous, perhaps in an attempt to make themusic more artful than it is. The Corrente ofPartita 3 should flow in a more obvious dancemeter. My body wants it to flow as a simpledance without any interruptions. Overall,though, this is a minor complaint, and I didn’tnotice any of those extra-long pauses happen-ing in Book 2.

We have heard Alejandro Casal before, inhis set of pieces by the likewise neglectedSebastian Albero (Sept/Oct 2016). I don’tknow of any competition in Krieger’s keyboardmusic, except for one fugue that Edward Par-mentier recorded (Wildboar 9202, May/June1999: 177).

LEHMAN


KUHNAU: Sacred Pieces 5Gott Sei mir Gnädig; Ich Habe Lust Abzuschei-den; Erschrick, Mein Herz; Weicht, ihr Sorgen;Singet dem HerrnOpella Musica; Camerata Lipsiensis/ GregorMeyer—CPO 555 260—68 minutes

Johann Kuhnau (1660-1722) is probably bestknown today as JS Bach’s predecessor asThomaskantor in Leipzig, a position Kuhnauheld for 21 years. His obituary suggests a volu-minous output of original sacred vocal compo-sitions, possibly more numerous than Bach’s,but only a small fraction of them—a little over30 pieces—survive today. Some of them haveconflicting attributions. This is the fifth volumein a project to record all of his sacred vocalworks.

In his notes to this recording, MichaelMaul points out that Kuhnau holds an impor-tant place as a transitional figure. He inheritsthe tradition of the early baroque sacred con-certo with its free- flowing, multi-sectionalstructure oscillating between declamatory andlyrical delivery by solo voices and ensembleswith instrumental accompaniment. He alsoleft examples of cantatas after the model ofErdmann Neumeister, whose cantata text cycleGeistliche Cantaten Statt einer Kirchen-Musicwas first published in 1702 and advanced anideal of a multi-movement work with chorus-es, recitatives, arias, and chorales. These fivepieces represent different stages in the transi-tion.

Gott Sei mir Gnädig, a penitential workbased on Psalm 51, displays the heritage of thesacred concerto; Ich Habe Lust Abzuscheidenhas the ingredients of a Neumeister cantata.After an opening instrumental sonata,Erschrick, Mein Herz consists of a series ofalternating recitatives and arias for solo bassfollowed by a chorus. Weicht, ihr Sorgen has asimilar sequence of recitatives and arias forsolo soprano, but no opening instrumentalmovement or concluding chorus. Singet demHerrn is an exuberant setting of Psalm 98 witha pair of trumpets and timpani in addition tothe strings and continuo. The final movementis a concerto-like composite of solos and cho-ruses. Kuhnau’s recitatives tend to have astronger melodic profile than what we normal-ly associate with secco recitatives of the 18thCentury.

The recording was made at St George’schurch in Rötha using the 1721 Gottfried Sil-bermann organ. Kuhnau himself took part in

the inauguration of this instrument the yearbefore he died. It has a more substantial tonethan most of the cabinet organs often used forbaroque continuo. The vocal ensemble OpellaMusica was founded in 2011, and here theysing one voice to a part with instrumentalistsof Camerata Lipsiensis. These are highly pol-ished and poised performances with few if anyrough edges. The lowest bass notes areuncomfortably low for the singer and barelyaudible, but apart from that one cannot findserious technical fault with these performanc-es.

Three earlier recordings in this series havebeen reviewed. Lindsay Koob reviewed thefirst volume (CPO 777 868; M/J 2015), PeterLoewen volumes 2 and 4 (555 020; J/A 2017 &555 190; J/A 2019). It is reassuring to be somuch in agreement with my colleagues as tothe worthiness of the music and the beauty ofthe performances.

GATENS

KUNC: Quartet 14; LHOTKA: Elegy & Scherzo; SLAVENSKI: Quartet 4Sebastian Quartet—CPO 555 297—56 minutes

There will be aficionados who see these com-posers’ names and grunt with recognition, butnot me. Still others might shrug and move on,but unfamiliar 20th Century chamber worksmake me curious. For that matter, the some-what psychedelic landscape on the cover is sounexpected, so incongruous really, that itmakes the whole package impossible toignore—which is a good thing.

The brother of soprano Zinka Milanov,Bozidar Kunc (1903-64) was a Croatian trans-plant to America. If Bartok is your limit inmodernism, not to worry; Kunc is on your sideof the line, and with his danceable rhythmsand colorful style he bears a superficial resem-blance to the Hungarian composer.

The 1931 Quartet in F is his only foray intothe genre, but it is a worthy one. Its swirlingCon molta vivacita is a charmer, and II is atearjerker in the manner of Shostakovich. III isas long as the two preceding movements com-bined; it is a tour-de-force of folk rhythmsblended with a European cosmopolitanism.It’s almost hard to believe that a quartet cansound so busy and orchestral.

Fran Lhotka (1883-1962), a pupil of Dvo-rak, moved to Croatia to make his mark there,above all as a teacher and as the composer ofthe 1935 ballet The Devil in the Village. The


1931 Elegy and Scherzo is an overlooked gem.The elegy half is a melodic, slightly shrill 8-minute movement that reminds me a bit ofJanacek or Pavel Haas. Melodramatic buteffective, it would lend itself to a movie—notfrom the 30s, but perhaps the European cine-ma of the 50s. The vaguely oriental Scherzo isa pizzicato showcase, and its mood swingskeep it interesting.

Josip Stolcer Slavenski (1896-1955) is not aname you hear every day (though our Editorhas Slavenski LPs). His fourth and final quartetdates from 1938, and at 15 minutes it is all toobrief. The movements are distinct, and hisideas are fresh. It is ethnic, creative, and mys-teriously joyful, and I am again reminded ofHaas. The ending is so abrupt that I can’t helpgoing back to it to savor it.

Founded in 1982 as the Zagreb YouthMusic Quartet, the Sebastian Quartet has ren-dered Croatian music a major service with thisalbum. These artists play these pieces like theyare eminent parts of classical repertoire, whichis a compliment that the composers deserve.The liner notes are average, and so is thesound quality, but the music speaks for itself.

DUTTERER

KURTAG: Solo Cello Pieces; see KODALY

LANG: Prisoner of the StateJulie Mathevet (Assistant), Eric Owens (Jailer),Alan Oke (Governor), Jarrett Ott (Prisoner); Con-cert Chorale, New York Philharmonic/ Jaap VanZweden—Decca 32107—65 minutes

David Lang’s Prisoner of the State(1999) is arewriting of the text of Beethoven’s Fidelio toilluminate some of the subsidiary charactersthat Lang feels are underdeveloped: the feel-ings of the prisoners and their plight, the Jailer,Governor, his young assistant, and the prison-er himself. Machiavelli, Jeremy Bentham,Rousseau, and Hannah Arendt are quoted.Lang’s setting is tonal and not minimalist, thestyle he is most known for from his Bang on aCan, much faster Marina Marina days. Theoperas of John Adams come to mind, butLang’s work is simpler and more “operatic”, asin American operas of the 40s and 50s (JackBeeson, for example). His text wants to fill inwhat Beethoven left out, and music he mighthave written. The project is effective enough,but this update is clearly not more than anappendix in modern terms. The result is easyto follow, since these performers’ English and

their enunciation is flawless. Libretto andnotes are included.

GIMBEL

LA TOMBELLE: piecesFantasy; Impressions Marinales; Livre d’images;3-Cello Suite; Piano Quartet; 5 choral pieces; 10songs; Andante espressivo; Cello Sonata; Fan-taisie-ballade for HarpHannes Minnaar, David Violi, Jeff Cohen, PascalAmoyel, p; François Salque, Hermine Horiot,Adrien Bellom, Pauline Buet, Emanuelle Ber-trand, vc; Guillaume Chilemme, v ; MarieChilemme, va; Yann Beuron, t; Nabila Chajai, hp;Flemish Radio Choir, Brussels Philharmonic/Herve Niquet—Bru Zane 38 [3CD] 200 minutes

This belongs to an extravagant, lavish series ofbooks-with-discs hailing little-known Frenchcomposers of the late 19th Century. The pres-entation really is stupendous: essays on all themusic and on the composer in French andEnglish, many finely reproduced engravingsand photographs, texts and translations—allbound up in an actual book to which the mereCDs seem almost an afterthought. If that’swhat passes for neglect in France, count me in.

Fernand de la Tombelle seems to havebeen close to many French musicians of thelate 19th Century, as well as some outside ofFrance; but his enthusiasm for them appearsnot often to have been reciprocated, which isan honest pity. The music here is extremelywide-ranging: piano and orchestra, a couple oforchestral suites, choir and solo voice, a suitefor three cellos, a cello sonata, a piano quartet,a largish work for solo harp.

The man had range, and at his best used itsparingly and well. That three-cello suite, forexample, does not overreach itself, but sits justwhere such a work ought to, fetching andcharming and, in the finale, sufficiently virtu-osic to make listeners sit up and take notice. Inthe same way, the cello sonata (played here byEmanuelle Bertrand and Pascal Amoyel, as isthe Andante espressivo preceding it) isdesigned so as to be brilliant without gaudi-ness. The 10 melodies (6 songs with LaTombelle’s own verse, plus 4 additional ones)are most capably sung by Yann Beuron, JeffCohen accompanying. The choral works fareless well, but I can’t help but love the opening`Le Furet’ (The Ferret), where the choirmetaphorically casts its eyes about avidlyseeking the little furry beast.

The orchestral music is a mixed bag. TheFantasy with piano is all right, but the suites


following it seem wan, washed-out—”atmos-pheric” music with insufficient air. This isdespite every care having been taken to supplyvariety and light; I admire the delicate writingfor woodwind, including the English horn inImpressions Marinales, but it still doesn’tmake for really robust music.

The piano quartet is actually one of thestronger things here, music that can stand upwell to what French competition there is (atleast, before Fauré); and the harp Fantasy-bal-lade is for once worthy of that overwroughttitle. Performances are first-rate, some trou-bles in the choir and in the orchestra apart;and in general the enterprise stands up well tothe absurd standard set by its externals.

THOMSON

LEHAR: ClocloSieglinde Feldhofer (Cloclo), Gerd Vogel (Sev-erin), Daniel Jenz (Maxime), Suzanna Hirschler(Melousine); Lehar Festival/ Marius Burkert


Cloclo is a rarely performed Lehar operettathat is an absolute treat. The music is wonder-ful, and the racy comic story is entertaining ifsomewhat far-fetched. Cloclo is a Paris dancerwho is visited by Severin Cornichon, themayor of a small town. Cloclo tells him thatshe is in need of money and has already sent aletter to his home asking for the money. Corni-chon tries to prevent his wife Melousine fromseeing the letter, which is addressed to “MyDear Daddy”. But she does see it, reads it, andthinks that Cloclo is a little girl and possibly anillegitimate child of her husband. She isthrilled to have this unexpected addition toher family, since she and Severin are childless.Melousine happily invites Cloclo to theirhome.

Cloclo is in a hurry to leave Paris, becauseshe is about to be arrested for slapping apoliceman. Surprised to see Cloclo in hishouse (he thinks he has seen a ghost) Severinfumbles an introduction, but Melousineenjoys having Cloclo there and calls herBabette. Cloclo is quickly bored with small-town life, but her ex-boyfriend Maxime arrivesto profess his love. During a presentation cere-mony for the mayor, the police enter his houseand arrest Cloclo. To diffuse the scandal,Melousine accepts that her husband has onlystrayed and she will forgive him. The mayorreprieves Cloclo for the slapping incident, andCloclo and Maxime become engaged.

Cloclo was written in a very busy period for

Lehar. He was in the midst of writing theoperetta Libellentanz (1923) and the Berlinpremiere of Frasquita (1924), leaving only amonth to complete the score before theplanned March 1924 Vienna premiere. TheCloclo character was fashioned after the flap-pers of the 1920s who lived a “free” life. Theoperetta was a success and won rave reviewsfrom the critics. But later and internationalproductions were not well received, possiblyowing to the racy storyline. The operetta van-ished until 1971, when it was presented inDresden.

The show has one of Lehar’s best contem-porary scores with shimmys, two-steps, andblues numbers—song styles you normallywould not attribute to Lehar. There are also theballads and waltzes, but the whole show isdesigned to be up-to-date, with the latestmusical styles. Cloclo points up his adaptabili-ty, craft, and showmanship. Based on thiswholly enjoyable performance, it should berevived more often.

Sieglinde Feldhofer has appeared in manyof these Lehar Festival recordings, and shecontinues to improve. Her voice is beautifuland she is a good actress. She knows themeaning of the songs and performs them withconviction. Gerd Vogel is an enjoyable, bum-bling Severin, and Daniel Jenz an affableMaxime with a handsome tenor. The rest ofthe cast is skilled; orchestra and chorus areexcellent. Marius Burkert leads a spirited per-formance. The recording is better than insome other shows from this source. The stagysound balance and miking has been correctedand stage noise reduced to the point where,except for audience applause, this could be astudio performance. There is an interestingGerman and English booklet describing theshow’s history. It includes performer biogra-phies. There is no libretto.

FISCH

LEMAITRE: Orange & Yellow II; Thot; Stances; Mnaidra, Plus Haut

Dan Barrett, Stanislav Orlovsky, vc; MichiyoSuzuki, cl; Jed Distler, p

New Focus 276—44 minutes

Dominique Lemaitre (b. 1953) is new to meand apparently to ARG as well. He studiedmusicology at the University of Rouen andcomposition with Jacques Petit. He has writtenmore than 100 works and has a fine reputationand several recordings already.

Brace yourself! This recording is extrava-


gant in sound. The echoes suggest moreinstruments than are actually playing. It openswith a transcription of a work originally writ-ten for two violas in 2009, here heard with twocellos, written in homage to Morton Feldman.There are lots of sound effects and suggestionsthat we might be going somewhere, butthough the cellos chase each other about andjoin each other in varied ways, they are reallyout there to surprise and shock us, not to playmusic.

A clarinet enters for Thot, notably pure insound, then joined by cello harmonics, etc.The sound is fascinating. The world comes infrom outer space. Dan Barrett is left alone byhimself in Mnaidra, where he plays andplucks. There are lots of sonorous harmonicsand whispers and exclamations, but we’regoing nowhere. In comes a piano, moving thecello away from the microphone for Stances.Here we become engulfed in “pitch reservoirs”,as the liner notes inform us, for nearly 14 min-utes. It’s all sound, though no fury; harmonics,scalar passages, harmonic discrepancies, andoccasional noses in the grindstone, inspiringcriticism but not real enjoyment. Finally, we’reback to lonely cello in Plus Haut, a 10-minutepiece that tries first to put us to sleep, thenshocks us awake. Finally it deafens us with anendless high-register note, after which we areout of danger, I hope!

If this seems less than positive, don’t letme discourage you from it just because I foundit more sonoric than musical. It is recordedwith clarity and played with conviction. Per-haps it is significant that it is presented byInternational Street Cannibals.

D MOORE

LESCHETIZKY: Piano PiecesTobias Bigger—BIS 2518—59 minutes

Theodor Leschetizky (1830-1915) is rarelyplayed today. Mr Bigger found his musicthrough an interest in Ignaz Friedman, a pupilof Leschetizky. As he started to learn aboutLeschetizky’s students, he released a 2009recording and learned through the GermanLeschetizky Society about the “shadowy exis-tence” of his works. The liner notes tell us thatthis composer started teaching at 14 years old,and was mostly known as a skilled teacher anddirector of the piano faculty of the St Peters-burg Conservatory. He had many students,which may have led to his composition careertaking a back seat.

Yet there are many “treasures” here—as

Bigger describes them. The playing capturesthe romantic language of these works anddoes not compromise on the technicaldemands. 2 Piano Pieces are buttery smoothwith lovely cantabile playing. The 4 Pieces aresentimental.

The pianist brings out the different charac-ter of each piece. Some are more fluffy, such asthe Pastels. All are well played. These pieceswould also make excellent teaching tools.

KANG

LHOTKA: Elegy & Scherzo; see KUNC

LIGETI: Etudes; Horn TrioAdam Unsworth, hn; Eric Huebner, p; YukiNumata, v—New Focus 269—64 minutes

These transcendental etudes (1985-94) outdohis compatriot Liszt’s in modern terms. The 14studies blow the mind and fingers to the fullestpossible extent, but are thrilling to listen toindividually or as a sets (two books). They arefilled with dizzying polyrhythms and touchesof jazz, breathtaking scales, folk-like frag-ments, and sumptuous harmonies. Mr Huebn-er shows impeccable technique and musicali-ty.

The Horn Trio (1982), inspired by theBrahms, continues the hair-raising piano writ-ing of the etudes and adds challenging partsfor the violin and horn, especially the latter,which can become trying in Mr Unsworth’sgrappling. The final `Lament’ brings the pieceto a mournful close.

There are now a number of recordings ofthe etudes, so check couplings.

GIMBEL

LIGETI: Solo Cello Sonata; see KODALY

LISZT: Hungarian Rhapsodies (15)Martin Ivanov, p

Gramola 99222 [2CD] 114 minutes

If you are thrilled by anything Liszt wrote forpiano, here is one of the rare recordings of allthe Hungarian Rhapsodies. Well, one needs toexplain that these were published as a set in1854. Many years later—about 30 years later, inthe 1880s—he wrote 4 more. Mr Ivanov saysthey are a different animal and they bore him.Their presence here would also be “jarring”,says the writer of the notes. Their style is most-ly too different.

Well, I have never been a Liszt Com-pleatist, and I always prefer recitals with piecesfrom various Liszt collections. I have never had


the patience to listen attentively—to reallyhear—all the Hungarian Rhapsodies on thepiano. 6 of them were orchestrated, and thoseare very pleasant. I have a piano recording of 8of them by Balint Vazsonyi that I still treasure.It’s a bit rough, not over-refined but quite folk-like; and it’s 55 minutes. It has all the ones thatI like on the piano, and stirringly played. But Ihave no idea whether you can find that veryHungarian recording these days. (It was issuedon CD, but in 1988.) Other pianists haverecorded the rhapsodies, and I think most ofthem are rather generic—general musicality.They are even sometimes genuinely Lisztian,but almost never very Hungarian. I have atleast four other recordings of individual rhap-sodies on the piano; all are better than here.

So you have here the entire first set of Hun-garian Rhapsodies (and you don’t need theother 4), and they are expertly played; but theybecome tiresome after a while, and they don’thave much Hungarian flavor. (I made chickenpaprikas twice this week; I know Hungarianflavors! I have also been to Budapest a fewtimes and been a friend and neighbor to Hun-garian immigrants. I say this only because areader might reasonably question whether Ihave any idea what I am talking about!)

By the way, No. 2 is the best known. Also,the numbering of the orchestral versions doesnot always match the piano ones. That had meconfused for years! Orchestral 1 is piano 14, 2is 2, 3 is 6 on the piano, 4 is 12, 5 is 5, and 6 is 9.All of them are very effective either way.

VROON

LISZT: Piano Transcriptions from Donizetti, Lassen, Mendelssohn, Meyerbeer, Weber

Andrey Ivanov—Naxos 574149—81 minutes

This is Volume 55 of Naxos’s complete editionof Liszt’s piano music and includes the debutof Ivanov.

With Liszt there is no faking it. You eitherhave the technique and the guts to go with it oryou don’t. Not all of these transcriptionsrequire technical acrobatics. The most inter-esting of them is by Eduard Lassen (1830-1904), a Belgian-Danish composer who wroteincidental music to Hebbel’s Nibelungen andGoethe’s Faust, both of which Liszt combinesinto the 25 minutes of music here. Fascinatingstuff, and clearly influenced in part by Wagner.Some of that might be from Liszt’s treatment,some a result of Lassen’s many years as con-ductor in Weimar.

Two of the tracks are fragments. The

Meyerbeer lasts a mere 15 seconds. The bal-ance is of more substance, though that wouldreally depend on whether one likes Liszt ornot. The Midsummer Night’s Dream selectionis a spellbinding amalgam of the WeddingMarch and fragments of the Fairies Dance.

This is probably of greatest interest to thededicated Lisztian, but Ivanov is well up to thetask and supplies the requisite thrills andchills. The timing is generous, and KeithAnderson’s notes are good but in minusculetype.

BECKER

LULLY: Armide 1778Veronique Gens (Armide), Reinoud Van Meche-len (Renaud), Tassis Christoyannis (Hidraot, LaHaine), Chantal Santon Jeffery (Phenice,Lucinde); Le Concert Spirituel/ Herve Niquet


This interesting recording is the 1778 versionof Lully’s 1686 opera. About the time of FrenchRevolution there was a reconsideration of theolder French baroque operas. AlthoughArmide was still occasionally performed, amajor revision was considered necessary toappeal to “modern” audiences. For the 1778version, the opera was updated by severalcomposers. Interpolations and ballets wereadded, the orchestrations were expanded for alarger orchestra, the harpsichord was eliminat-ed, and the spoken recitatives were sung. Withall the effort made to update the opera, the1778 version was never performed—thisrecording is its premiere.

The basic plot, based on Tasso’sGerusalamme Liberata, concerns the love ofArmide, an enchantress, for the Crusaderknight Renaud. Armide lives in a magic palacein Damascus. Renaud has invaded the city. Atfirst Armide hates Renaud and attempts to killhim, but on seeing him falls in love. Renaud isnot interested. Armide tries to rid herself ofromantic feelings by consulting with Hades,who will tear out her heart. Armide relents andhas herself and Renaud transported by herfairy retinue to her palace. Hades predicts adreadful fate for her. Renaud is rescued by hiscohorts Ubalde and the Danish Knight afterthey have fought off various demons and drag-ons to gain entry to the palace. Armide pro-fesses her love for Renaud and tries to bar thethree soldiers from leaving, but Renaud willhave none of it. After they leave, Armide ordersher palace destroyed by the demons as shevanishes in the air.


There is really no standardized version ofLully’s 1686 score. By the time of the 1778makeover, the score and libretto had beenaltered several times with other Lully music orother composer interpolations owing to per-formers’ requirements and audience tastes.18th Century audiences expected spectacularsets, unusual characters, and ballets. As thiswas also Lully’s last opera (he died in 1686)and he left the fifth act incomplete, other com-posers and stage directors could take libertieswith the score. The staging gave designersample opportunity to show off their skills.

In modern recordings conductors or direc-tors have also made various additions, cuts,and alterations to the opera. John Barker sum-marized four of the recordings (S/O 2017),including a then-new recording (Aparte 135)led by Christophe Rousset.

Unlike other Palazetto Bru Zane sponsoredrecordings, the lavishly illustrated bookletdoesn’t supply information on the originalLully score or alterations, or where they occur.

Mr Barker liked the Rousset with its excel-lent cast and emphatic performances.Although the singing and acting in this newversion are very good, this is not as good as theRousset performance, which I acquired basedon Mr Barker’s recommendation. The addedballets are a pleasant diversion, and the largerorchestra offers more color than in otherrecordings.

FISCH

MACMILLAN: Organ PiecesKenga & Krushqve; Gaudeamus in Loci Pace; StAndrew’s Suite; Offertorium; Tombeau deGeorges Rouault; White Note Paraphrase; Medi-tation; Wedding Introit; Toccata

Stephen Farr—Resonus 10266—57 minutes

James MacMillan is primarily known for hiswonderful choral writing, but his organ piecesoccupy a small but significant part of his out-put. He has written for the organ all throughhis career, from early experiments with tradi-tional Scottish music to substantial virtuosicfantasias from the past decade. Many of thesepieces were written as gifts for family andfriends, or on commission for specific occa-sions such as weddings. The style is a mixtureof Bachian contrapuntal rigor and the lan-guage and color of Messiaen, with infusions ofplainsong and Scottish folk song.

The most substantial work is the homageto Rouault, written for Thomas Trotter in 2003.This spiky, virtuosic piece takes its inspiration

from the dark-hued and basest elements ofcontemporary society as portrayed by Rouault:“the work alludes to prostitutes, clowns, andindignant judges, amidst a pantomime ofother characters and personalities, all seem-ingly longing for the presence of Christ tobring order to the chaos”. Of particular use toorganists is the 2019 Toccata, based on theplainsong Pange lingua.

Farr delivers clean, business-like perform-ances on the 1992 4-manual, 57-stop Rieggerorgan in St Giles Cathedral, Edinburgh. Noteson the music, photos, and specification.

DELCAMP

MAHLER: Das Lied von der ErdeSarah Connolly, mz; Robert Dean Smith, t; BerlinRadio/ Vladimir Jurowski

Pentatone 5186 760 [SACD] 63 minutes

Lucile Richardot, mz; Yves Saelens, t; Het Collec-tief/ Reinbert DeLeeuw—Alpha 633—61 minutes

:With so many fine recordings of what Bern-stein called “the greatest of Mahler sym-phonies” you have lots of choices. Do you wanttenor and mezzo soloists or tenor and baritoneor one soloist for all six movements? Do youwant the full orchestral version as Mahlerwrote it or a chamber ensemble version thatmakes it playable by smaller groups?

I always return to my first discovery of thisamazing work, Bernstein’s riveting recordingwith James King and Dietrich Fischer-Dieskau.I also turn to Klemperer’s recording with FritzWunderlich and Christa Ludwig.

Here are two of the latest entries, both withtenor and mezzo, but one with full orchestraand one with chamber ensemble. I don’t reallyknow why anyone would want a chamber ver-sion of the work.

Right from the start you notice the paleentrance in `Das Trinklied’ with just one hornrather than a robust full section. You hearsome of the key solo instruments and missothers. You hear a piano. The differences aremost pronounced in the robust songs assignedto the tenor. In the quieter songs and the longfinal `Abschied’ those differences are less pro-nounced.

Reinbert DeLeeuw used Schoenberg’s1918 chamber version and added instruments;the most obvious is a contrabassoon in `DerAbschied’. This was his last recording; he diedtwo months later. The tenor, Saalens, sounds abit coarse, but Richardot’s lighter-voicedmezzo is quite lovely and ethereal. Her sensi-tive singing is the best thing about this produc-


tion. The smaller performing forces create aquieter and more intimate ambiance much ofthe time but still rises to some forcefulnesswhen needed. This version allowed me listenin a new way to the work—but I won’t listen toit again.

When I turned to Vladimir Jurowski’s per-formance at the Philharmonie in Berlin onOctober 14, 2018 I was surprised at first to hearwhat seemed like a muted performance withsoloists sounding offstage; it was like seeing aphotograph that had faded from being left intoo much sunlight. It took me a while to adjustto the sound, and I soon came to appreciateJurowski’s carefully articulated reading. Thefinely shaped details come through clearly inexceptionally good SACD sound. It would behard to find better recorded orchestral playingthan this. The sound is not only warmly natu-ral; it is vivid and beautifully clear. Best of all itgives a sense that I was at the concert withsingers and principal players creating a soniclandscape. This is one of the best of the manyrecordings I’ve heard of Das Lied von der Erde.

The singers are terrific. Any tenor faces achallenge with the difficult high tessitura of`Das Trinklied’. Robert Dean Smith, who hastriumphed in Wagnerian roles, is able to offer aclear and unforced delivery that has sweetnessas well as steel. Best of all is Sarah Connolly, ina performance of gripping poignancy. Herreading rates as one of the best, joining ChristaLudwig and Janet Baker. The crystal-clear inti-macy of the sound makes the gentle fading of“Ewig” at the end of `Der Abschied’ very pow-erful.

The liner notes include Jurowski’s philo-sophical understanding of the work, remark-ing that conducting it was shaped by his con-viction that Mahler found a new “lyrical” ap-proach that shares something with Schubert incontrast with the “heroic” path of Beethoven.Jörg Peter Urbach offers a further illuminatingessay about the work. Texts and translationsare included, but fail to indicate Mahler’s ad-aptation of Bethge’s texts and completely omitthe final section of the text to `Der Abschied’that follows the long orchestral passage.

R MOORE

MAHLER: Symphony 3Oslo Philharmonic/ Mariss Jansons

Simax 1272 [2CD] 95:35

We reviewed the same conductor’s laterrecording of this symphony with London’sRoyal Philharmonic (Nov/Dec 2011), and we

rather liked it ; but in general none of ourreviewers have thought of Jansons as one ofthe best conductors of anything—let aloneMahler. And this is probably my favoriteMahler symphony; I am inclined to play itevery year on my birthday.

This 2001 recording seems rather rigid andon the fast side (it is around 4 minutes fasterthan the RPO recording, and many recordingsof this symphony take 100 minutes). But it isthe rigidity that I cannot stand. There is aworld of feeling in any Mahler symphony; butthis conductor is, as usual, determined not tolet feelings enter into it. Why bother withsomething like this when we already have somany excellent recordings?

VROON

MAHLER: Symphony 4Turku Philharmonic/ Leif Segerstam

Alba 454—61:40

This is Mr Segerstam’s second recording of thissymphony. The first was in the 1990s with theDanish Radio Orchestra on Chandos (muchfavored in our Overview in July/Aug 2001). Iliked the sound of that one much better. Thisone sounds dry, with no sense of place orreverberation. I have been to Turku, but Imostly remember the cathedral, which hasabundant reverberation!

In interpretation I hear essentially no dif-ference between the Chandos and the Alba.The timing of III listed on the cover of this oneis ridiculous; it’s actually 8 minutes faster(21:39, not 29:50). Still, Segerstam is amongthe slowest.

The singer in IV is Essi Luttinen; I don’tlike her at all. There is something hard and so-phisticated about her that doesn’t suit the text.

If you can find the Chandos you will get hiswarm, sensitive reading in better sound thanthis. The orchestra even sounds fuller, but itmay not be bigger; the Turku Philharmonic is74 players. Their strings don’t sound fullenough for me, and the sound is also a bit dis-tant. Olli Mustonen has just replaced Seger-stam as their Artistic Director—a miserablesetback for the orchestra, which is the oldest inFinland.

VROON

MAHLER: Symphony 7Lille Orchestra/ Alexandre Bloch


This is the first recording of this work that I


have come across with a French orchestra andconductor. Lille is found in the north of Franceon the Belgian border. Alexandre Bloch hasbeen its orchestra’s music director since 2016.This concert recording is from what appears tobe a Mahler cycle. It raises the question ofwhat happens when Mahler is asked to take ona French character. The answer is entertaining.

The opening is very deliberate, with pro-nounced downbeats and an eloquent tenortuba, though balances are a bit odd when thetrombones are lost in the texture of their firstbig entrance. More obvious is that the violinsare on the bright side, woodwind solos are too,and the march rhythms are cleanly defined.The opening after the eloquent tenor tuba solois stately, bold, and slightly aggressive, withclear phrasing and well-marked rhythms anddownbeats. Before the first slow, yearning pas-sage, the violins seem to be in a dialog with therest of the orchestra. `Moonlight’ is slow andstill marked in style, but it soon picks up like amood change. The trumpet fanfares are welldone, and the passage with horns and trom-bones is bold and eloquent. Through all this,Bloch reveals himself to be a bit of a prober,peeking into corners to hear what he can find.Some of it seems exaggerated but well withinlimits; it makes the music sound somewhatmodern.

The horns, one seeming to be placed closeand the other distant, are very good in II, andthe middle strings do well with their lyricalpassages. The march character remains strong,and an effective mood change occurs over thewalking low strings. In this performance, thebassoons play a prominent accompanimentrole to their woodwind brethren to good effect,especially in their passage with English hornnear the end.

Until now, this is a good solid perform-ance, French in character with clarity, brightstrings and woodwinds, and clean rhythms.Where it takes off is in what may be the bestreading of the Scherzo that I have heard. Thismovement is often described as “spooky”. Inthis reading that term is well earned. TheFrench characteristics noted above plus thesilences between notes so expressivelyobserved and the notes themselves so clearlyarticulated, take us from spooky to startlingand scary—effects I do not recall hearing any-where else to this extent. Gestures are sudden,those bright strings shriek with fright, and thesneaky stuff works very well—for instance, thegreat bassoon pops near the end. Bloch pullsout all the stops in this movement with bright-

ly lit, bold urgency; and the close recordinghelps.

Nachtmusik II sometimes seems long tome, but not so here, partly but not entirelybecause of the fairly fast tempo. To an extent, itcarries over some of Bloch’s approach to theScherzo. Again, everything is clear, bold, andinteresting. Some parts are mysterious, thelyrical tune is warm and rich in tone, and thebold horn supplies excellent contrast. Thereare some effective exaggerations here andthere, particularly in some nice swells. Thepassage with harp arpeggios over quiet stringsis effective and surprising, and the agitatedmusic is really agitated. This is not always“night music” per se, but the energy and vari-ety clear away the sense of ennui I sometimeshear in this movement.

Ennui is the last word one would apply tothe finale, which is a real tour de force. Thedrums in the opening are as prominent as Ihave heard them, and they will be unusuallyprominent later on, always to good effect. Theopening tempo is fast and furious; what fol-lows is fast and bold with solos clearly definedwith a lot of personality. The characterchanges are very clean, as Bloch treats thewhole piece like theater, throwing in every-thing but the proverbial kitchen sink, all ingreat fun, and those prominent drums help.Speaking of theater—or in this case, the the-atrical—he slows way down toward the end,allowing the drums, brass, and bells to have afield day. Then he picks the tempo right backup, turning on a dime and not for the firsttime. This finale is supposed to be exhilarat-ing, and it sure is here.

In my review last issue of Osmo Vanska’srecording of this work, I wrote that I had earlydoubts about the performance but liked it bet-ter the second time. That applies here, too. Theclose, cleanly defined recording fits the inter-pretation very well.

HECHT

MANEN: Violin Concerto 3; Symphony 2Ana Maria Valderrama, Barcelona Symphony/Darrell Ang—Naxos 574274 [2CD] 90 minutes

Joan Manen is not nearly as well known asAlbeniz, Granados, or Falla; but in the early20th Century he was a formidable force inSpanish music. He deserves to be revived, andthis Naxos recording is welcome. We get twoepic works, a violin concerto and a symphony,both scored for large orchestra and playedwith passion and conviction, if not a great deal


of refinement. Mena was not as aggressivelySpanish as his better known compatriots, butthese splashy, large-scale works have Iberiansoul and sensibility.

Mena was a violinist, who gave over 4000concerts and was the first to record theBeethoven Violin Concerto. Violin Concerto 3from 1940 is full of sensuous tunes for thesoloist. Manen was a full-throated romantic,and this work shows it. It is played with soar-ing, uninhibited passion by Ana Maria Valder-rama, who is definitely a violinist to watch.There is a generous amount of ravishing slowmusic, but the finale, a tour-de-force that is themost uninhibitedly Spanish section, offersbracing contrast. The ending, with its frantical-ly repeated modal chords, is an exciting dashto the finish, a final workout for the soloist.Symphony 2 is more tense and suspenseful,full of struggle and contrast, making for a per-fect pairing.

SULLIVAN

MANTYJARVI: Choral PiecesAve Maria; Stuttgart Psalms; Benedic Anima meaDominio; Pulchra es; Trinity Service; O MagnumMysterium

Trinity College Choir/ Stephen LaytonHyperion 68266—71 minutes

One of the pleasures of reviewing for ARG iscoming across composers I have never heardof and finding interesting and engaging music.Such is the case with Jaako Mantyjarvi, aFinnish composer who has written mainlychoral works, both sacred and secular. He hashad several commissions from groups such asChanticleer, the King’s Singers, the Cork Inter-national Choral Festival, the World Sympo-sium on Choral Music, and for the 700thanniversary of Turku Cathedral. He describeshimself as an eclectic traditionalist who, as anactive choral singer, has gained understnadingof choral writing. “The choir is the instrumentthat I know from the inside—my harmoniclanguage is mainly very sonorous, not tonalbut largely consonance-driven. I do use effectsand other contemporary means as required forthe text or atmosphere at hand. I used to avoidsimple solutions but am less self-consciousabout that nowadays. A musical idea does notneed to be complex to be effective.”

The pieces on this program are sacred anddisplay a colorful and unique creative voice. Iparticularly like the Ave Maria, O MagnumMysterium, and the Trinity Service, a completesetting of Evensong written for the Trinity Col-

lege Choir: introit, responses, psalm chant,canticles, Lord’s Prayer, anthem, and finalresponses.

The longest and most complex pieces arethe Stuttgart Psalms, commissioned by theStuttgart Bach Academy in celebration ofMendelssohn’s 200th birthday. Mantyjarvi wasassigned three of the psalms set byMendelssohn in his Opus 78. The result is dra-matic, intense, and gritty settings, whichemploy a number of effects both traditionaland avant-garde. This is virtuosic choral writ-ing of the highest order and not for the averagechurch choir!

The Trinity Choir’s committed, musical,and convincing performances are superb inevery way and bring this vivid and strangelybeautiful music to life. Long and pretentiousnotes about the music with texts.

DELCAMP

MARGOLA: Mandolin & Guitar PiecesRaffaele La Ragione, mand; Gabriele Zannetti, g;Daniele Richiedei, v; Giacoma Ferrari, p


It’s common enough for a reviewer, listening tosome skilled-but-woefully-dated 20th Centuryepigone, to grumble that the music “mighthave been written in the 19th Century”. I’vedone it myself. This is the first time, though,that I’ve ever thought anything 20th Centurysounded as though it were written in the mid-18th. And yet that is the impression I get ofFranco Margola from this disc.

The works are mainly for mandolin or gui-tar, sometimes together, sometimes one pairedwith piano or violin; in a sort of mash-up at theend, written by violinist Daniele Richiedeiafter a piece by Margola, all four instrumentsappear at once. The harmonies are exceeding-ly simple and the figuration likewise, a bit likethe plucked-string equivalent of an Albertibass much of the time. The thing most obvi-ously setting this music apart from the rococoit closely resembles is that the harmonies,while locally straightforward, don’t always goquite where my ear predicts they will. Theyaren’t wildly divergent, just not what you’dexpect in a well-made pastiche, which thismusic (despite appearances) is not.

If it’s not pastiche, what is it? I’m honestlynot sure. It’s certainly pleasant, ear-ticklingstuff, calculated to engage your attention at alow level every so often, but otherwise almoststartlingly unobtrusive. Performances seem


expert, though the music is pretty undemand-ing.

THOMSON

MARTEAU: Quartet 1; Clarinet QuintetJean-Michel Charlier, cl; Isasi Quartet

CPO 555 129—70 minutes

Violinist and composer Henri Marteau (1874-1934) began life at a privileged crossroads oftwo great European cultures, a circumstancethat would develop as both a blessing and acurse. He grew up in Reims in northeastFrance, the son of a German mother from awealthy Dresden family close to Robert andClara Schumann and a French father, anindustrialist who served as president of thelocal Philharmonic Society. He studied in Pariswith the famous Belgian violinist HubertLeonard (1819-90); and he enjoyed early suc-cess performing the Bruch Concerto in Viennaand London and the Brahms Violin Concertoin New York. In 1900 (age 26), he became theviolin professor at the Geneva Conservatory,where he started a string quartet, established aconcert series, and brought in renowned musi-cians to perform.

Even as early 20th Century music began toupend tradition, Marteau continued to believedeeply in the string quartet. He required all hisstudents to attend his quartet class; and hewrote three quartets himself. The first one, inD-flat, seeks to elevate that dark and unfriend-ly key from peculiar occurrences in move-ments of Beethoven’s late quartets. He wasalso an enthusiast of variations. After invitingthe illustrious Meiningen Court Orchestraprincipal clarinet Richard Muhlfeld to Genevaand hearing him play the Mozart ClarinetQuartet, Marteau wrote his Clarinet Quartet inC minor. In both works Marteau draws on thebest of French and German late romanticism:Gallic elegance and Teutonic counterpoint.

Marteau’s ability to float between theFrench and German aesthetic meant little ingeo-political circles. In 1908, following thedeath of violin virtuoso Joseph Joachim,Marteau moved to Berlin to fulfill a promise tohis friend and take his place as violin professorat the Royal Prussian College of Music. WhenWorld War I broke out, Marteau declared hisallegiance to Germany; yet Prussian authori-ties saw only his surname. He lost his job andspent time in an internment camp until thepublicity of his situation reduced his punish-ment for being half-French to house arrest.After the war he moved to Sweden at the

request of the royal family, but later theWeimar Republic allowed him to return. Hedied in Lichtenberg, Bavaria; and today, theHof Symphony in Bavaria manages an interna-tional violin competition in his name.

In 2009, Catalan violinist Anna Bohigas,Japanese violinist Chikako Hosoda, Germanviolist Karsten Dobers, and French cellist GuyDanel, all residents of Belgium, founded theIsasi Quartet to record the complete quartetsof little known Spanish-German composerAndres Isasi (1890-1940). Here they aim tobring Marteau into the mainstream repertoire,presenting the rarely heard Quartet No. 1(1900) and enlisting Belgian National Orches-tra principal clarinet Jean-Michel Charlier toperform the Clarinet Quintet (1906).

The performances are excellent. The IsasiQuartet plays with equal parts grace, polish,and verve; and Charlier adds a warm, coveredtone, a silky legato, and nuanced phrasing. Allthe musicians emphasize French lightnessover German somberness; but they also alloweach work to speak for itself. The Quartet No. 1comes across as Marteau’s poetic farewell tothe 19th Century; and the Clarinet Quintet isan exploration of post-romantic soundscapeswhile keeping one foot in the past. The albumis an interesting snapshot of a confident com-poser carefully shaping his identity at a com-plex point in time.

HANUDEL

MARTUCCI: Cello Romances; see BRAHMS

MARX: 25 SongsKendra Colton, s; Laura Ward, p

Albany 1836—61 minutes

Joseph Marx (1882-1964) wrote a considerablevolume of music in various genres (except noopera), but was also active in Austria as animportant pedagogue, critic, and writer. In histaste and philosophy he was decidedly conser-vative and opposed to the serialists, who werecentered largely in Vienna. His songs, about150 in all, were mostly written in the few yearsafter 1908; they are with piano, but he alsoorchestrated about 20 of them. These pieceswere very popular in his day, but when Marxbranched out into other genres, his popularitywaned.

He is most remembered for his songs. Instyle they are similar to Wolf or Strauss, lushand opulently romantic. They are also oftendifficult, requiring singers (and pianists) withmore than amateur abilities. And they are


quite beautiful—certainly fine enough to beincluded more regularly on recitals. If I hadany general criticism, I would wish for morequick songs (like `Warnung’ or the cute `DieElfe’). Nonetheless, any lover of lieder with thecourage to step outside the standard repertoryshould sample Marx’s songs.

Kendra Colton, an American soprano whohas appeared widely here and abroad, teachesat Oberlin. She sounds splendid here—lovely,even tone with a perfectly controlled vibratoand wonderful high notes (often ranging to B-flat in pieces like `Serenata’ and `Hat dich dieLiebe Berührt’). She captures the romantictexts (many of them really over the top!) withconviction and sincerity. Some little songs like`Ständchen’ and `Selige Nacht’, which closethe recital, are the epitome of the romanticsong.

Special mention should be made of LauraWard, who tackles the often challenging pianoparts. The accompaniments themselves showlots of imagination, as in the pictorial writingin `Windräder’ or the light-heartedness of`Pierrot Dandy’. Generally speaking, thepianist has to be just as fine as the singer, andWard is excellent.

One curiosity and a complaint. The linernotes say this was recorded in 1999. Where hasit been all this time? And the complaint? Notexts; only English translations.

ALTHOUSE

MATTEIS: SuitesAlice Julien-Laferriere, v; Ground FloorHarmonia Mundi 916117—66 minutes

The release has the title “Il Genio Inglese”(The English Genius) and the subtitle, “NicolaMatteis, A Neapolitan in London”. The pro-gram also includes music by a few other com-posers in London at the time of the EnglishRestoration. After returning to the Britishthrone in 1660, King Charles II sought musi-cians of the highest order to rival the splendorof Louis XIV’s court. Violin virtuoso NicolaMatteis (d 1713) was among the musicianswho arrived from Italy in the 1670s followingthe marriage of the Modenese d’Este princessMaria Beatrice to Charles II’s younger brotherJames, Duke of York. Note that incorrectdates—of Matteis’s son, also named Nicola—are on the CD cover and in the booklet.

Matteis’s success helped to further estab-lish a high level of violin playing in England,where the instrument was still quite new. Asuite for guitar by Matteis is included in the

program, reflecting that “in Restoration Eng-land the guitar, rather than the lute, became afashionable instrument for proficient ama-teurs, owing once again to Nicola Matteis”.

One of my favorite musical forms is theground bass, and not only are there plenty ofthem here to enjoy but the term “ground” alsooffers the basis (pun intended) for the ensem-ble’s Ground Floor name. Their four veryexpert players (cello, theorbo, harp, harpsi-chord) are joined by violinist Alice Julien-Laferriere. The repertoire, which includes fourpieces by Johann Schop, Matthew Locke, Got-tfried Finger, and John Banister, is very wellchosen and performed.

The program opens with Schop’s`Lachrime Pavane’. Solo theorbo leads off in abeautiful tone that is pensive yet welcomingand then the violin takes over the top voice,singing with eloquence, stretching the pitch,pausing, speeding up, slowing down, eager tobe understood. The first of six pieces by Mat-teis follows: `Ground in D per far la mano’, alively and engaging violin showpiece. Varieddance movements and expressive gestures inthe suites include shimmering rapid filigree,solemn weeping, breathless exhilaratingspeed, and bold declamation. The players’spot-on ensemble, though deceptively effort-less, denotes complete command of the style.

C MOORE

MAYER: Symphonies 1+2North German Radio/ Leo McFall


The works of German composer Emilie Mayer(1812-83) apparently are just beginning to sur-face. In her own time she was subjected to thekind of prejudice that is strongly protestedtoday; one 19th-Century reviewer wrote thefollowing back-handed compliment: “That stillother abilities and a more elevated intellect arenecessary in order to probe the deepest mys-teries of art need hardly be stated. That whichfemale powers—powers of the second order—are capable of attaining, Emilie Mayer hasachieved and brought to expression.”

In 2019 (Mar/Apr) I reviewed a recordingof an orchestration of Mayer’s Symphony 4, ofwhich only a piano four-hand version hasbeen found. I offered my own back-handedcompliment: “Maybe the 37-minute sympho-ny sounds better than it is because of StefanMalzew’s superb orchestration, depth ofexpression, and dynamic direction. The workmight as well have been nicknamed the


Appassionato or Dynamic.” I had little enthusi-asm for the other five works on the album.

Here we have Mayer’s first two symphonies(the composer’s own orchestration). Sympho-ny 1 is an unqualified success—melodic ideasthat lend themselves to development plussuperb modulations, orchestration, and strongform. I immediately associated it with thesymphonies of Mendelssohn and RobertSchumann, yet Mayer has her own solid voice.I is strongly dramatic, but so is the Adagio (II),as McFall integrates all of its various tinymeters into a natural graceful flow. The Scher-zo is as substantial as the other three move-ments; crisp rhythms in the subordinate voicesgive it character, and what initially might seemlike a trio section quickly becomes a substan-tial midsection of an ABA form. A briefMendelssohnian introduction in the Finaleleads to a powerful yet lyrical theme withBeethoven-like character. It is superbly shapedand very dramatic.

All this is helped extremely by full, ambi-ent, warm, balanced engineering and thesuperb playing of the orchestra. Kudos to Eng-lishman Leo McFall, 39, new chief conductorof the Vorarlberg Symphony in a mountainousAustrian city of 400,000. What I hear herebelies an unimpressive biography (Vorarl-berg?). Textures are transparent, ensemble isflawless, phrases are beautifully shaped by thedepth of expression, and not a single phrase ison autopilot.

I wish I could say the same about Meyer’sSymphony 2. The construction of each move-ment is more sectional than integrated, withentirely too much repetition of patterns.Maybe it’s my disappointment in the compos-er than made me suspect that McFall wasn’tquite as “hot” here as in 1. Like 1, 2 has fourmovements but with the Scherzo second.There are violin and cello solos in the secondtheme of the Finale, where the tempo slowsdown. I can’t tell if that’s McFall following thescore or accommodating the soloists; eitherway, it interferes with the overall structure andflow.

Is the glass half-empty or half-full? For me,Symphony 1 here is definitely a keeper.

FRENCH

MEDTNER: Songs 1Ekaterina Levental, mz; Frank Peters, p


Nikolai Medtner (1880-1951) is best known forhis piano compositions, but a third of his com-

positions are for voice and are not recordedvery often. Ekaterina Levental has performedall of Medtner’s songs in concert with FrankPeters and is intent on further increasing theiravailability and familiarity to listeners byrecording them all, beginning with this firstvolume. All of the songs here are in Russianand were composed early in Medtner’s career.

Medtner was born in Moscow on Christ-mas Eve 1879, according to the Julian calendarthen in use in Russia. At age 12 he entered theMoscow Conservatory where he studied withPavel Pabst and Sergey Taneyev and won theAnton Rubinstein Prize at age 20. Instead ofpursuing a career as a concert pianist he choseto concentrate on composition. In 1936 he set-tled in London, where he spent the rest of hislife teaching and composing. His style is root-ed in 19th Century romanticism with a denseand complex harmonic and melodic language.Even though his friend and advocate Rach-maninoff said, “The public will never under-stand his music”, his popularity has grown inrecent years.

Ekaterina Levental was born in Uzbekistanand settled in The Netherlands where shestudied at the Conservatory of The Hague andestablished herself as a singer and theatre pro-ducer. Her technique is terrific, with wonderfullegato, control of dynamics, and tight vibrato—and occasionally none, to convey stillness (e.g.in `The Singer’). The appropriate expressiveaffect she brings to each song is illuminating.She commands a broad pitch range with asolid bottom and a bell-like top (e.g. her highB-flat in `On the Lake’).

Dutch pianist Frank Peters is a respectedsoloist and chamber music partner and hasbeen a champion of Medtner’s piano works.The piano writing is full of fine filigree; it isoften complex and difficult, but always engag-ing. Peters shows unfailing command of itsdrama and attentive sensitivity to its tender-ness.

Medtner shows up in song programs nowand then, but this is the first time the songshave been given ample attention. An earlierrelease of his songs (M/J 2019) was disap-pointing, not for the performance but for thepoor recording. The performance and soundhere are thoroughly satisfying. The balancebetween voice and piano is just right.

I have found it hard to stop listening to thisalbum and get on to others awaiting review.Each song is a little treasure. If you are unfa-miliar with Medtner’s songs, this is a chance toexplore them.


Liner notes by the two artists areunashamedly promotional in their advocacy ofthis music. Their commitment to these songsis strongly conveyed in these superb perform-ances. I wish the texts had also been printed inoriginal languages instead of only in Englishtranslation. Otherwise everything about thisproduction is commendable. I look forward tolater volumes in this series.

R MOORE

MENDELSSOHN: Piano QuartetsKlimt Quartet—Brilliant 95532 [2CD]—98 min

There’s no question that Mendelssohn madehis mark with overtures, symphonies, and ora-torios; but listening to his four piano quartets,it feels like the world (the music world, any-way) would be a better place if he had writtenmore chamber music. Not even Mozart wrotemusic of this caliber in his early teens—nordid anyone else. That’s the Mendelssohn enig-ma, the peerless prodigy who became a reac-tionary.

These pieces still astonish, and QuartettoKlimt shares a vision of them as energetic,moody, graceful masterpieces.

The forceful opening of Quartet 1 is terrific,but the Adagio is even more compelling withits palpable feeling of restraint and MatteoFossi’s cascading piano passages, which geteven better in III. By IV, however, he is over-shadowing the strings. It is no surprise to dis-cover that he has often played Beethoven andSchumann on his own, for that is the flavorhere.

Not quite so formidable as its predecessor,Piano Quartet 2 in F minor is nonethelessplayed with aplomb.

That probably would have been enough ofan album, but ensembles (or record labels?)like to have complete sets. Piano Quartet 3 in Bminor has a swoony Andante, but by theFinale it is all exhausting.

The seldom recorded Piano Quartet in Dminor is the work of a 12-year-old, a fact whichis impossible to ignore when listening to it.Although remarkable, it is often more like apiano sonata with strings added; it is not in thesame league with the later works on thisalbum.

Even though it is all well performed, thismusic becomes a bit redundant, perhaps inpart because of the relentless use of minorkeys. A teenager wrote these quartets toimpress his contemporaries; he wasn’t aimingfor the greatest possible variety of styles or

approaches. There’s no way that Mendelssohncould have imagined that one day someonethousands of miles away could sit down andlisten to all four of these quartets in a row.

The cover depicts an admirable watercolorby the abundantly talented Mendelssohn, andthe liner notes offer perspective on this crucialphase in his development.

DUTTERER

MENDELSSOHN: Symphonies 3+4; ViolinConcerto; Hebrides Overture; MidsummerNight’s Dream Suite;

SCHUMANN: Symphony 4Henryk Szerying, v ; Minneapolis Symphony,London Symphony, Vienna Symphony/ AntalDorati—Decca 4840506 [2CD] 157 minutes

This is Eloquence’s first reissue from thefamous Mercury catalog from the 1950s and1960s. The performances are in stereo exceptfor the Mendelssohn Fourth. Antal Dorati isnot usually associated with this repertoire, butfrom the evidence here, he has an excitingapproach to it. His way with the MendelssohnThird is standard but in no way dull, withclean rhythm and good dynamic contrast. Theopening is moderate and expressive. What fol-lows is fast, bright in tone and light in texture,with a lot of energy. The stormy passage isurgent, and the entire movement catches thedark, misty Scottish air. II is light and deft, IIIsad and reflective. The Finale is light in nature,dancing, quick and dashing. The main tune iseloquent, and the march is funereal. The finalhymn seems a little too marked and on theslow side, but it builds well.

The Hebrides Overture is a strong, dramat-ic portrait of those rugged Scottish islands. It isdark and ominous in the slow sections andvery fast and urgent in the fast ones. The Lon-don Symphony again plays very well.

The Fourth is fast in all movements andaggressive. The result may not be“Mendelssohnian”, but the work responds wellto Dorati’s approach. I is exuberant. TheAndante aspect of Andante Moderato is mod-erately slow, but the Moderately leans to thequick side, like a young Italian walking brisklyover the countryside. Such tempos might seemhurried, but they work well here. Despite thespeed, III is always lyrical, and the finale isrhythmic and urgent. This is a refreshing andcompelling examination of a well known sym-phony, but some listeners will find it pushed.The Minneapolis Symphony executes very wellat these speeds.


I do not like most romantic era concertos,and the Mendelssohn is positioned well downon my list, but this performance of it with Hen-ryk Szerying and the London Symphony is anexception. The tempos are not fast so much as“moving right along”, but more important isthe freshness and energy they generate. Szery-ing’s sweet, silvery tone could have beendesigned for the piece, and he plays it as lyricaland songlike rather than as a technical display.

The Overture to Midsummer Night’sDream sounds dramatic with a warm stringtone and dark Viennese horns. The very fastScherzo might seem frantic if it were not sowell controlled by Dorati and well executed bythe winds. The March is not terribly fast butstately, and the ending is positively noble.

The performance of Schumann’s Fourth isbig-boned and aggressive. I is fast, muscular,and urgent. II is bold with a nice, dark-tonedviolin solo. III is martial and extroverted; andthe mysterious transition to IV is loud andexciting, but brassy. The brass are too promi-nent in the whole performance. IV is fast,aggressive, and very fast at the end.

The Mercury LPs were famous for theirsound and are now sought after, though manylisteners find them too bright. The ones hereare pretty good, not great, and on the brightside, though they lack the punch associatedwith the vinyl ones. The monauralMendelssohn Fourth has some of that punch,but it is marred by the excessively bright violinsound typical of Mercury monos. That won-derful performance comes through, though.

HECHT

MERTZ: FantasiasGiuseppe Chiaramonte, g


Johann Mertz (1806-56) left a substantial num-ber of excellent works for solo and duo guitars,as well as chamber music. His compositionsepitomized the romantic period in theirexpressiveness and used the guitar in highlytechnical ways. The works presented here,with an average length of 8 minutes, are allquite substantial compared to the manyminiatures in the guitar repertoire.

The opening `Fantasie Hongroise’ isplayed virtuosically with romantic flair. Over-all, the music is presented well, but with occa-sional brief moments of unclarity in the blis-tering sections where Chiaramonte holdsnothing back.

`Fantasie Original’ has passages of intense

passion, played with strength to the limits ofthe guitar’s capabilities, followed immediatelyby a sensitively played contrasting theme withall the sweet spaciousness a listener couldwant—this is romantic guitar music played bya musician who deeply understands the style.This piece also has a nicely executed two-fin-ger tremolo which is rather unique in guitarmusic—most tremolo passages in guitar musicuse a three-note pattern.

Every piece on this recording uses the fulldynamic range of the guitar, as in the operatic`Pianto dell’Amante’, whose ending Chiara-monte plays with uplifting abandon. This isfollowed by a pianissimo introduction to `LaRimembranza’, the first of three works thatbecause of their pianistic nature earned himthe accolade “the Liszt of the Guitar”. Mertz, bythe way, was married to a pianist!

This is very well done. In each of thesechallenging works, Chiaramonte, with a musi-cal sense of balance and contrast, rises to theoccasion to take us into that passionate worldof romantic guitar music from one of the mostimportant composers of the era.

MCCUTCHEON

MESSIAEN: Catalogue d’oiseaux I; GORTON: Ondine; SZYMANOWSKI: Sonata 3

Roderick Chadwick, pDivine Art 25209—65 minutes

The three works in this unusual program, twofrom the 20th Century, one from the 21st,would appear to have little in common; butthere is a subtle unity. The juxtapositionbetween clangorus bird song and lyricalmoments in Messiaen’s Catalogue d’oiseaux,Book I is startling, especially in the probingperformance here by pianist Roderick Chad-wick.

David Gorton’s Ondine from 2004 fits nice-ly with the program. Female water spirits areevoked here, not birds, but the “liquid trickle”of their laughter, registered by shimmeringtrills and other figurations, has a Messiaen-likeambiance. Chadwick ripples and splashes hisway through the piece with precision andcolor.

Szymanowski’s much earlier Sonata 3, fullof variety and invention, has rich polyphonybut also hazy, shimmering moments and sud-den juxtapositions between angularity andsensuality that anticipate the later works onthe program. Rounding out the program arebrief interludes and postludes played by vio-


linists Peter Sheppard Skaerved and Shir Vic-toria Levy—an eccentric but colorful touch.

SULLIVAN

MESSIAEN: Turangalila SymphonyMannheim Theater Orchestra/ Alexander Soddy

Oehms 472—78 minutes

Messiaen’s Turangalila is a 10-movementextravaganza that combines mysticism, Hinduand Greek rhythms, Indian scales, Africanrhythm, gamelan drumming, Poe-inspired ter-ror, the Tristan narrative, and much else. Pre-miered in 1949, it is a “world music” hybridlong before that term became chic. It is mas-sive and monumental, sometimes seeming togo on forever, the very definition of over-wrought, requiring an uncompromising com-mitment from players and audience. In addi-tion to a gigantic orchestra full of exotic per-cussion, it includes an electronic instrument,the ondes Martenot, and a strenuous pianopart.

In this performance, the latter are playedwith scintillating brilliance by Thomas Blochand Tamara Stefanovich. The entire perform-ance has a special fizz and frisson. The Nation-al Theater Orchestra of Mannheim underAlexander Soddy plays with intensity but alsowith lightness and litheness. Nothing soundsponderous: the fast music has a breathlessexcitement ; the slow music has a tendervaporousness. The recording emphasizes thepercussion, from vibrating gongs to loopy key-board figurations. Also prominent are theorchestra’s excellent woodwinds, emergingwith bracing clarity in the transparent record-ing.

Turangalila was commissioned for theBoston Symphony by Koussevitzky, one of sev-eral major works by Ravel, Stravinsky, and Bar-tok (including the Concerto for Orchestra) thatwould not exist were it not for the Russianmaestro. Koussevitzky had an uncanny abilityto smell a masterpiece in the making and wasunperturbed by length and personnel require-ments. Because of illness, he was unable topremiere Messiaen’s symphony and passedthe baton to Leonard Bernstein, who conduct-ed the first performance in 1949. The pieceirritated some, excited others; it still occasionsboth hostility and cheers. Koussevitzky calledit “the greatest composition in our century”after The Rite of Spring, but critics were not onboard. Virgil Thomson quipped that the sym-phony came “straight from the Hollywood

cornfields”, and the Boston Herald denouncedits “appalling melodic tawdriness”.

The first time I heard Turangalila was Bos-ton with Ozawa at Carnegie Hall, and I instant-ly became a fan. Yes, I thought it was too long,but in the end I decided that the length wasjustified. Despite its technical difficulties andwasteful length, it seems to bring out the bestin conductors and recording engineers. Myfirst recording was Previn’s with the LondonSymphony, a sonorous, well-paced reading.Salonen with the Los Angeles Philharmonicand Chailly with the Concertgebouw are alsoexcellent. More recent is a performance withthe Finnish Radio Symphony, which Ireviewed in these pages; it has a special feelingof adventure and wit. This new reading is litheand dazzling, lightweight in the best sense. Itnever sounds ponderous or pretentious.

Unlike Messiaen’s many overtly religiousworks, Turangalila is secular and fleshly, andthat’s the way Alexander Soddy and his go-for-broke ensemble perform it. As Messiaen putit,”Turangalila means all at the same time songof love, hymn to joy, time, movement, rhythm,life, and death.” This rhythmic, joyful perform-ance is in tune with the composer’s vision.

Messiaen’s works often come with other-worldly titles and explications. He called theecstatic fifth movement of Turangalila, `Joy ofthe Blood of the Stars’. He stated in a note toFrom the Canyons to the Stars that the Utahcanyons were “landscapes like those we’llprobably see after death, if we then have thechance to visit other planets”. It is easy to mocksuch commentary, and the convoluted speci-ficity of Messiaen’s writing has not helped hiscause. A committed performance like this one,however, makes us believe it all, at least whilewe’re listening. Messiaen’s dazzling color andnear-painful ecstasy can’t be bound by words,even if he issues a torrent of them—like Wagn-er, Scriabin, and others who were obsessedwith their own mythologies.

It is sometimes fiercely dissonant, butmore often euphorically lyrical. II, IV, and VIIIare all depictions of amorous love and havesome of the most passionate music Messiaenever wrote, orgiastic “explosions”, as he calledthem. The Mannheim players seem comfort-able with both extremes. The work has manyof his signatures—bird song (mainly by thepiano), piercing wind sonorities, meditativeblocks of sound, and a complex layering of tex-tures—but it also has an uninhibited theatri-cality. It unfolds according to its own eccentricscheme, renouncing classical symphonic


structures, but its constantly resurfacingthemes and colors make it relatively easy totake in. The slow music, especially the adagioin VI, `Garden of Love’s Sleep’, has a hypnoticsensuality, communicated here with whis-pered eloquence; the fast sections are deliri-ous churnings of joy and energy, powered bythe relentless pulse of the orchestra’s busy per-cussion section. V and X end with a majorchord that rises in crescendo until it reachesthe heavens. It is one of the most visceral end-ings in 20th Century music, and we get to hearit twice. Both times, Soddy holds the chord justbit longer than usual, producing a big emo-tional and sonic payoff. After the final shatter-ing cut-off, we cheer along with the deliriousconcert audience.

SULLIVAN

MONTECLAIR: Flute & VoiceCarrie Henneman Shaw, s; Les Ordinaires; JoryVinikour, hpsi—Naxos 573932—64 minutes

The word “brunette” comes from French andindicates the feminine form of “little brown”;although it doesn’t specify hair, in English it isexclusively used that way. In French it alsodesignates a secular form of song popular inthe 17th and early 18th centuries. Researchersidentify four types of songs in French culture:historical, professional, love, and Bacchic. Thefirst category further contains songs that aresacred, military, national, and satirical. Can-tatas developed from the “national” sub-cate-gory; the official name of their predecessorhad been “songs of political solemnity”. Thebrunette was a type of love song that could beconsidered an antecedent of the romance,which by the late 18th Century was an instru-mental or vocal piece in triple meter. Haydnput a romance as the second movement of hisSymphony 85, so they could even be orches-tral, and Mozart wrote a chamber one in hiscelebrated Serenade 13.

Monteclair (1667-1737) was a weaver’s sonwho became a choir boy under NicolasGoupillet, Jean-Baptiste Moreau, and ClaudeThibaut and as an adult played bass viol in theorchestra of the Paris Opera, which was thencalled the Royal Academy of Music. Thisinstrument was not exactly the equivalent ofour modern string bass, and is in fact thedirect ancestor of the cello. The family namewas Pignolet (little pine nut), but once hemoved to Paris he began going by a surnametaken from a hill in northeastern Andelot, hisbirthplace. In addition to performing, he

taught, composed, and ran a music shop, mak-ing a living through the same combination ofactivities as many musicians today.

Oboist and flutist Julien Bernier, who diedin 1755, was probably related to composerNicolas (1664-1734); he played in the orches-tra of the national opera beginning before 1704to after 1719 as second to oboist Colin Hot-teterre. We have a tribute to Bernier from acollection of Ancient and Modern Brunettes byMonteclair published in Paris around 1721-4(notes) or around 1725 (French NationalLibrary). It states in part, “nothing is as touch-ing as hearing these little airs sung by a beauti-ful voice accompanied in unison by a trans-verse flute ... I cannot express the pleasure Ifelt at Boulogne on hearing this little ensemblewhich touched me more than any clever artifi-cial music has ever done.”

Most of the 24 Cantatas for one, two, andthree voices with ensemble have texts byunknown authors, and four are in Italian. Thefirst set appeared in 1706, the second in 1713,and the third in 1728, all published in Paris.We have Book 1:4 and Book 3:3. We also haveone of the concertos for flute and bass fromthe early 1720s and an assortment of brunettesfrom the Collection of Serious and DrinkingSongs published in 1696 and another collec-tion published later. The booklet includes textsand translations.

The Ordinaries to the King were Frenchcourt musicians of the 17th and 18th Cen-turies, and a few were the subject of a famouspainting by Andre Bouys (1646-1750). Themodern ensemble by this name was foundedin 2013 and consists of flute, viola da gamba,and theorbo, which together were once knownin France as the Royal Trio. They are joinedhere by American soprano Carrie HennemanShaw and French-based American harpsi-chordist Jory Vinikour. The booklet describestheir instruments, which include a flute mod-eled after one from 1715 by Jean Hotteterreplayed by Leela Breithaupt. It has a compara-tively deep sound, muffled—or at least notbright, especially in the lowest range, wherethe writing mostly is. This quality makes it verydistinct from its contemporary, the recorder,and both darker and more veiled than onemight typically associate with a flute. The clar-ity of Shaw’s voice is its most distinct feature,particularly pitch clarity. Her vibrato is usuallyfast, and my overall impression is favorable,though not entirely. Many tracks sounddelightful, but now and then her placement isa little too forward and nasal. A rhetorical or


conversational approach to text is fine in thisperiod, but singing must also have beauty, andsometimes here the delivery falls short. Thecombinations of voice with flute or viola dagamba are splendid.

Emma Kirkby has recorded a program ofMonteclair—five cantatas—with the LondonBaroque Ensemble (BIS 1865). Another fivewith three voice types were issued and reis-sued on Harmonia Mundi. There were 3 can-tatas with Jacqueline Nicolas and 2 abbreviat-ed concertos from Gerard Scharapan on PierreVerany. Julianne Baird recorded three with oneby Louis-Nicolas Clerambault (Koch 7096;Mar/Apr 1992). The French label K 617 gave usa collection with instrumental and vocal worksby Clerambault and Monteclair (May/June2012: 227). Four of the flute concertos wererecorded on natural trumpet by Gabriele Cas-sone (Dynamic 229, Nov/Dec 1999; 8004,May/June 2011) and four on transverse fluteand recorder by Bernhard Bohm (CPO999213), but all six by the Apotheosis Ensem-ble on Stradivarius 33553. A program with twoconcertos and the Ancient and ModernBrunettes came out on Accent in 2005. Rameeissued selections for two flutes by Monteclairand Pierre Philidor (Mar/Apr 2016) and a 2-disc set with the six concertos for two flutes.

GORMAN

MONTEVERDI: Coronation of PoppeaOksana Maltseva (Poppea), Shin Yoowon (Nero),Choi Seoyeon (Ottavia), Floriano D’Auria(Ottone), Jin Shuheng (Seneca); Ensemble SanFelice/ Federico Bardazzi

Bongiovanni 2581 [2CD] 154 minutes

This new recording of Monteverdi’s bestknown work is from January of 2020, justbefore the Covid virus began to wreak havoc inEurope. The singers are all very good—excel-lent diction and a sense of the style of thepiece (a true accomplishment since the cast isdrawn from 13 different countries). The oldsaying “The Great is the enemy of the Good”applies here. If one saw this performancelocally, one would come away quite satisfied.Held up against the recordings of Harnon-court, Gardiner, Jacobs, and Hickox it emergesa competent, but not memorable perform-ance.

Bongiovanni doesn’t help matters by notincluding a word of Gian Francesco Busanel-lo’s text, offering only a pithy, unhelpful plotsummary. We are told that the performing edi-tion is mostly the Clifford Bartlett one in the

Venice version of 1642; it does not use Act 2,scene 7, which is missing and presumed lost.The libretto is the same one Alan Curtis usedin his Florence May Festival performance in2011. The sound is adequate, the voices andinstruments registering clearly, if with a littletoo much reverberation.

Fans of this opera will want this and willprobably enjoy it more than a casual first-timelistener. The performance is well done, thepresentation is not.

REYNOLDS

MORRICONE: Once Upon a Time Enea Leone, g—Brilliant 95855—63 minutes

Ennio Morricone (1928-2020) was an Oscar-winning Italian composer, orchestrator, andtrumpet player whose film music gainedrecognition in the 1960s thanks to a number ofspaghetti westerns, such as “The Good, theBad and the Ugly”.

From the first track on this recording, withsoaring melodies, rich harmonies, clean tech-nique, and creative arranging, one knows thiswill be refreshing and pleasant. The variety ofmusic presented in these transcriptions,selected from decades of Morricone’s moviescores, keeps the program moving, as does therange of seriousness, from the light-hearted tothe sublime, and the track lengths, rangingfrom miniatures to more than 4 minutes.

Noteworthy arrangements and perform-ances include `Rabbia e Tarantella’ from themovie Inglorious Basterds (2009) with a vari-ety of textures and `Deborah’s Theme’ fromOnce Upon a Time in America (1984), playedwith a spot-on sense of spaciousness, clarity,and thoughtfulness.

The guitar sound on this recording is won-derful—kudos to engineer Andrea Dandolo forknowing how to capture a realistic, pure tonewith just the right amount of reverberation.

There are two things that make this record-ing stand out. First is the quality of the tran-scriptions. Translating what are mostly orches-tral scores to the solo guitar, with its compara-tively limited range and intervallic challenges,is an art that has developed over the centuries.Leone and fellow transcriber Carlo Marchionehave done excellent work on these. Second,the playing on this recording shows the sensi-tivity of an artist who has the ability to expressit clearly.

Whether or not you know this music fromthe movies, this is enjoyable.

MCCUTCHEON


MOZART: Clarinet Quintet; BRAHMS: Clarinet Quintet

Eli Eban; Alexander QuartetFoghorn 2021—71 minutes

Noted clarinet pedagogue and soloist Eli Ebantakes a break from his duties as professor atIndiana University to record the Mozart Clar-inet Quintet and the Brahms Quintet with theAlexander String Quartet. It took place in June2019 at Saint Stephen’s Episcopal Church inBelvedere, California, a small city on San Fran-cisco Bay.

The performances are clean and elegant;and the balance, blend, and overall sonics area treat to the ears. Some may find the rendi-tions somewhat conservative; and even peopleunfamiliar with the Mozart may notice a splice4:54 into the piece that adds an extra half-beat.Still, the album has a lot of nice qualities thatclarinet aficionados will appreciate.

HANUDEL

MOZART: Divertimento, K 563; Preludes & Fugues

Jacques Thibaud Trio—Audite 97.773—82 min

Mozart’s Divertimento K 563 is widely regard-ed as the finest string trio ever written. It is in 6movements rather than the usual 4, and thetitle is Divertimento, but don’t let thoseaspects of the work turn you off to it; it is not amere diversion. It has some of Mozart’s loveli-est writing for strings. It is also one of hislongest chamber works, clocking in at three-quarters of an hour. I assure you that Mozartdidn’t pad the material to fill time, either.Every note counts.

Jacques Thibaud String Trio was foundedin 1994 at the Arts University in Berlin. Theircurrent membership is violinist BurkhardMais, violist Hannah Strijbos, and cellist Bog-dan Jianu. They play well together and per-form this work with more taste and sense ofproportion than some other groups I’ve heard.I can recommend this performance, but theyare up against stiff competition. Isaac Stern,Pinchas Zukerman, and Leonard Rose made avery fine recording in 1975. Gidon Kremer,Kim Kashkashian, and Yo-Yo Ma made a won-derful recording in 1985. That is my favorite. Itis exquisitely polished yet very soulful. Themusicians really sing and produce ravishingsounds (unusual for the perpetual enfant-ter-rible Kremer). The classic recording is byJascha Heifetz, William Primrose, andEmanuel Feuermann from 1941. It shows its

age, yet it is the most brilliant ever made.Some may not like it because of the exhibition-ism of the players, all of whom were the great-est virtuosos of their age, but I like hearingsuch assured playing where all technicalobstacles are surmounted with effortlessaplomb and panache.

The works I had never heard before are the5 Preludes and Fugues. Except for the firstthree Preludes, all of the material wasarranged from music of Bach. They are pleas-ant to listen to, but not masterpieces, and thethree Preludes composed by Mozart don’tsound quite right coming before the moresevere music of Bach.

MAGIL

MOZART: Eine Kleine Nachtmusik; Sere-nata Notturna; German Dances; Symphony 29Philomusica of London/ Thurston Dart; BambergSymphony/ Joseph Keilberth (German Dances &29)—Decca 4828529—78 minutes

These recordings are from 1951 and 1952.They were issued on Oiseau-Lyre LPs, and theysound good.

The most unusual thing here is an extramovement in Eine Kleine Nachtmusik: thereare two minuets. II (the first one) is actually amovement from a Mozart piano sonata,orchestrated to match the rest by ThurstonDart. Apparently Mozart had planned anothermovement (lost to us) and dropped it whenthe serenade was published. Why? Perhapsbecause the serenade sounds so crisp andcomplete without it. (Or maybe are so used toits published 4-movement form that this artifi-cial second movement just seems to slowthings down.)

The Dart recordings have a very “English”sound—too businesslike for me. Keilberth ismore European and seems to have a naturalinstinct for Mozart. Still, there are many goodrecordings of Symphony 29, and some are inbetter sound—though I must admit that Inever thought the sound was weak or poorhere. It is easy to adjust to. It is not too close-up, as recordings became for a while and onsome labels in the late 1950s. The orchestra issafely up there on the stage, and we are in theaudience. That’s the way I like it. If stereo mat-ters to you, be aware that nothing here isstereo. That really didn’t come along until1958. That doesn’t matter to me either.

The German Dances (two sets, K 509+571)are charming and not recorded very often. Idid not have any of them, though I have some


German Dances led by Peter Maag—not these.Like EKN, they are late, mature Mozart.

It is hard to believe that all this was record-ed almost 70 years ago. Decca Eloquenceremasters things so beautifully that sound isnot a matter of concern.

VROON

MOZART: Flute QuartetsAndrea Manco; Andrea Pecolo, v; Joel Imperial,va; Gianluca Muzzolon, vc


These are modern instrument players from theorchestra of La Scala. Andrea Manco has beenprincipal flutist since 2015 and before that wasa prizewinner in several competitions. Theprogram has four original works and the OboeQuartet played on flute. Many moments areexquisitely phrased and balanced, particularlyin the range between nothing and piano. Somequartets are rendered better than others. Mostof the set is exquisite, especially the Quartet inA; so is the Oboe Quartet. The Rondo conclud-ing the Quartet in D is not quite joyous andtends to stay in a bland middle ground. Nei-ther is the Adagio that precedes it anythingspecial—and it can be. The exchange betwenflute and violin that opens the Quartet in C isanemic.

In general, Andrea Manco’s playing is gen-tle and deft, calibrated perfectly to the aesthet-ic of the Enlightenment. His pure tone qualityremains regardless of any degree of nuance.Brilliant—or the Bartok Studio in Bernareggio,Italy—presents the players in sound that isbeautifully balanced and realistic.

My top choice on modern instruments—brought down directly from the firmament viaPhilips—is William Bennett and the GrumiauxTrio (originally from 1969, reissued in 1989).May it long resound in other ears after I am nomore. Several others come close or simply dif-fer in how they excel: Peter-Lukas Graf(Claves), Paula Robison (Vanguard, July/Aug1991 & Nov/Dec 1999), Ulf-Dieter Schaaff(Pentatone 5186567, Jan/Feb 2018), AureleNicolet (Tudor, May/June 1991 & Jan/Feb2018), Emmanuel Pahud (EMI 56829, Mar/Apr2000), Philippa Davies (Virgin), and, for quietbeauty and nuance, Juliette Hurel (Alpha 204,Jan/Feb 2016).

GORMAN

MOZART: Mass in C minorAna Maria Labin, Ambroisine Bré, Stanislas deBarbeyrac, Norman Patzke; Musiciens du Lou-vre/ Marc Minkowski

Pentatone 5186 812—48 minutes

It is a sad irony that the two major liturgicalcompositions written by Mozart after he leftSalzburg were unfinished by him and comedown to us as fragments—albeit magnificentfragments. The better known is the Requiem(K 626) with the mysterious circumstancessurrounding its commission, but there areuncertainties concerning the Mass in C minor(K 427) as well. By some accounts, it was writ-ten (or at least begun) in fulfillment of a vowMozart made during his wife Constanze’s firstpregnancy, that he would write the work as athanksgiving if all went well with her delivery.C minor seems an unlikely choice of key forsuch a purpose. The stern and somber open-ing of the Kyrie seems to convey apprehensionrather than gratitude, but it is noteworthy thatthe lengthiest and one of the most exquisite ofthe extant movements is `Et Incarnatus Est’from the Credo. What we have was written in1782-83. Only the Kyrie and Gloria are com-pleted. There are sketches for the first two sec-tions of the Credo. There is an autograph scoreof the Sanctus and Benedictus, but the instru-mentation is incomplete, limited to winds andtimpani. There is no Agnus Dei at all. The firstperformance took place at St Peter’s Abbey inSalzburg in October of 1783. Was it confined tothe finished Kyrie and Gloria?

For the present recording, Marc Minkowskihas chosen the performing edition preparedby Helmut Eder at the request of the Neue-Mozart-Ausgabe and published in 1985. Theedition does not presume to supply the miss-ing movements. The additions and completedinstrumentation are distinguished graphicallyfrom what survives in Mozart’s hand.

This is a studio recording made in connec-tion with concert performances given inGrenoble in December of 2018. Apart from thesolo quartet, the choir consists of only ninesingers, barely enough to cover the parts in thedouble choruses of the Gloria and Sanctus.Even so, the singers never sound weak orsparse, though they are considerably outnum-bered by the orchestra. The soloists have thequalities I associate with 18th-Century opera:solid sound but capable of lightness and virtu-osic flexibility as needed. The sopranos AnaMaria Labin and Ambroisine Bré are especially


It was a joy to read recently from a medicalexpert that hugging is far safer than

handshaking.

impressive in this respect. I would not slightthe excellent tenor and bass, but Mozart givesthem less opportunity to shine. Recordedsound is generally good, but in the loudermovements I would have been grateful formore sense of space. Emphatic moments areon the verge of sounding raucous at such closequarters.

There have been many other recordings ofthis work. Among the more recent, I wasimpressed but not bowled over by HarryChristophers and the Handel & Haydn Societyof Boston (Coro 16084; J/F 2011). PhilipGreenfield had good things to say aboutMasaaki Suzuki and Bach Collegium Japan(BIS 2171; J/A 2017) as did Paul Althouseabout Howard Arman with the Bavarian RadioChorus and Berlin Academy for Old Music (BR900917; M/A 2019).

GATENS

MOZART: Piano Concertos 19+27; Rondo in A

Francesco Piemontesi; Scottish Chamber Orch-estra/ Andrew Manze—Linn 622—67 minutes

These two concertos, K 459 and 595, are joinedby a Rondo in A, K 386, thought by some to bea first version or perhaps an alternate finale ofConcerto 12 in A, K 414. (The writer of theliner notes, by the way, was misinformed as towhat pieces were on the disc. He writes aboutanother Rondo—in D, K 382—which was analternate movement for Concerto 5, K 175.)

I’ve come across several very fine record-ings of Mozart concertos in recent monthswith pianists like Anne-Marie McDermott, BenKim, and Charles Richard-Hamelin. Now wehave another from Francesco Piemontesi, whohas worked with Alfred Brendel, Murray Per-ahia, and Cecile Ousset ; since 2012 he hasserved as Artistic Director of the SettimaneMusicali di Ascona. Piemontesi’s Mozartstrikes me as articulate and crisp with a mini-mum of pedal and a sense of space aroundevery note. (This is in contrast to the suave,lyrical, graceful school of Mozart perform-ance.) The result is bracing and uplifting. Themost exuberant movement here, the finale toConcerto 19, is very similar in tempo and styleto the Pollini (a 1980 recording with Böhm, inthe conductor’s last Salzburg concert with theVPO). Do not assume, though, that the othermovements are mechanical or unfeeling. Thisis wonderful, interesting playing.

Piemontesi is aided by the alert, sturdyaccompaniment of the Scottish orchestra

under Andrew Manze. The liner notes list agood-sized orchestra (strings: 8, 6, 4, 4. 2), butit’s hard to be sure all are used because theorchestral list includes their four horns, threetrombones, and percussion! At any rate theorchestra has enough weight to give substanceto Mozart’s orchestral writing.

This recording follows one, also byPiemontesi, of Concertos 25 and 26 (Linn 624),which somehow escaped review. With goodfortune, then, we may hear more Mozart fromPiemontesi and Manze.

ALTHOUSE

MOZART: Piano Quartets; Rondo Concertante

Dejan Lazic, p; Benjamin Schmid, Zen Hu, v;Johannes Erkes, va; Enrico Bronzi, vc

Onyx 4207—71 minutes

As surely as Dejan Lazic’s name is printed inhuge letters on the cover and his peers arereduced to small type, this Croatian pianist issonically emblazoned all over this recording ofMozart’s piano quartets. Violinist BenjaminSchmid and cellist Enrico Bronzi have somedegree of acclaim as chamber musicians, butthis album is more akin to one of those“Martha Argerich and Friends” productionswhere the guest stars are beside the point.That’s not to say that it is subpar; in fact, theperformances are completely orthodox and onthe level.

Romanticism before the fact, the firstmovement of Quintet 1 in G minor is playedrather well, and II is also lovely. In the studio,however, some knobs and levers were notwhere they should be, and as a result the pianoand violin are uppermost in the mix, to thedetriment of the others. The Rondo belongs toLazic, but this is unfortunate because it soundslike his peers are playing in a joyful andrelaxed manner befitting Mozart.

The opening movement of Quintet 2 seemsto be better balanced, but the desultoryLarghetto threatens to derail the entire album.The Allegretto is lively, even if it is all about thepiano.

Given Lazic’s determination to turn quar-tets into piano sonatas, he takes the surprisingstep of adapting the third movement ofMozart’s Piano Sonata in B-flat, K 333/315c forquartet. The resulting piece is convincing as abit of Mozartiana, and the strings are allowedto participate. Primarily a soloist, Lazic maystill be settling in as an ensemble player.

DUTTERER


MOZART: RequiemSimone Kermes, Stephanie Houtzeel, MarkusBrutscher, Arnaud Richard; New SiberianSingers; MusicAeterna/ Teodor Currentzis


The chorus and orchestra here are both asso-ciated with the Novosibirsk Opera and Ballet.The New Siberian Singers are the chamberchoir of the opera, and MusicAetrna is theopera’s chamber orchestra. The performanceuses the Süssmayr completion and orchestra-tion in the Sequences. There is a curious 30-second addition to the end of the Lacrimosa—something that sounds like sleigh bells accom-panying a short fugato on the text “Amen”,which fades off in mid-phrase. I assume this isa sketch from Mozart, but it’s still very odd inthis context, and the notes don’t mention it.

The performance on the whole is quitefast. The Kyrie, Domine Deus, and the Osannafugue are about as fast as you’ll ever hearthem, which in this piece is not helpful. Evenmore disturbing, though, is the extreme energythe performers bring to this, a Mass for theDead. The chorus almost punches its waythrough many sections with no sense of musi-cal line or warmth. They certainly sing wellfrom a purely technical point of view. Every-thing is firmly in place, and they know thepiece very well; but the aesthetic is, well, let’ssay “different”.

Soloists are generally very good, but theydon’t match well, the soprano singing withoutvibrato, the others with. A great deal of the dis-tinctiveness of this performance comes fromthe young Greek conductor, Teodor Cur-rentzis. You can get a good sense of him onYouTube.

This is an interesting recording, filled withthings done (or overdone) very literally, andalso with a strong point of view. For me,though, it makes the Requiem into too muchof a show.

ALTHOUSE

MOZART: String Quintets 3+4Van Kuijk Quartet; Adrien La Marca, va


Except for the first, written in 1773 when thecomposer was only 17, Mozart’s six stringquintets are late works. He may not haveinvented the genre, but he certainly estab-lished it, and many believe that the quintetsare his crowning achievements in chambermusic. They are later than the celebrated

Haydn Quartets, making them more matureproducts. Mozart’s love of the viola likelyinspired him: these works require two of them.Quintets 3 and 4 were written in 1787 and arethus products of middle age. They do havesome of his loveliest and most imaginativewriting for strings.

Of all of the modern recordings of thesequintets I’ve heard besides the ones at hand,the best is clearly by the Tokyo Quartet withPinchas Zukerman playing viola (Nov/Dec1993). They produce a very full-blooded soundand are beautifully recorded with just the rightcombination of clarity and resonance. Anotherexcellent set is by the Takacs Quartet with vio-linist Gyorgy Pauk playing viola for a change(Nov/Dec 1992). Quatuor van Kuijk andAdrien la Marca also have a wonderful sound,not as full as Tokyo’s but with more pastelensemble textures as one would expect fromFrenchmen. Of historical recordings, there aremagnificent accounts of Quintet 4 by the ProArte Quartet of Belgium with violist AlfredHobday and the Lener Quartet of Hungarywith violist L d’Oliveira, but these are from the1930s.

Quatuor van Kuijk won the 2015 WigmoreHall Quartet Competition, and it’s obvious thatthey richly deserved it. It is a well-balancedensemble without a dominant partner (thattoo often happens in chamber groups). Allpositions are strong, and they work out everydetail together to great effect. Good sound.

MAGIL

MOZART: Violin Concertos; Adagio;2 Rondos

Baiba Skride; Swedish Chamber Orchestra/Eivind Aadland

Orfeo 997201 [2CD] 129 minutes

The orchestra is Swedish (Orebro—conducted1997-2019 by Thomas Dausgaard), the con-ductor Norwegian, and the violinist Latvian.The orchestra has 39 players. The sound ispleasant but not particularly warm or CentralEuropean (which I would prefer).

The set I listen to most often is David Ois-trakh with the Berlin Philharmonic. This is noton that level, but if you find Oistrakh “tooromantic” (which I do not) you might like this.It’s certainly faster—in every movement!Mozart’s middle movements in all 5 concertosare labelled Andante and Adagio: 2 areAndantes and 3 are Adagios. So I think Ois-trakh’s slower tempos are appropriate, at leastin those movements. There are no prestos, and


most of the allegros are “moderato”. There isnever a reason to rush thru these concertos,and I don’t think the tempos here are outra-geous. I just prefer violin concertos (by any-one) to sound romantic. I think it’s a romanticinstrument.

I hear nothing of PPP. Vibrato is not ban-ished, but maybe slightly reduced. The stringsdon’t screech. Notes are held appropriatelyinstead of cut off the way the PPP people thinkthey should be. I simply want more warmthand feeling. This is too “northern” and toomoderate—and thus lacking in character.

VROON

MOZART: Violin Sonatas, K302, 379, 481; Variations K359+360

Annette Unger; Robert Umansky, pGenuin 19655—78 minutes

This is a good recording. They follow perform-ance traditions with grace and charm. Orna-ments in the piano, too frantic or heavy inother recordings, add sparkle and wit. The vio-lin’s accentuations mostly feel right; a vocalapproach contributes to longer notes. The vio-lin does not always match the releases or ele-gance of the piano; her basses blare too muchin II of K379, and her trills can sound awkward.The pianist could use more imagination withintervals. So it is not one of the best recordingsof these pieces, but one could do worse if look-ing for an alternate to more acclaimed read-ings.

KELLENBERGER

MOZART: Symphonies 39+41;see SCHUBERT

MUSGRAVE: Oboe PiecesRebecca Johnson, fl; Elizabeth Sullivan, ob; Jessi-ca Lindsey, cl; Cara Chowning, p


Young American oboist Elizabeth Sullivan,assistant professor at the University of NorthCarolina in Charlotte, forms the basis of thisprogram, playing English horn as well. Shemade Scottish-American composer Thea Mus-grave the subject of her doctoral dissertation atthe University of Illinois Urbana-Champaign.Selections range from 1960 to 2012, and thecomposer, born in 1928, is still with us. Wehave two solos, three duets, and two trios.Compositional techniques range from serialand unmetered to using taped accompani-ment to tonal and metric. Although the selec-tions span a range of modern styles, their con-sistent interest and fine craft makes them wor-

thy of attention as long as you can accept anaimless sort of abstract, through-composedapproach to form.

A Threnody for English horn and pianowritten in 1997 and revised in 2003 has consid-erable dramatic heft. Her set of characterpieces for oboe and piano, called Night Win-dows (2007), is also among the most accessibleselections. In a general sense Musgrave seemsto resemble Jolivet or Higdon somewhat, ifthat helps you place her without having heardany of this album.

These performances are thoroughlyrehearsed and coordinated. Everyone plays atan exemplary professional level, with splendidtone quality. Their commitment to the projectis apparent from the first note to the last.

The echoey opening tracks indicate a pref-erence for acoustics that may be too much forsome listeners. The playing comes acrossclearly and pleasantly; there is almost no trou-ble with blurring except possibly track 6. Abooklet with biographies and photographsdescribes the pieces and the players.

GORMAN

NEPOMUCENO: Suite in Ancient Style;see OSWALD

NIELSEN: The MotherChristine Nonbo Andersen, s; Adam Riis, RasmusGravers Nielsen, t; Palle Knudsen, bar; SteffenBruun, b; Danish Vocal Ensemble, PhilharmonicChoir; Odense Symphony/ Andreas Delfs

DaCapo 220648—71 minutes

What a delightful discovery this is: the firstrecording of the complete score (which firstappeared complete in 2007) to Carl Nielsen’sincidental music for Helge Rode’s play, Mod-eren. The play was drawn from a crucial eventin Danish history. Until 1864 the countryincluded the duchies of Slesvig and Holsten(Danish names) found on the northern borderof Germany and populated with Danes andGermans. The problem was that the DanishNational Liberal forces wanted to incorporateSlesvig into Denmark, but the Germans want-ed to incorporate Schleswig and Holstein(German names) into Germany. Denmark’s1864 defeat in a war with Germany (thatNielsen’s father fought in) led to both sectionsgoing to Germany, cutting the overall popula-tion of Denmark by 40%. After Germany’sdefeat in World War I, Schleswig and Holsteinposted a referendum to determine the fate oftheir populations. The result turned NorthSchleswig into the part of Denmark known as


Southern Jutland, with South Schleswig andHolstein staying German, creating the bordersthat exist today. The Danish Royal Theaterdecided to stage a play to celebrate that transi-tion and persuaded the country’s leading com-poser to write the music for it. Nielsen hesitat-ed but agreed—for a considerable price. Ithelped that he was experienced composingmusic for the theater, though it did not helpthat he had tired of that milieu! Slowing thingsdown was the fact that at the time he was trav-eling through Europe and working on othermusic, including the Fifth Symphony. Nielsenbecame more committed to the project as heworked on it, to the point where he came toenjoy the process and the result.

Mother is a fairy-tale allegory about thereturn of a King’s kidnapped son. A duet forflute and harp, `Tagen Letter’ (The Fog is Lift-ing), accompanies the first scene where theKing sees a mother parting from her sonthrough the rising fog. The King instructs hisSkald and his Fool to go out into the world andreturn in one year with joyful news. (A Skald isa Bard.) The Skald thinks of the beautifulPrincess Tove, whose praises he sings, portray-ing her as a personification of Denmark. TheFool expresses cynicism with edgy musicspiced by occasional moments of dissonanceand snarls. The Skald sings of the desolatewinter landscape and his desire for the returnof spring. The West Wind responds by blowingdown a wall of ice, behind which stands thelost boy. Their mission accomplished, every-one returns to the King’s court, and a joyousprocession follows. People representing differ-ent regions of Denmark join in, symbolicallywelcoming mother and son.

The premiere of Mother was in 1921, and itwas staged several more times to mixedreviews. The music was enthusiasticallyreceived, which is fitting because this lovelyand entertaining score is as enjoyable as any-thing Nielsen wrote. It includes a jaunty open-ing march, the tone poem Saga Drom as aprelude, two more evocative orchestral prel-udes, a waltz for piano, an orchestral minuet,two pieces for solo flute (`Tagen Letter’became a well known work for the instru-ment), and some nice writing for solo violinand solo viola. There is a great chorus andsome eerie string passages symbolizing distantDanish voices, and a short brass fanfare. Onesection treats the Danish National Anthem;another is composed of brief phrases from theanthems of the three wartime Triple Ententecountries and the United States. Some of the

best music is the multi-verse folk songs. Someare orchestrated Danish folk songs; otherswere composed by Nielsen and became Dan-ish folk songs.

The performance is first-rate all around.Nielsen grew up near Odense, and the OdenseSymphony sounds great. The star of the showmay be tenor Adam Riis (the Skald) whose gor-geously sweet, lyrical tenor makes his songshigh points of the piece. Rasmus Gravers givesthe sarcastic Fool just enough bite. I presumethe other soloists are members of the excellentchorus. All are top-notch, particularly thesopranos.

The sound is as good as the performance.The booklet offers good information about thehistory behind the work and the work itself,but the text is not included. Instead, the des-criptive material includes track numbers tofollow, which is sometimes difficult. But this isa terrific discovery whose appeal should beuniversal.

HECHT

NORDHEIM: Aurora; see HAGEN

OFFENBACH: Pomme d’Api; Sur unVolcan

Mogali Leger (Catherine, Katrina); Florian Laconi(Gustave, St Elme); Marc Barrard (Rabastiens,Trafalgar); Cologne Academy/ Michael AlexanderWillens—CPO 555268—82 minutes

These two one-act, three-person “chamberoperas” with a small orchestra. They have therequisite overtures, waltzes, rondos, couplets,and romances along with buoyant librettos—all in their 40 minutes. Pomme d’Api (LittleRed Apple) (1873) was written in Offenbach’slate period (after the Franco-Prussian war)when he had already been composing two orthree act operettas for several years. He hadbeen shunned by France during the war owingto his German heritage, and it took a while toregain some of his standing. Pomme d’Apiwas part of that re-introduction phase.

The far from original plot is by librettistsLudovic Halevy and the lesser known WilliamBusnach. The story involves the young Gus-tave’s mistress Catherine (also known asPomme d’Api) who has been hired as a house-maid by Gustave’s Uncle Rabastens. Rabastenswants Catherine to be his mistress, but after adisastrous dinner decides that Gustave andCatherine are better mated. The operetta ismostly music with short dialog sequences. Inthis mature stage of Offenbach’s career he


knew how to use scripts and melodies to con-struct popular shows.

Pomme d’Api is considered by many to beone of Offenbach’s finest one-act operettasand I agree. There isn’t a wasted note, themusic is one delight after another, the timing isprecise, and the characters are effectivelydrawn. The overture starts slow but quicklychanges to a spritely jaunt. The romancemusic is absolutely beautiful and there arememorable characters and comic songs. Theleads all sing nicely, expressively, and in char-acter. The only drawback is the sound, whichis often distorted when loud and somewhatmuddy when all the voices and orchestra arecombined. This is something that should havebeen corrected. You can overlook these defi-ciencies owing to the excellent performances,but they remain irritating. The only otherrecording available is in a 30 CD Offenbachcollection reviewed by Richard Traubner inone of its earlier incarnations (EMI 49361, N/D1989). I have heard selections from thatrecording, conducted by Manuel Rosenthal,on various EMI Offenbach compilations, but Ihaven’t heard the complete performance.

Sur un Volcan has quite a history. Premier-ing in 1855 in a program with Offenbach’s bet-ter Bata-a-Clan, it was withdrawn after one per-formance. It had been attributed to Ernest L’Ep-ine (whoever that was) with assistance fromOffenbach. Only portions of the score surviveduntil some detective work by Willens, thisrecording’s conductor. Over several years hepieced together the remnants into this per-forming version. His research also determinedthat Offenbach had actually written much moreof the score than originally thought. This is thefirst recording, and it is delightful. The sound inthis one is better than in Pomme d’Api, withonly a little distortion. The three performers areall excellent with good characterizations andbeautiful singing. The leads are the same forboth operas. Mogali Leger has a beautiful voicethat caresses each note and gives the text fullmeaning. The men have excellent diction andemphasize their characters’ idiosyncrancies.

Although both are enjoyable I foundPomme d’Api the better of the two, both inmusic and libretto.

Willens conducts lively performances, theorchestra plays beautifully, and except forsome distortion in loud passages the sound isclear. The booklet has French and English plotsummaries, history, and performer biogra-phies, but unfortunately no libretto.

FISCH

OSWALD: Piano Concerto; SAINT-SAENS: Concerto 5;NEPOMUCENO: Suite in the Ancient Style

Clelia Iruzun, p; Royal Philharmonic/ Jan vanSteen—Somm 276—72 minutes

Henrique Oswald (1852-1931) was of Swissdescent, living in Brazil in his youth. Winning acompetition landed him in Paris, whereCamille Saint-Saens encouraged him and hiswork. The Piano Concerto (1886) descendsfrom Schumann, at least in its first movement.Like all too many late 19th Century examplesof its genre, it’s densely scored with yards ofuninspired, rhythmically monotonous pas-sagework. The following two movements arebetter in themes and orchestration. Brazilianpianist Clelia Iruzun plays with consistent skilland sympathy. In I, her control of dynamicsand ear for balances helps the solo part standout against the thick accompaniment, givingthe movement such distinction as it has. Hersensitive touch and graceful finger work comemore to the fore in the ensuing movements.

In the more familiar Saint-Saens, herrhythmic accuracy and clear voicing make aconvincing reading. She manages some of hiscontradictory markings—a fast andante, arelaxed allegro—well, with fluid shaping.

I’ve written favorably about the Braziliancomposer Alberto Nepomuceno (July/Aug2019). His wife was a Grieg student, and theSuite in the Ancient Style for solo piano owesits concept to Grieg’s Holberg Suite. As anhomage to baroque forms, the music is pleas-ing and tastefully wrought. These adjectivesalso apply to Ms Irugun’s playing. The workmakes a sophisticated encore after the twoconcertos. The Royal Philharmonic and theconducting furnish capable backup.

O’CONNOR

PANTCHEFF: Veni Sancte Spiritus; WhatShall we Offer Thee?; Magnificat & NuncDimittis (Aedes Christi & St Paul’s); Poems ofStephen Crane; King Henry VIII’s Apologia;Creator of the Stars of Night; The Covenant;Turn Again unto thy Rest; Spirit of MercyJeremy Cole, org; Matthew Fletcher, p; LondonChoral Sinfonia/ Michael Waldron

Orchid 100144—71 minutes

I was unfamiliar with the English composerRichard Pantcheff until this recording. He hashad a wide-ranging career as a composer,organist, and choral conductor, writingnumerous choral, vocal, organ, chamber, and


instrumental works. This program containsmainly sacred choral pieces aside from theStephen Crane settings and the Apologia ofHenry VIII, where he seeks to absolve himselffrom blame for the sins of his youth. The twosubstantial settings of the Magnificat andNunc Dimittis (one for women’s and one formen’s voices) are particularly effective andworth investigation by church musicians. Thestyle is interesting and approachable, and theperformances are excellent. Notes and texts. Awelcome discovery.

DELCAMP

PAVAN: Guitar PiecesPark Slope Chamber PlayersCentaur 3784—46 minutes

Argentine born guitarist and composer CarlosPavan has resided in New York for twodecades. In addition to his international con-cert career he is artistic director of the ParkSlope Chamber Players in the Park Slope areaof Brooklyn.

Playing the guitar on all tracks is Pavanhimself, and he shines in this ensemble, withengaged, collaborative accompaniment as wellas solid solo work.

In a work for solo guitar, `Milonga y Miste-rio’, he handles the contemporary languagewell, with interesting articulations and cleandelivery, but could have used a bit more spacebetween phrases to let the music breathe andto achieve the effect portrayed in the title.

Several lovely duets for guitar and flute areincluded, with fluid, moving melodies and tex-tures; but the guitar level is too loud in all ofthose, even on different audio systems. Bal-ance is better on the Two Pieces for clarinetand guitar and especially on the three-move-ment Concertino for guitar and chamberorchestra, where the instruments all soundrealistic. This is an energetic work where theintelligent scoring gives the guitar space to beheard as it responds to the orchestra. Thoughwritten in a contemporary style, this music isaccessible, with enough tonal substance forthe listener to comprehend.

The program alternates Pavan’s solo workswith his chamber works. It concludes with hisSuite Cosmopolitan for guitar duo, where he isjoined by Liz Hogg. They work well together inthis intricate and well-written work.

The meager liner notes and photos tell thebasic story, but nothing more. They stay out ofthe way of the music, which speaks for itself.

MCCUTCHEON

PICCHI: Canzoni Da SonarConcerto Scirocco/ Giulia Genini

Arcana 476—72 minutes

This collection of 19 canzonas for “all sorts” ofinstruments—Canzoni Da Sonar Con OgniSorte D’Istromenti (1625)—was the last publi-cation by Venetian composer, organist, andharpsichordist Giovanni Picchi (1572-1643).The pieces are very much in the Venetian tra-dition with choirs of wind instruments,sparkling high solo parts (for instruments suchas cornetto, recorder, and violin), and contra-puntal writing. Although not as immense asthe greatest San Marco festival pieces such asMonteverdi’s 1610 Vespers, these are certainlynot chamber works. As you set your playbacklevel, don’t hesitate to use high volume so thatyou can fill your space with the glory of Venice.

The playing is very good as the 13 playersin Concerto Scirocco—in several differentgroupings—are by turns in happy convivialconversation (Canzona 7), scampering closetogether in high registers then pausing tocatch their breath and aerate the texture (9), orrelaxing together in a suave and elegant pas-toral spot (16).

Picchi specified which instruments shouldbe used in each canzona, and Concerto Sciroc-co follows this guidance quite closely. Toexplain why they chose a different combina-tion of instruments sometimes, ensembledirector Giulia Genini offers helpful details inthe booklet notes, along with a description ofeach canzona. In Canzona 14, for instance, the“first sackbut line was given to the violone formore varied winds and strings in the ternarysection”.

In addition to Giulia Genini’s essay, thereis one by Professor Rodolfo Baroncini aboutPicchi and details of all 18 instruments usedhere.

C MOORE

PICKER: Opera Without Words; The Encantadas

Nashville Symphony/ Giancarlo GuerreroNaxos 559853—58 minutes

This recording presents two works withunusual literary connections by the Americancomposer Tobias Picker. The Encantadas, oneof his earlier compositions (1983), is a melo-drama based on Herman Melville’s poemsabout his encounters with the GalapagosIslands during a voyage on a whaling ship.Picker was attracted to the way these texts


hover in a “border zone between poetry andprose”, and the composer (who acts as narra-tor) illustrates them with easily engaging tonepoems that have the quality of first-rate filmmusic. (That’s a compliment, not a jab.) Thelast of the six movements, `Dawn’, is particu-larly memorable.

For the 2016 Opera Without Words, Pickerdeveloped, as Thomas May describes it, “aradically new form: a purely instrumentalwork that conveys a secret opera”. In collabora-tion with librettist Irene Dische, he composeda one-act opera, setting the characters’ wordsnot to voices but to musical instruments. Infinishing the score, he removed all the “vocallines”, but kept a separate copy so that Operacould theoretically be performed convention-ally with the texts and staging restored. He leftsome indications in the score that “only anopera singer is accustomed to seeing”, such as“defensively”, “terrified”, and even “aside to theaudience”.

As with all well-crafted operas, the accom-paniment does indeed suggest a drama all itsown. And so Opera Without Words is notablefor a variety of mood and character not typicalof orchestral pieces, as well as the tantalizingtemptation to guess the contours of the “secretopera” it conceals. The Nashville Symphony,led by Giancarlo Guerrero, accentuates Pick-er’s clean lines and sonic richness, and theaudio quality is exemplary.

ALTMAN

POTT: A Room at the End of the MindJeremy Filsell, p—Acis 52078—74 minutes

This is a collection of piano music by FrancisPott (b. 1957), a neoromantic with a large vari-ety of influences (almost all of them men-tioned in the notes). Vaughan Williams, Simp-son, Finzi, and such are omnipresent. Many ofthese were written for his friends, others inhomage to early music composers, with amplecounterpoint and lush pianism. They are allattractive and worthy of repertoire considera-tion, but the music itself may be hard to find.

The presentation is confusing, since itseems that Mr Filsell is the main attraction;“Francis Pott” is subsidiary on the jewel box.His notes are detailed and lengthy. Mr Filsell isa fine pianist and is more than equal to thetask. The music is inventive and always invit-ing much faster movement. If you don’t knowthis composer, this is worth your while.

GIMBEL

PROCTER-GREGG: Violin Sonatas 1, 2, 4Andrew Long; Ian Buckle, p


The notes credit Humphrey Procter-Gregg, adistinguished academic who founded theManchester University Music Department,with cultivating a compositional style reminis-cent of Delius and late Fauré. I confess thatneither name springs readily to my mind onhearing these three sonatas, though perhapsthat’s a side effect of not knowing any Deliuswith a keyboard part; from what I do know,which is mainly orchestral, I wouldn’t haveexpected such extreme muscularity in thepiano writing as there is here. Certainly there’sno such thing in Fauré.

What is here is strong music—sometimestoo much so for its own good. The exuberanceand drive of several of the fast movementssometimes seem apt to steer the whole appa-ratus into the ditch; there’s nothing reininganything in. The acoustic also does the musicfew favors, emphasizing the harshness ofLong’s sound up close. Again, anything lesslike the perfumed haze of late Fauré couldscarcely be imagined. But Buckle’s magisterialhandling of what sound to be very difficultpiano parts is admirable, and in quieter move-ments (like the central Andante of No. 4) thetwo make a winning team.

There is a lot of odd and mixed meter here,usually to the music’s benefit. When Procter-Gregg launches a three-part fugue in 5/4 at theopening of No. 4’s finale, I defy anyone not toapplaud. But there is much that’s straightfor-ward too, and since the road is wide and theditches distant, what’s not to like?

THOMSON

PROKOFIEFF: Violin Sonata 1;SHOSTAKOVICH: Sonata

Natalia Prishepenko; Dina Ugorskaja, pAvi 8553425—59 minutes

About 25 years ago I heard a program on asmall German label of a then very youngNatalia Prischepenko (she has since droppedthe C) playing, among other things, Prokofi-eff ’s “second” violin sonata, Op. 94a (the oneoriginally for flute). Right after that she co-founded the Artemis Quartet and began mak-ing 18 years of chamber-music waves, eventu-ally leaving the ensemble in 2012. And now,finally, comes the other Prokofieff sonata,together with its even gloomier Shostakovichdiscmate.


Both works were originally written forDavid Oistrakh, and Prishepenko (who hailsfrom the same Zakhar Bron violin studio asMaxim Vengerov and Vadim Repin, amongothers) has Oistrakh’s dour heft as well as hisoccasional silkiness. In the slow movement ofthe Prokofieff it’s something more than that, asound at once rich and ghostly, with a timbreon the G string that’s almost viola-like. Theloud bits are, well, loud, and there are a lot ofthem in both works. II of the Prokofieff ismostly violent slashings, mingled sometimeswith what seems a savage parody of one of thecomposer’s happy-go-lucky themes (the maintheme of Peter and the Wolf, perhaps, or eventhe one from the finale of the Flute Sonata).Twice—once in the first movement, a secondtime near the end of the piece—there are ice-cold, quiet, very rapid scales that Prokofieffdescribed as “the wind rushing through acemetery”. That’s the USSR in 1938, all right. Ihave an idea that Prokofieff, though he wasnever allowed to leave the USSR again, wasnevertheless ensconced comfortably away inthe country somewhere, unlike his comrade,“fireman Shostakovich”.

Shostakovich’s sonata, for its part, bids fairto be the bleakest thing ever written ostensiblyin G major. (Beside it, the yet later viola sonatais positively chipper.) As in the Prokofieff, thepiano spends much of its time in the deepestregister (Ugorskaja balefully dark here) andthe violin a great deal of time shrieking. Thelong finale is a passacaglia, of the sortShostakovich loved so well, but this time thetheme begins almost atomistically, as irregu-larly-spaced pizzicatos, and only later does thesemblance of the variations begin to takeshape. This work has a sort of analog of thecold winds of the Prokofieff: a crawling, spi-dery theme beginning high up the E string andslowly descending, both at the end of the firstmovement and at the end of the last.

Neither performance is likely to be bet-tered any time soon, and short of Oistrakh’sseveral performances of each, these are thebest I know (and in much better sound). Butthis isn’t music to break out on a cold, isolated,COVID-ridden winter night. Wait for daylightand spring.

THOMSON

PURCELL: musicDavid Hansen, ct; Oslo Circles

Simax 1367—58 minutes

The Baroque band Oslo Circles imbues this

collection of music by Purcell, titled “OneCharming Night”, with an exuberant air of art-lessness. They shine in the Abdelazer Suite,which opens with a spritely rendition of therondeau Britten used as the basis for hisYoung Person’s Guide to the Orchestra varia-tions. And they whip up invigorating baroquejam sessions in `Strike the Viol’ (from BirthdayOde for Queen Mary) and `Hornpipe I & II’(The Indian Queen).

As the album’s vocal soloist, Australiancountertenor David Hansen lavishes warmlypiercing tone on the haunting `Music for aWhile’ and `When I am Laid in Earth’ andfinds the right contrast of colors for the slowand fast sections of `Sweeter than Roses’. Butthere is a feeling of formality in his veiledenunciation (an occupational hazard for hisvocal category) that is a bit at odds with theinstrumental ensemble’s free-spirited aban-don.

Simax’s attractive packaging includes allthe sung texts, as well as enlightening notes byBryan White on Purcell and the sources of theselections. The audio engineering and auralpositioning of the artists is superlative.

ALTMAN

PURCELL: Welcome SongsThe Sixteen/ Harry Christophers

Coro 16182—74 minutes

It has been some time since Hyperion releasedrecordings by Robert King and the King’s Con-sort of complete traversals of several genres ofmusic by Henry Purcell: odes and welcomesongs from 1988 to 1992, sacred music from1991 to 1994, and non-theatrical secular songsin 1994. I have long regarded King’s perform-ances as the gold standard in this repertory.Meanwhile, Decca and Christopher Hogwoodgave us the complete theatrical music otherthan Dido and Aeneas and the semi-operas inrecordings made from 1974 to 1983.

In his series of Purcell recordings, HarryChristophers takes a markedly differentapproach. Each disc in the series will containone or two royal welcome songs: cantata-likecompositions to mark the return of themonarch to London after spending the sum-mer in Windsor. A more ephemeral genrecould hardly be imagined: each welcome songmight be performed once and never heardagain. The extravagantly fawning poetry wasmediocre at best, but as I observed in myreview of an earlier disc in the series, Purcell


could have set a laundry list to magnificentmusic. These pieces are well worth hearing.

Christophers fills out each recording with across section of shorter works in a variety ofgenres: anthems, theatrical songs, catches,and instrumental pieces. Andrew Pinnocksupplies program notes that relate the musicto the intense political machinations of theperiod.

What Shall Be Done in Behalf of the Man(1682) is the first of the two welcome songs onthis recording. It was written on the occasionof the permanent return from Edinburgh toLondon of the Duke of York (future King JamesII). That and Charles’s dissolution of Parlia-ment in the previous year put an end of the“Exclusion Crisis”, a Protestant movement toprevent James, a Catholic, from succeeding tothe throne, and to name the Duke of Mon-mouth, Charles’s eldest illegitimate son and astaunch Protestant, as heir apparent. The textof the welcome song names York unequivocal-ly as successor to the throne—a somewhat del-icate proposition, since York was only threeyears younger than the king, so that eithermight plausibly predecease the other. Theother welcome song here is From ThoseSerene and Rapturous Joys (1684) to a text byThomas Flatman. It may not be as politicallycharged as the 1682 work, but as Andrew Pin-nock puts it, Flatman “took hyperbole to aludicrous extreme” in comparing the king’sreturn to the raising of Lazarus.

The shorter works on the program includePurcell’s best-known symphony anthem`Rejoice in the Lord Alway’. Among the theatri-cal songs are `Blow, Boreas, Blow’ from SirBarnaby Whigg, `Retir’d from Any Mortal’sSight’ from King Richard the Second, and `ThyGenius, Lo!’ from The Massacre of Paris, a playwritten during the Exclusion Crisis and sym-pathetic to the exclusionist position. For thatreason it was not performed until 1689, afterthe deposition of James and the enthronementof William and Mary. The three-part catch`Come, My Hearts’ (1685) proposes toasts toCharles and York, and so was excluded fromcatch collections published after 1688. Theinstrumental pieces are the Overture in Dminor and the chaconne `Two in One on aGround’ from the semi-opera Dioclesian(1690). Two recorders play treble in canonover a ground bass. Of course, there are instru-mental symphonies in the anthems and thetwo welcome songs.

As we have come to expect from Christo-phers, the performances are technically out-

standing. As in other recordings in the series,the forces are economical to emphasize theintimacy of the music. There are only 9singers. They produce a convincing choraleffect in the anthems and welcome songs, butthey are essentially an ensemble of vocalsoloists, and they get their solo moments. Thestrings are 3-3-3-3 with no double basses.Continuo harmony instruments are drawnfrom organ, harpsichord, theorbo, and harp.The recorded sound is good, but not especiallywarm.

A few years ago I reviewed a disc contain-ing two welcome songs for James II (Coro16151; J/F 2018). Later in that year John Barkerreviewed the first of the recordings of welcomesongs for Charles II (16163; N/D 2018) andexpressed his general agreement with my eval-uation. This is the third release in the CharlesII series. It appears that the previous volume(16173) was not reviewed in ARG.

GATENS

RABL: Clarinet Quartet; see ZEMLINSKY

RACHMANINOFF: 5 Preludes, 4 Etudes-Tableaux, 2 Moments Musicaux, 2 Song Tran-scriptions, Fantasy Piece; Andante from CelloSonata

Sergei Babayan, p—DG 4839181—61 minutes

Babayan has been a world-class pianist formany, many years, but not as well known as hehas become recently. As the teacher and pianoduo partner of Daniil Trifonov I have seen himin performance twice at Carnegie Hall. Andboth were among the five soloists in amarathon concert of all the Prokofieff pianoconcertos at the Brooklyn Academy of Musicin February 2016 (May/June 2016). Morerecently he has partnered with Martha Arg-erich in Prokofieff (DG 4799854, Sept/Oct2018). He signed a recording contract with DGin 2018, and this is his first solo album for thelabel.

This is as varied and balanced a Rach-maninoff program as one could hope for.There are very familiar works, two transcrip-tions by Arcadi Volodos, one by Rachmaninoff,and a little `Morceau de Fantaisie’ that all butthe most complete recordings miss. Babayanhas taken great care in constructing thisrecital. The works are not arranged by date oropus number. The inclusion of Volodos’s tran-scription of the `Melody’ Op. 21:9 balanceswell with Rachmaninoff’s own of `Lilacs’ Op.21:2, but they are not played back to back. Thegorgeous slow movement from the Cello


Sonata is in E-flat, but its persistent use of F-sharp (enharmonic of G-flat) gives the feelingof alternation between E-flat major and minor,with major winning out at the end. By placingthis transcription by Volodos between anEtude-Tableaux (Op. 39:5) and Moment Musi-cal (Op. 16:2), both in E-flat minor, Babayankeeps a common tonal center with as muchvariation as possible.

The pianism here is flawless. There aretempos a little faster or slower than usual. Thisis everything that you would expect from agreat Rachmaninoff recital. DG’s piano soundis state of the art, and the booklet essay has anumber of interesting comments by thepianist.

HARRINGTON

RAMEAU: Les BoreadesDeborah Cachet, Caroline Weynants, s; MathiasVidal, Benedikt Kristjansson, t; Benoit Arnould,bar; Tomas Selc, Nicolas Brooymans, b; Col-legium 1704—Versailles 26 [3CD] 165 minutes

Listening to Les Boreades (the god of the northwind and of winter) by Jean-Philippe Rameau(1683-1764) is like moving to another planetfrom Haydn (b 1732), Mozart (b 1756), andeven Rameau’s contemporaries Bach, Handel,and Telemann. The music’s style and instru-mentation seem closer to Henry Purcell (1659-95). Louis XV’s court apparently was (amongother things) part entertainment, part distrac-tion, part fashion show, judging from the longseries of ballets, airs, minuets, gavottes,rigaudons, airs, and choruses that repeatedlystay the action of this (as the liner notes call it)“theatrical work”.

The plot is simple: Queen Alphise (Debo-rah Cachet) is desired by Calisis (BenediktKristjansson) and Borilée (Tomas Selc), sonsof Boreas, but she’s intent on marrying Abaris(Mathias Vidal). Since she can’t marry Abarisand remain queen, she gives up her crown. Allheaven shakes loose in a fabulous 22-minutescene of storm, thunder, and earthquake, afterwhich Alphise “is carried off into the air”. Ah,but it turns out Abaris is the son of Apollo;thus, he keeps the winds from obeying Boreasand renders the wind god’s two sonsamenable. Abaris and Alphise marry to “gen-eral jubilation”, the kind that leave Mar-a-Lagocelebrations in the dust.

Vaclav Luks is founder and artistic directorof the Prague-based baroque orchestra Col-legium 1704 (6-5-4-3-2 plus pairs of wood-winds, French horns, and a percussionist) and

the Collegium Vocale 1704 chorus (6-6-6-5).Performances in Act I seem rather tame, orwas I just getting used to a sound world I don’tnormally inhabit? Ensemble, pitches, and bal-ances are excellent; but neither singers nororchestra are subtle or nuanced here. In fact, itsounds as if the singers are performing in ahall where they have to really project theirvoices into the audience; so dynamic andexpression levels remain the same.

But starting with Act II the singers investeven the many extensive recitatives with analmost spoken drama, especially in the duel-ing recitatives where two or more charactersreact to one another. There aren’t many full-blown arias in this work, but Matias Vidal’smellow baritone early in the act is especiallytender, and his interchanges with DeborahCachet later in the act are deeply felt andtouching. The act ends with ebullient, tender,and vigorous praises of liberty and love amidstsolos, quartets, choir, and numerous balletselections.

Act III furthers the notion of pageant andentertainment as Alphise’s two rejected suitorssing, “Why resist the chains of love and bud-ding flowers. Let us enjoy our finest years!”Sacré bleu! An orgy before the deluge (that 22-minute storm scene). By this point, recitativesseem to go on for a lot longer than they actual-ly do; but, again, the performances are so wellpaced, the orchestra is so vital, and the singingso uniformly good that they’re never boring(especially with a remote control in hand).

The storm music plunges without a breakdirectly into Act IV for six minutes, followingby a gorgeous four-minute lament sing byVidal, accompanied by delicate woodwindsand soft sustained strings. Enter Polymnia, theMuses, Zephers, Seasons, the Hours, and theArts for 22 minutes of dances and airs meantto soften up the gods, especially Boreas.

Rameau opens Act V with Boreas unleash-ing devastation via the cleverest, advancedrhythms and harmonies. As the wind god saysto Alphise, “Unwanted husband or slavery? Anempire or fetters.” She chooses fetters, fol-lowed by a ballet with plenty of threateningsound effects. But Abaris, son of Apollo withthe golden arrow, comes to the rescue with amessage for people in power that is especiallytimely right now: “Everything that hurts is acrime. You would be feared, but can you beloved?” after which the text notes, “The decorchanges”, followed by lively ballets with sweetmoments of love, ending with “very lively con-tradances”.


If this sounds like a plot outline more thana performance critique, it is because of thework’s layout. For example, Act V at 33 min-utes is divided into 25 tracks. And the same istrue of the other four acts. But was it the musicitself, or the performers, or both, who man-aged to hold my attention? Even though theorchestra has no brass to stir things up otherthan two mellow French horns, the musicnever stagnates, the flow is always moving for-ward, the conductor is alert and incisive, theorchestra is peerless, and the singers are excel-lent ; the two leads (Deborah Cachet andMathias Vidal) are especially engaging. In fact,I find this work much easier to take than someof Handel’s operas where an aria can drone onfor 15 minutes with an inane text (“I am goingto the store”), followed by a 12-minute aria(“What will you buy?”), etc.

Recorded in Versailles, the engineering iswarm and resonant, and balances are superb.The liner notes are informative and easy toread, and the complete text is in French, Eng-lish, and German. The packaging is attractive,with sumptuous photos of the opera house.

FRENCH

RAMEAU: Pigmalion & Dardanus Suites & Airs

Anders Dahlin, t) Orfeo Baroque Orchestra/Michi Gaigg—CPO 555 156—64 minutes

These are selections from two of Rameau’simportant compositions, the 1748 act de bal-let, Pigmalion , and the 1744 tragedie enmusique, Dardanus. The instrumental selec-tions are essentially two suites of dances. Ineach suite, Anders J Dahlin sings two selec-tions: from Pigmalion the air `Fatal Amour’and the ariette `Règne Amour’, and from Dard-anus the title character’s prison air `Lieuxfunestes’ and the ariette `Hatons-nous ;courons a la gloire’. The airs were in an updat-ed style based on Jean-Baptiste Lully; the ari-ettes were basically Italian arias in French.Texts and translations are in the booklet.Dahlin has a light and agile voice, well suitedto the haute-contre repertoire.

Both of these works were composed for anopera orchestra, and this smaller ensemblelacks the presence found in the completerecordings : for Pigmalion , see the briefoverview in Jan/Feb 2020, and for Dardanus,Nov/Dec 2000 and July/Aug 2016. In particu-lar, the interpretation lacks the elan of GustavLeonhardt’s recording (DHM 77143, 1981),especially in the final Contredanse. Even in

this performance, Rameau’s music retains itscolor and motion. Though it is Rameau “light”,it might be a useful introduction.

BREWER

RATHAUS: Piano Sonatas 1+3;SHOSTAKOVICH: Sonatas 1+2

Vladimir Stoupel—Avi 8553481 [2CD] 104 min

Karol Rathaus (1895-1954) was of Polish Jew-ish descent; he studied with Franz Schreker atthe Hochschule fur Musik in Berlin, and theFirst Sonata, from 1920, was his entranceexamination there. Judging from his writing,he was generally an Extremely Serious person.Moods shift often, especially in the Spanish-tinged Scherzo; and our ears are filled with themassive struggles of late romanticism. Thestyle can veer from heights of virtuosity to gno-mic restraint, but the dark intensity almostnever lets up.

The Third (1927) steers an even widerberth around traditional form and tonality. Atthe same time it is slightly less glowering,though we are still oceans away from throb-bing Rachmaninoff. To contradict my state-ment about Rathaus’s seriousness, the scam-pering, turbulent finale uses some wild,markedly Jewish-sounding dance material,and there are the barest hints of jazz as well;even the opening notes ring like a spoof ofChopin’s `Minute Waltz’. Admirers of Medtner,Scriabin, Lourie, and their associates shouldhave this music.

Shostakovich’s brash, acerbic Sonata 1 isdense and cluttered here, and the piano’s irontone makes me feel pummeled. Lilya Zilber-stein (Decca 4757425) plays with much moresubtlety and personality. Stoupel doesn’t bringout individual voices much; instead we arefaced with a rabble-rousing, angry chorus. Themost difficult passages stretch his techniqueslightly beyond what is comfortable. All this isnot to say his interpretation is ineffective orinvalid—not in the slightest! (And Stoupeldoes respect the quiet passages, keeping anatmosphere of eerie tension.)

20 years ago I may have responded withenthusiasm, but these days, I tire of the “to ahammer, everything looks like a nail”approach. The more approachable style of theSecond Sonata normally makes it go downbetter, but again the playing is mostly brutalistand undefined. There are problems of tech-nique, too: repeated inner chords are inconsis-tent, and the rippling accompaniment pat-terns do not always flow. Rubato saves the pro-


ceedings from turning mechanical, but in IIIan excessive amount of it holds the musicback.

The Rathaus and Shostakovich wererecorded a year apart with different engineers.Though the booklet (German and English)points out similarities between the two com-posers, I would still rather pay for a single, full-length, all-Rathaus disc. Note that this label isnot the same as Avie.

ESTEP

RAVEL: Piano PiecesValses Nobles et Sentimentales; Tombeau deCouperin; Sonatine; Prelude; Pavane; A laManière de Borodine; A la Manière de Chabrier;Menuet sur la nom d’Haydn

Ann Martin-Davis—Guild 7825—69 minutes

This is an enjoyable single-disc Ravel recital. Itis subtitled `Le Langage des Fleurs’ whichrelates to a ballet based on Valses Nobles etSentimentales for which Ravel wrote the libret-to as well as the music. This offers a centralidea for the extensive booklet essay, whichcomplements the pianist’s own notes. The twomajor works (Valses and Tombeau) are nearand dear to my heart, as is the Sonatine. ThePavane has one of the most beautiful melodiesever written. The three pieces that refer toother composers make for an interestinggroup, and the little two-page Prelude, writtenas a sight-reading test, has been in my ownrepertoire for years.

The piano playing here is what I aspired todo when working on these pieces many yearsago. Martin-Davis takes a gentler approachthan I did, especially in the opening waltz ofValses . Her slightly detached Prelude inTombeau is true to the neo-Baroque idiomRavel was emulating. The notorious closing`Toccata’ is, like the Prelude, detached andclear but switches to pure legato in the centralsection. As it builds to the closing climax ofnotes that cover the whole keyboard, Martin-Davis misses none of the excitement, whilekeeping the phrases sensibly shaped and clear.

I found this a real discovery of a greatpianist with impressive teaching and scholarlycredentials. I noted that her notes in English,French, and German were not translated byanyone (as was the booklet essay), leading meto believe that she is fluent in many languages.She has trained over 4000 piano teachers inSouth East Asia and the UK. This should bewidely heard.

HARRINGTON

RAVEL: Trio;CHAUSSON: Piano Quartet

Trio Machiavelli; Adrien Boisseau, vaBerlin 301417—61 minutes

Over the past century, Ravel’s sole trio hassteadily gained in stature, and it is certainly acornerstone at this point. What does TrioMachiavelli bring to it? Intimate acoustics anda straightforward interpretation, sometimesverging on very good. Each movement is per-suasive here (III is a wonderful slow burn), butit just can’t go to the head of the class. In fair-ness, I have heard this several times and hear-ing this a few more times might elevate it in myestimation.

The 11-minute first movement of Chaus-son’s Quartet in A is like the opening of somemassive piano concerto. The 19th Centuryhothouse atmosphere is simply tiresome aftera while, and only III offers respite. Joined byAdrien Boisseau on viola, Trio Machiavellimake a fine case for this piece. The SchubertEnsemble was a bit better, but it may be tooepic (Jan/Feb 2017).

DUTTERER

REICHA: Grand Salon Symphony 1; BEETHOVEN: SeptetLe Concert de la Loge—Aparte 211—75 minutes

Over the past two centuries, Anton Reicha hasoften been disparaged at the expense ofBeethoven or some of the other more emphat-ic romantics. There’s no question that he wasrather theory-driven, and his contemporarieswere sometimes baffled by his music. Listen-ing to the two composers as they are repre-sented here, a listener engaging in a blind tastetest would be hard pressed to say which wasconsidered a dabbler and which one is some-times regarded as Zeus in the classical pan-theon.

But Reicha’s Grande Symphonie de Salon 1is not necessarily the sort of music that willredeem his reputation overnight. No matterwho writes it, salon music observes differentlaws. This world premiere recording is fresh,and this nonet (culled from the larger orches-tra) is relishing it. It begins with broodingromantic thunderclouds, but they quickly giveway to lighter fare. Anyone who has heard hiswind quintets will have a sense of the tone thatprevails. For that matter, strings play little rolein II, a very leisurely Adagio. Violinist JulienChauvin’s name looms larger on the marqueethan his confreres; but although he gets play-


ing time, the impression lingers that this is anamplified wind quintet. The Finale has a won-derfully woozy drunken tone, delivered in apolished, classical-era style rather than “sturmund drang” assertiveness. If nothing else, thispiece opposes the image of Reicha as techni-cian and paints him as an entertainer in thesame tradition as Mozart and Rossini.

For me, Beethoven’s Septet has never real-ly merited its 40-minute run time. Nonethe-less, it is performed here with warmth and18th Century flavor, with II and IV having themood of a summer reverie. The final move-ment is lovely. I’d like to hear more cello andviolin, but otherwise there’s nothing to findfault with here except perhaps that the album’stotal time of 75 minutes is 15 minutes toomuch.

The notes are well done and accompaniedby images of musical manuscripts, and there’san article on the music department of France’sBibliotheque Nationale. Because this album ispart of a larger, semi-official celebration ofReicha’s 250th birthday, there’s also a text bythe Czech Republic’s ambassador to France.

DUTTERER

ROMBERG: Harp & Cello SonatasZsuzsanna Aba-Nagy, Zsuzsa Szolnoki

Gramola 99216—77 minutes

This release claims to be a World PremiereRecording, but it isn’t. I reviewed its predeces-sor played by Rachel Talitman, harp and Didi-er Poskin, cello (Talent 86; July/Aug 2004) andliked it.

Bernhard Romberg (1767-1841) was a cel-list as well as a composer. These are beautifulexamples of his art and ability. As ChristianHeindl reminds us in his fine liner notes, it iseasy to mix up Bernhard with his cousinAndreas, who was born in the same year,played the violin and also composed somelovely music. The harp is an unusual partnerfor the cello.

How does the present issue compare withits predecessor? The sound is similar, but theplaying differs a bit. Poskin is a little more solidtechnically than Szolnoki, and the tempostaken on the earlier release cut over four min-utes from the total. The recorded balance andsonority are similar—perhaps a little more dis-tant in the earlier release. I’d prefer that one,though this one is not to be ignored.

D MOORE

ROSNER: RequiemKelley Hollis, s; Feargal Mostyn-Williams, ct ;Thomas Elwin, t ; Gareth Brynmor John, bar;Crouch End Festival Chorus; London Philhar-monic/ Nick Palmer—Toccata 545—69 minutes

Arnold Rosner’s Requiem (1973), no exaggera-tion intended, is one of the great works of the20th Century. Rosner (1945-2013) was a post-modernist at a time when modernism wasunshakable in academic circles. He studied atSUNY/Buffalo—a notorious hotbed: the facul-ty laughed at him. They were wrong. Theycouldn’t deal with his love of Renaissance andearly music (Dufay especially), his tonality andpost-tonal language.

Written when he was 28, the maturity andvision is striking. Inspiration for this work wastriggered by his fascination with IngmarBergman’s Seventh Seal. He wanted to adapt itfor an opera, but Bergman refused permission.He began to write it anyway, and some of itappears in the Requiem. His sources includethe New Testament, François Villon, the KamaSutra, Whitman (When Lilacs Last in the Door-yard Bloomed), Dante, the Kaddish, and theDies Irae. All are set with sensitivity and pro-found musicality.

The London Philharmonic is great, but MsHollis’s soprano is wobbly. Helpful notes byRosner scholar Walter Simmons. Texts andtranslations. Don’t miss this.

GIMBEL

ROSSINI: MosesSilvia Dalla Benetta (Sinaide), Elisa Balbo (An-ais), Randall Bills (Amenophis), Alexei Birkus(Moses), Luca Dall’Amico (Pharoah); GoreckiChamber Choir, Virtuosi Brunensis/ FabrizioMaria Carminati—Naxos 660473 [3CD] 168 min

If an opera has given a beloved tune to themusical world, the rest of the work is probablyworth getting to know. This is certainly thecase with Rossini’s opera about Moses’s free-ing of the Israelites from Egyptian bondage.The tune in question occurs in a big ensembleprayer as the Israelites stand by the Red Sea,just steps ahead of the Egyptian chariots. Youmay know it from Paganini’s setting. The operaturns out to be fascinating, with many tuneson the level of that one or even finer!

168 minutes is a lot of Rossini for somepeople, barely enough for others. Here wehave what must be one of the longest of Rossi-ni’s operas, because it is one of his serious


ones, further expanded for performance at theParis Opera.

The Italian-language version of the work isrelatively familiar on recordings, under thetitle Mosè in Egitto (Moses in Egypt; 1818).There have been at least six CD or DVDrecordings (plus several pirated ones—onewith Boris Christoff in the title role). I particu-larly recommend a shapely, well-recorded CDrelease under Claudio Scimone, with JuneAnderson and Ruggiero Raimondi, madewhen they were in splendid early-career voice.

Now Naxos (which has already made avail-able two performances of the 1818 version,one on CD, the other on DVD) brings us the1827 French work, whose full title translates as“Moses and Pharaoh, or the Crossing of theRed Sea”.

The excellent booklet essays by AnneliesAndries and Reto Müller explain how Rossiniand his French librettists rearranged the orderof the 1818 opera’s scenes, reworked much ofthe music, and added many new sections,such as an extensive ballet.

The result is apparently the first completeCD recording of the 1827 French version, and Irecommend it heartily to anybody interestedin the early history of French Grand Opera.Here Rossini tried, as he would two years laterin Guillaume Tell, to tell a story from the leg-endary past in a grand, inspiring way. Hethereby set a path that Meyerbeer, Halevy,Donizetti, Verdi, Gounod, Saint-Sa}}ns, andothers would follow.

He varied the orchestral colors greatly,offering solemn passages for brass choir andeven a touching flute solo. The latter opens theAct 2 aria where the pharaoh’s wife pleads withher son to give up his love for the Hebrewmaiden Ana{{s. (It’s complicated: the motherherself has secretly accepted Jehovah as Lord.The plot elaborates wildly on the Bible story.)

Particularly striking are the many descrip-tive passages, such as when the skies brightenagain after the plague of darkness is lifted.(Rossini was surely thinking of the “Let therebe light” in Haydn’s Creation.) Or, toward theend, the turbulent closing of the Red Sea onPharaoh’s troops.

And then there are the reliable pleasures ofany Rossini opera, namely lilting melody,often blossoming into exquisite or passionatecoloratura. One of my favorite such passages isin the third-act finale: after Moses makes thestatue of Isis collapse and the Ark of theCovenant appear in the sky, everyone express-es a kind of frozen astonishment for three glo-

rious minutes, to an accompaniment thatincludes harp arpeggios (`Je tremble etsoupire’—I tremble and sigh).

If you don’t know the opera, you might bebetter off with a recording of the 1818 Italianversion (such as the Scimone). The presentrecording comes from three staged perform-ances in summer 2018 at the renowned “Rossi-ni in Wildbad” festival (Black Forest), and itshows some of the near-inevitable shortcom-ings when a complex work is recorded thatway. The orchestra, not very large, soundssmaller because it is recorded without muchresonance. (Perhaps the mikes were kept onthe stage to avoid audience noise.) Also, in theopening scenes, the chorus and soloists oftensing slightly below pitch compared to theorchestra. Were they standing far from the pit,making it hard for them to hear? But this samechoral group is perfectly in tune with theorchestra—which helps one appreciate howgorgeously they sing!—at the beginning of Act2 when God has afflicted Egypt with a plagueof darkness.

Alexei Birkus (from Russia) is often slightlyflat even when he is standing front and center,near the orchestra; and, though he has asonorous voice that conveys Mosaic authority,his coloratura is not always clean.

Still, the work comes across well, thanks tothe otherwise fine cast, led by two remarkablesopranos: Silvia Dalla Bennetta (whom I haveadmired in Rossini operas—Nov/Dec 2019,May/June 2020); and Elisa Balbo (who singshere as beautifully as in another Rossini opera,Mar/Apr 2019).

Tenor Randall Bills is eloquent and con-vincingly heroic at the top end of his rangethough sometimes thin at the bottom. PatrickKabongo, from the Republic of the Congo, isexquisite in the smaller role of Eliezer. The restof the cast produces healthy, stylish singing:Luca Dall’Amico (as Pharaoh) is more precisethan Birkus (Moses) but produces a less reso-nant sound.

Carminati, a conductor I have not previ-ously encountered, keeps up the pace nicely;and the orchestra (from Moravia, in the CzechRepublic) and chorus (from Poland) followhim to the hilt.

A 2003 La Scala DVD of the Paris version,though perhaps not as complete as the newCD, includes singers who were, or would soonbecome, major stars (Frittoli, Ganassi, Muraro,Schrott, Abdrazakov), conducted by RiccardoMuti (Sept/Oct 2006). The bits I have seen arecaptivating. There’s also a recording with


Cecilia Gasdia, Shirley Verrett, and SamuelRamey (under Georges Pr***tre)—blurry videobut clear sound. This new CD gives you everynote that Rossini wrote, in a shapely and large-ly convincing performance. French-onlylibretto at the Naxos website, with helpful tracknumbers in red.

LOCKE

ROUSSEL: Bacchus & Ariane Suite 2;see Collections

RUBINSTEIN: Le Bal; Allegro AppassionatoWarren Lee, p—Naxos 574216—88 minutes

This is the longest CD I have seen. Like muchof Rubinstein’s music to come my way, Le Balis quite long-winded, but always well crafted,with easy-to-listen-to melodies and har-monies.

Anton Rubinstein (1829-1894) was one ofthe great pianists of all time. He is regularlycompared with Liszt, and his legendary con-certs teaching career occupy a huge place inRussian music history. His compositions havenot fared nearly as well. Gerald Abraham saidthat Rubinstein was “a competent imitator ofMendelssohn or Schumann with little person-ality”.

Le Bal (1854, revised 1871) is a ballroomscene in ten sections. It begins with the antici-pation of the dancer, followed by varieddances that culminate in a wild `Galop’. Thefinal movement is a dream reflection of whathas been. The program and construction ofthe work is more interesting than the actualmusic. That tends to be predictable, withrepeated phrases, agreeable, but not memo-rable melodies, and a lot of notes. I give Leehigh marks for the sense he makes of it all. Hehas the technique and sensibilities to bring itoff. But it is not something that I’ll listen toagain.

HARRINGTON

RUGEN: SongsEnsemble Peregrina/ Agnieszka Budzinska-Ben-nett—Tacet 261—75 minutes

This is the first complete recording of theextant works of the minnesinger Wizlav vonRügen. The identity of the poet is uncertain,but he might have been Prince Wizlaw III, whodied in 1325. Most of the 21 items here fall intothe category of Springtime love songs, withtheir familiar bucolic “natureingang” (natureopening). There are a few “sangspruchdich-tungen” (religious, moral-didactic songs) in

the style of Walther von der Vogelweide. Andthere is one “tagelied” (dawn song) that bor-rows from the alba tradition going back at leastas far as the Troubadours of the 12th Century.

Ensemble Peregrina aims for rather simpleperformances of these songs, preferring solovoice (Agnieszka Budzinska-Bennett, MarcLewon, Mathias Spoerry) with instrumentalaccompaniments—harp, sinfonia (Budzinska-Bennett), gittern (Lewon), vielles (BaptisteRomain), and medieval transverse flutes(Mara Winter), all of which are attested in theminiatures of the famous song manuscriptknown as the Codex Manesse (c. 1340). Textsand notes are in English.

LOEWEN

SAINT-SAENS: Liszt Sonata; Chopin Sonata 2, arr

Simon Callaghan, Hiroaki Takenouchi, pNimbus 5997—55 minutes

Since we regularly publish Liszt transcriptionsof other composer’s works under Liszt’s name,I thought it proper to place these transcrip-tions under Saint-Saëns. There are a hugenumber of recordings of the original solopiano sonatas. I know of only one other of theLiszt (Melodiya 2463, May/June 2017) andnone of the Chopin in the two-piano arrange-ments. These are both very literal transcrip-tions, and the only noticeable added notes areoctave doublings and some filling out of theharmonies or figurations that are beyond thecapability of two hands.

Both of these works count among myfavorites, and I have been listening to the origi-nals all my life. As I played this several times, Ikept asking why. Why take the time to writethese arrangements? Why invest the time inperfecting performances? Why listen? Now Ihave to answer those questions.

Saint-Saëns undoubtedly admired theseworks and most likely had the occasion to playtwo-piano music with very competent part-ners (including Liszt). Recreating a master-piece with a partner or as a gift for two otherpianists is likely why he made these arrange-ments, beyond the fact that it clearly wouldenhance one’s knowledge of the works.

No pianist would minimize the timerequired to learn and bring to performancelevel either of these two works. While the two-piano versions do decrease some of the tech-nical problems, the ensemble requirementsmust add to the difficulty with two pianos. Fora piano duo team, learning one or both of


these might be viewed as ascending Mt Ever-est. I listen because I love the works and aslightly different version makes me listen moreclosely and even hear some lines that I’venever noticed in the originals.

Callaghan and Takenouchi are well up tothe demands Saint-Saëns has put before them.They are at their best in the most technicallydemanding sections. Also, they do very wellwhen one part clearly has the main idea andthe other accompanies, giving great shape toinner voices. The recorded sound is good. Thebooklet notes talk much more about the piecesthan the arrangements. Since these scores arenot readily available, I would have preferredmore information about the arrangements.But I would certainly recommend this record-ing to people who love these works and wouldenjoy a different aural presentation.

HARRINGTON

SAINT-SAENS: Le Timbre d’ArgentHelène Guilmette (Helène), Jodie Devos (Rosa),Edgaras Montvidas (Conrad), Yu Shao (Bene-dict), Tassis Christoyannis (Spiridion); Les Siè-cles, Accentus chorus/ François-Xavier Roth

Bru Zane 1041 [2CD] 148 minutes

You know how odd a piece Offenbach’s Talesof Hoffmann (1881) is, with its three differentstories encased in yet another story and a vil-lain who reappears as different characters.Well, Le Timbre d’Argent, which was largelycomposed 17 years earlier than the Offenbach,resembles it in important ways—not least inthe high quality of the music and its astonish-ing variety.

Le Timbre d’Argent (The Silver Bell) hasnever been recorded before—and, untilrevived by these performers in 2017, had notbeen performed in 103 years.

Saint-Saëns was thought unlikely to suc-ceed in the theater. He was a master of sym-phonic and chamber genres and a greatpianist and organist, but he twice failed to winthe Prix de Rome competition, which requireda cantata or operatic scene. Nonetheless, overthe decades he did finally get all his operasperformed, as Hugh Macdonald explains in amarvelous recent book, Saint-Saëns and theStage. Only one of them, Samson and Delilah,became a central item in the internationalrepertory.

Timbre uses a libretto by Barbier andCarre, who supplied texts for numerous otheroperas, including Gounod’s Romeo et Julietteand, yes, Tales of Hoffmann. The musical

numbers were separated by pages of spokendialog.

It was composed in 1864 but did not getperformed until 1877 (18 times) at the TheatreNational Lyrique. It was revived in Brussels 15years later, then in Germany in 1904-5(revised); and in Monte Carlo in 1907 (with anentire act removed). He reworked the wholeopera, turning the spoken passages into recita-tives. (He had already drafted the recitativesyears earlier for a promised production at theParis Opera that did not come to pass.) In thisall-sung form it was staged in Brussels in 1914,a full 50 years after most of it was composed.The composer was nearly 80, though still quitevital.

The recording is the 1914 version, whichenables us to hear a maximum amount oflargely unknown music by this immenselyskillful and often-inspired composer. The all-sung version also allowed the Center forFrench Romantic Music (which preparedscore and parts, and arranged for the perform-ances and recording) to select singers not all ofwhom are native Francophones. (Spoken dia-log in a French opera can be excruciating witha non-native cast.)

The plot? Well, let’s just say that it’s a seriesof misadventures involving Conrad, a destitutepainter in 18th Century Vienna, who faints andhas a series of dreams where his doctor, Spirid-ion, accompanies him (in changing guises: amarquis, a coachman, a Gypsy) to variousplaces where all kinds of strange things hap-pen. The “gimmick” in the plot, and in thework’s title, is a magical silver bell that, when-ever Conrad rings it, will bring him riches butalso cause someone to die.

The locales include a theater (where thecharacters are on the stage), a Florentinepalazzo, a country cottage, and the shore of alake. Two characters die from his greedy ring-ing: his girlfriend’s father and his friend andgood angel Benedict. The latter returns as aghost to advise him to shatter the bell, atwhich point Conrad awakens and, in theopera’s last pages, accepts a normal life of hardwork, modest income, and a wife of goodmoral character.

The cast includes three prominent femalecharacters. Conrad’s deeply worthy sweetheartis Helène, Benedict’s innocent sweetheart isRosa, and a mime plays twin roles in thedream scenes: the ancient enchantress Circe(who steps out of one of Conrad’s paintings)and an enticing dancer named Fiammetta(who, in Act 3, transforms into a Gypsy along


with Spiridion). The Circe/Fiammetta charac-ter, inevitably, nearly disappears on a record-ing. One must keep reading the stage direc-tions to follow her.

Macdonald rightly describes the score as“a young man’s opera, with a prodigal abun-dance of fresh musical invention”. (Saint-Sa}}ns was 28 in 1864 when he composed thefirst version.)

You can get a sense of the stylistic rangefrom the lengthy potpourri-type overture,which includes highly contrasting melodiesthat will occur later. It begins with a brisk,highly syncopated passage that evokes Berliozat his best. (The two composers were friends.)The weirdness and frequent shifts in the plotand the locale, and between reality scenes anddreamed ones, prompted Saint-Saëns to writemusic of ever-fresh variety. For example, listento the mysterious chords in the cellos for thearrival of the diabolical Spiridion, flippantobservations by that character (recallingMephistopheles in Faust and well conveyedhere by Tassis Christoyannis), and a “ghostly”(Macdonald’s word) male chorus where Con-rad’s student friends regret his misguideddesires and deranged state.

Among other musical high points are alovely song for Helène (`Le bonheur est choselegère’), a gambling scene (analogous to theone in La Traviata), a Neapolitan song, aGypsy chorus and dance, a drinking song, anda purposely raucous Carnival chorus.

There are exquisite and situation-specificchoices of instrumentation, such as ominousbrass in the gambling scene. In the opera’sopening scene, Saint-Saëns indicates Conrad’sdownheartedness by using two English horns.When the perky, silent Fiametta performs the`Dance of the Bee’, the violas do the necessarybuzzing. This number is a kind of striptease,with the dancer removing veil after veil inorder to try to rid herself of the annoyinginsect.

Timbre contains well-managed “I am” and“I want” songs (to use Broadway terminology)for several characters, and effective scenes ofaction and interchange between characters.There are some delicious short choruses in avariety of styles. Larger ensemble scenes cre-ate much excitement through artful modula-tions.

The preludes and other passages fororchestra alone are enchanting. The entr’acteto Act 2 is for the combination of winds andharp. (The composer also published a pianoarrangement of it called simply `Gavotte’.)

Motives or even entire melodies are anticipat-ed as hints of things to come; or they are laterrecalled, altered to suit the drama.

The two sopranos, Helène Guilmette andJodie Devos, both French-speakers, are simplymarvelous, and appropriately cast: Guilmetterich and soulful as Helène, Devos naive andstraightforward as the simpler, cheerful Rosa.

The two tenors contrast even more strik-ingly. Lithuanian-born Edgaras Montvidas, asthe anti-hero Conrad, suffers marvelously yetever-musically, as will not surprise anyonewho knows his recorded performances inoperas by Gounod, Felicien David, and Ben-jamin Godard. He sometimes sings a bit sharpin an exciting scene, and some of his vowelsare unclear. For example, “ses”—”his” or“hers”—can sound more like “ce”—”this”. Allin all, though, this is yet another triumph for aworld-class artist.

Yu Shao, as Conrad’s sensible and self-controlled friend Benedict, produces clearlyric sound, always on pitch. A native of Chinawho has studied and performed in France andBelgium since 2008, he pronounces his Frenchwith more consistent clarity than Montvidas,but he is less responsive to specific words andphrases.

Greek-born baritone Tassis Christoyannis,as the diabolical Spiridion, balances the nec-essary elements beautifully: one can under-stand nearly every word without looking at thelibretto and sense the many shifts in the char-acter’s contrasted personas and moods. Thisrole is a triumph for a singer whom I havealready praised here in numerous song andopera recordings (Salieri, David, Gounod,Offenbach, Lalo).

The chorus and period-instrument orches-tra, under Francçois-Xavier Roth, are im-mensely colorful, and all is captured in excel-lent balance. It’s a studio recording made afterfive staged performances at the Opera-Comique.

Lovers of French opera will find endlessfascinations in Timbre. It is tuneful and color-ful from beginning to end. The small book thatcomes with the recording contains excellentessays and the libretto, all capably translated.One miscalculation: the compositional andperformance history of the work is told againand again by each writer. Eliminating theserepetitions would have left room for other con-siderations about a major work that listenersare discovering for the first time. The synopsis,for example, is far too brief.

LOCKE


SAINT-SAENS: Piano Concerto 5;see OSWALD

SARDELLI: Trio Sonatas 1-6Stefano Bruni, Giovanni Battista Scarpa, v ;Lorenzo Parravicini, Bettina Hoffmann, vc; PaolaTalamini, organ—Brilliant 95999—67 minutes

I was fooled. I listened to the entire programassuming Sardelli was a lesser-known Italianbaroque composer, but he is very much alivetoday, writing in the style of a Venetian com-poser from the 1720s. I was fooled becauseSardelli never wavers from his approach. Themusic is predictable and sometimes fades intothe background, easily digested. The perform-ers display panache; violinistic interplay daz-zles. Cellos supply reliable basso continuo,and the organ fills the harpsichord’s usual role,subtly filling out harmonies. It sounds as if anentire chamber orchestra is playing thanks toboomy acoustics. I am impressed with howdissonances rub exactly as they ought to.Vivaldi is a glaring influence; there is onenotable quote listeners may recognize fromthe Four Seasons in I of the third sonata. Grav-ity and spirituality characteristic of Bach’s can-tatas seep into 5:I, and you might recognizelate Mozart in the pathos of 6:II—a Mozartwho was more drawn to baroque influences ashe aged. Sardelli has resurrected history withearnestness and conviction.

KELLENBERGER

SAURET: Caprices 14-19Nazrin Rashidova, v—Naxos 573975—79 minutes

Today Emile Sauret (1852-1920), a concert vio-linist, is best known for the devious cadenzafor Paganini’s first violin concerto, a com-pendium of Paganini’s advancements on theviolin. Sauret’s reverence for the legendary vir-tuoso is demonstrated with this set of 24etude-caprices composed near the end of hislife in homage to Paganini’s illustrious 24caprices. These caprices are grander in scopeand design than Paganini’s; the average timeof the six caprices is more than 13 minutes; the15th clocks in at an astounding 18. If Pagani-ni’s are chapters, Sauret’s are books. Paganinidabbles in introspection while captivatingaudiences with technical prowess. Sauret car-ries thoughts along for a great while, allowingideas to settle and percolate in a listener’smind. It is not quite accurate to call the latter“deeper”, but he is less interested in bedazzle-ment and certainly in less of a hurry. These are

good enough pieces that researchers and per-formers should excavate his violin concertosand many other pieces.

This is the third of Rashidova’s four discscovering the caprices. They are good record-ings, and the feat of a complete cycle is mind-boggling, amounting to hours of unaccompa-nied virtuosic music. Anyone looking to dis-cover technically demanding romantic musicfor unaccompanied violin would be advised tolisten to these. They take their place amongErnst, Wieniawski, and Ysaye.

Reverberation is a cloak that conceals anartist’s true sound. It grants perfect anonymity,neither confirming nor denying the truth. Wethink of recordings as arbiters of truth, butoften they work in the opposite direction. Thisrecording suffers from too much. I prefer drierrecordings. Why listen to a muddy and indis-tinct performance from the other room? Icould tell you Rashidova has a good sound,but I really do not know. There is no way evenI—a music critic—can fight my way throughthe smoky haze of reverberation.

KELLENBERGER

SAY: Violin Sonatas 1+2; Cleopatra; 1001 Nights in the Harem

Friedemann Eichhorn, v; Fazil Say, p; Aykut Koe-selerli, perc; German Radio Saarbrücken/ Chris-toph Eschenbach—Naxos 574085—71 minutes

Fazil Say first appeared on the musical sceneas a pianist, but composition now occupiesmore and more of his time. Indeed, he rathersnuck up on me. Only one of the four workshere is a first recording: the 2019 SecondSonata (subtitled Mount Ida); there have beenat least two recordings of both the First Sonataand the Concerto, and at least one of Cleopa-tra, a solo-violin test piece for a competition.Say himself appears in most of them and clear-ly knows what he wants from his collaborators.

That ranges from straightforward Turkicelements, as in much of the First Sonata andthe Concerto (where a large array of Turkishpercussion instruments, deftly deployed byAykut Koeselerli, does a good bit of the heavylifting), to more general violinistic and pianis-tic “special effects”, as in the Second Sonata.The latter work is about environmentaldespoilation—specifically, the deforestation ofa mountain to make way for gold mining—andso there are all manner of extra noises, if youwill, from playing inside the piano in I (`Deci-mation of Nature’) to the most realistic birdsong I have ever a stringed instrument pro-


duce in II (`Wounded Bird’). This is not thegenteel trills of Vivaldi’s `Spring’, nor the styl-ized bird of Olivier Messiaen’s `Liturgie deCristal’ (the first movement of the Quartet forthe End of Time), nor yet the cello-harmonicseagulls of George Crumb’s Vox Balaenae; thisis so close to the sound of an actual bird(something in the range of a chickadee,though of course not the same call) that at firstI suspected a recording was involved. Thepiano reverts to very simple, somber, tonalwriting underneath it, like the soundtrack to anature documentary.

This is not, incidentally, the only work Sayhas written about Mount Ida and the devasta-tion there; the notes to this recording mentiona “Mount Ida series”. These notes, which aren’tcredited to anyone, state that the composer“has connected with audiences and criticsalike for more than 25 years, in a way that hasbecome rare in the increasingly materialisticand elaborately organized classical musicworld”. I can’t see that “materialism”, as such,has diddly to do with this phenomenon, ifphenomenon it is.

THOMSON

SCHMITT: SongsSybille Diethelm, Annina Haug, Nino AurelioGmünder, Rene Perler; Fabienne Romer, EdwardRushton, p—Resonus 10265—71 minutes

Florent Schmitt’s orchestral works are wellknown, but his songs hardly ever find theirway onto recordings. This album of 25 songs,including 22 recorded here for the first time, isan important response to their neglect.(Schmitt’s name is tainted by his Nazi collabo-ration, but these songs are very engaging andwell performed.) This seems to be the onlyalbum of his songs available.

My colleague Roger Hecht has aptly char-acterized Schmitt’s compositional style as “acombination of the French Wagnerian andimpressionist composers”. I was struck by hischromatic inventiveness and adventurousstyle, particularly in the second song, `Star’, ofKerob-Shal where the piano writing to depictthe twinkling of stars anticipates Messiaen’sbird calls. The liner notes refer to his music’sgorgeous sensuality, biting wit, laconic charm,and unleashed savagery. Many of the songshave a dreamy and sometimes a somber quali-ty.

These fine young singers blend their voicesnicely in six Songs for Four Voices to begin theprogram. The triple meter songs with four-

hand piano accompaniment bring to mind theLiebeslieder Waltzes of Brahms. Then eachsinger alone takes a group of songs. Their voic-es are fresh, clear, and appealing. Diethelm isespecially impressive in the three Kerob-Shalsongs and the final three.

Notes, texts and translations (except for 5songs).

R MOORE

SCHNEIDER, E: Flute & OrchestraLukasz Dlugosz, Agata Kielar-Dlugosz; SilesianPhilharmonic & Chamber Orchestra/ MiroslawBlaszczyk—Wergo 5127—69 minutes

Enjott Schneider (b 1950) taught music theoryfrom 1979 to 96 and film composition from1996 to 2012 in Munich. He was president ofthe German Composers’ Association (DKV)from 2013 to 2020. He was also on the supervi-sory board of the German music copyrightsociety (GEMA) from 2003 to 2020.

Schneider is an incredibly prolific compos-er, having written 9 operas, 7 symphonies, plusmany other orchestral and choral works, 16organ symphonies, and scores for 600 films. In2019 he won the German Film Music Award.In 2018 he was given the Orlando di LassoMedal for sacred music.

In the first few weeks of 2020, the Beijingand Tianjin orchestras commissioned a workon the coronavirus to open the first programthey would play after the shutdown on March6. He completed a 48-page score between Feb-ruary 10 and 20, but then the date for reopen-ing was postponed to April, then to May.Wuhan 2020: Tragedy and Hope was eventual-ly performed on August 14 in Beijing andAugust 17 in Tianjin. After Krzysztof Penderec-ki died (March 29) the Silesian Philharmonicof Katowice commissioned a Sad Mazurka as amemorial piece. It was written one minute at atime, with two versions of each section postedonline and the audience voting for which sec-tion they preferred. Beginning Monday April 6,2020 over 12 consecutive days the parts of thework were composed and decided on. It wasthe first time in history that a classical compo-sition has been created with continuous par-ticipation from the audience.

All the selections are recorded for the firsttime. These are multi-movement works thathave evocative titles for the movements as wellas the whole. Pictures of Yang Guifei (2015) forflute and orchestra was followed more recentlyby Tree Worlds (2019) for flute, strings, andharp and Water: Element of Infinity (2019) for


two flutes and orchestra. Inspired partly by theKhalil Gibran quotation “Trees are poems thatthe Earth writes to heaven”, he has written andrewritten many tree pieces in recent years.One earlier incarnation is Four Tree Pictures(2011) for recorder, 2 guitars, and low stringquintet, or flute, harpsichord, and stringorchestra. Its movements are `Birch’, `Cedar’,`Rowan or Mountain Ash’, and `Chestnut’. Thefour movements of Tree Worlds are `Birch’,`Apple’, `Chestnut’, and `Hornbeam’. His Musi-cal Portraits of the Celtic Tree Calendar for twofifth-bass or baritone guitars, flute, and stringorchestra was recorded on Wildner in 2009.

Schneider’s long affinity for Asian culture,which culminated in his opera Marco Polo(2017), informs much of what’s here in bothstyle and texture. The writing is very effective;this is a composer who really knows how tomake things “sound”. One could also say hewrites music that is very scenic. The concertpiece for two soloists uses flute, alto flute, andpiccolo backed by a considerable array ofpitched instruments and non-pitched percus-sion. The scoring for flute, strings, and harpgives Tree Worlds a subtly Celtic feel whiletremolos, trills, and runs in the flute evokesounds from nature. The mood of these fourpieces is more contemplative, whereas the Pic-tures of Yang Guifei are more dramatic. Thebest thing about Schneider is that his piecesare easily grasped but do not descend intobanality.

Lukasz Dlugosz has a rich sound hedeploys through a wide range of expression. Itshould come as no surprise that he was award-ed Poland’s Bronze Medal for the Glory of Artin 2012. Agata Kielar-Dlugosz plays so well itcan be impossible to tell them apart. Theorchestras supply terrific backing, and fromthe podium Miroslaw Blaszczyk keeps the bal-ances just right. When music worth hearing isplayed to the hilt, you have every reason to trysomething new, as in this case.

A 25-page booklet contains plenty of back-ground and biography in English and German.All three works have been published. I enjoyeda mixed program I heard from these two onthe Polish label Dux a little while back(Jan/Feb 2018—Vivaldi).

GORMAN

SCHNITTKE: Cello Concerto 1;see KAPUSTIN

SCHUBERT: OctetAmaury Coeytaux, Loic Rio, v; Laurent Marfaing,va; Francois Kieffer, vc; Knut Erik Sundquist, db;Sabine Meyer, cl; Dag Jensen, bn; Bruno Schnei-der, hn—Mirare 438—62 minutes

When Beethoven wrote his Septet as a warm-up exercise for his first symphony he invokedthe classical divertimento tradition, casting thework for four strings and three winds, andunfolding it in six movements of contrastingdispositions and structures. His effort wassuch an enduring hit with the Viennese publicthat he later resented it, feeling that he hadcrafted better compositions. When the Austri-an noble and amateur clarinetist FerdinandTroyer asked the young and sickly Franz Schu-bert to craft a companion piece to the Septet,the composer had already composed six sym-phonies and his style had become fully roman-tic. He added a second violin to Beethoven’sinstrumentation; and his effort was twice aslong, lyrical, and intense.

The private premiere at Troyer’s town-house (he played the clarinet part), was wellreceived; but at the April 1827 public readingin memory of the recently deceasedBeethoven, critics found its length bother-some. The next year, Schubert succumbed to along illness; and the Octet languished. In 1861,Vienna Conservatory violin professor JosephHellmesberger re-introduced the Octet at animportant concert; and in later years he super-vised a critical edition of Schubert’s completeworks. His advocacy ensured that Schubert’sscores entered the performance canon andthat the Octet etched a permanent place in thechamber music repertoire.

This September 2018 recording is an inter-national project. The Paris-based ModiglianiString Quartet, Norwegian double bassist KnutErik Sundquist, German clarinetist SabineMeyer, Norwegian bassoonist Dag Jensen, andAustrian horn player Bruno Schneider all joinforces; and the presentation is fully profession-al: resonant timbres, lovely phrasing, effortlesstechnique when needed, and exquisite bal-ance, blend, and teamwork. The musicianshere lean a bit more toward the composer’sclassical roots, keeping Beethovenian weightat arm’s length; but they still supply plenty ofromantic gusto. The slow movements haveprofound lyricism and the fast movementstight rhythm and infectious energy. This is aterrific album to have in any music collection.

HANUDEL


Only pessimists are really happy; nothingturns out as bad as they expect it to be.

SCHUBERT: Piano Sonata in A minor, D 845; Sonata in GYasuyo Yano, fp

IBS 102020—76 minutes

I hate the sound of fortepianos. Having just lis-tened to Sheila Arnold’s beautiful rendition ofSchubert’s G-major Sonata on a fine modernpiano (J/A 2017), the rattling of the old instru-ment was a slap in the face (or on the ear, ifyou will) and I soon turned it off. Pianos,unlike string instruments, have truly improveduntil at least the mid 20th Century, and I don’tunderstand why anyone would not play key-board music of any period on the best instru-ment available now. Even though the Japaneselady who made this recording seems compe-tent as a Schubert interpreter, she has beenwasting her effort as far as I am concerned. Ihope she will choose a concert grand nexttime—this is billed as Volume 1 of a series—and that Switzerland, where the pianist livesand this recording was made, will also bespelled correctly then.

REPP

SCHUBERT: Songs & Instrumental PiecesRosemary Standley, Sandrine Piau, s; Airelle Bee-son, tpt; Ensemble Contraste


This is Schubert as you’ve probably neverheard it. The program offers arrangements(recompositions is more accurate) of 14 wellknown songs with accompaniment by variousinstruments including trumpet and percus-sion and two instrumental pieces in jazzyarrangements.

“Vocals” is how the album lists Standley.“Nondescript” would be more accurate. Itreminds me of a pop singer like Sting record-ing songs of Dowland. The idea of having twovoices singing `Death and the Maiden’ is fine;but even Sandrine Piau, who joins her in threesongs, sounds out of place here. The best trackof the album is an arrangement of the gor-geous Impromptu in G-flat from D899 with themelody line assigned to a cello.

I suspect this release will find a very limit-ed audience, appealing neither to those wholove the music as Schubert intended us to hearit nor to those who like pop music or nightclubjazz.

Notes, texts, translations. R MOORE

SCHUBERT: SongsSharon Carty, mz; Jonathan Ware, p

Genuin 20697—65 minutes

The idea for this album, “Schubert’s Four Sea-sons”, was to create a program of songs thatrelate to the seasons of the year, using two longballads as bookends for the program. `Viola’and `Ganymed’ represent Spring, `Das Som-mernacht’ and `Romanze’ relate to Summer,`An der Mond in einer Herbstnacht’ and`Litanei auf das Fest Allerseelen’ connect withAutumn, and `Griesengesang’ and `Das Win-terabend’ refer to Winter. The second long bal-lad, `Klage der Ceres’, brings the album full cir-cle back to Spring. The smart selections makea good program of familiar and less familiarsongs.

The songs are mostly gentle and the per-formance overall is subdued. Carty’s voice islovely and her readings are clear and nicelyphrased, but the program suffers from same-ness. All the songs are wonderful and each isperformed well, but they are all at pretty muchthe same level of affect. Most of the variety andenergy in the program comes from Ware’s fineplaying. If you’d like a calm and comfortinggroup of some of Schubert’s finest songs, youmay find this satisfying.

Notes, texts, translations.R MOORE

SCHUBERT: Symphonies 2+3B’Rock Orchestra/ Rene Jacobs

Pentatone 5186759—55 minutes

What a stupid name for an orchestra! And intheir picture they are mostly young and in inblue jeans—super-cool. There are about 27strings and about 13 others—40 players. Byany definition, this is a chamber orchestra. Ido not want Schubert played by a chamberorchestra. Nor do I want the players to havegrown up with “rock”—that is a disadvantage.I doubt whether the players (all either Euro-pean or—occasionally—Japanese) grew up onearly Schubert.

Jacobs is known as a PPP (Period Perfor-mance Practice) advocate. What that essential-ly means here is that Schubert is not allowedto be a romantic. Tempos are strict and boring.“Vivace” is mistaken to mean “super-fast”. Idon’t think they have fussed over the instru-ments. The fuss instead is over practice—above all, nothing even slightly “romantic”.

The Allegretto of Symphony 3 is by far thefastest I have ever heard. So is the finale, which


includes the repeat. Mr Jacobs in his notesrefers to Rene Leibowitz, who said that IIshould be much slower than it is often taken—it’s the slow movement, after all. But Jacobsdisagrees, and we are stuck with what Lei-bowitz warned us about: 4 fast movements.That can’t be right.

Well, all of this is sterile. For 60-some yearsI have loved these symphonies. I have heardworse performances than these, but I willnever listen to these again.

VROON

SCHUBERT: Symphonies 4+6;MOZART: Symphonies 39+41; WEBER: Oberon Overture

London Symphony/ Hans Schmidt-Isserstedt,Walter Susskind

Decca 4840353 [2CD] 120 minutes

Spend an evening with these and you willagree with me that they are pleasant andattractive performances in excellent sound.They are all from 1958. Of course, Beechamwas still alive, and this is Beecham territory.Nothing is as charming and elegant asBeecham was. But I don’t think you can findBeecham recordings of all four of these sym-phonies.

The Schubert 4th is conducted bySusskind. It’s quite similar to the Ormandy(same period), and it has a rather fast minuet(Allegro Vivace—an old problem that bothOrmandy and Susskind got wrong. Böhm,Barenboim, Vaughan, and Viotti got it right—even Muti did. The “Vivace” should not speedup the Allegro!).

Schubert 6 was a Beecham speciality, andhe was usually slower than what we hear here.Again, it’s a matter of more expression, moreelegance—though there is elegance in thisrecording, too.

The Mozart is excellent, but a bit plain.London critics at the time considered the E-flat Symphony a speciality of this conductor.They liked his tempos, and the Times calledhis performance “light and strong”. The samecritic described this conductor’s Mozart ingeneral as “crystal clear, without false senti-ment, but full of beautiful, airy sound”. It is. ButI have to admit that I prefer George Szell in thissymphony. The same description applies toSzell, but he adds (very subtly) more feeling inthe Andante, more expression in general.

And Beecham’s Jupiter is in a class byitself. So many performances of 41 seemheavy, but this one is light and airy. The Min-

uet is not too fast (5 minutes—still a minutefaster than Beecham), and the whole sympho-ny takes only 27 minutes. A number of famousconductors took all the repeats and ended uparound 40 minutes—just too much.

By the way, I suspect monaural sound,since there is no claim that it is stereo—thoughin 1958 many recordings were stereo. It reallydoesn’t matter, because it is beautiful sound—warm and never too close-up or harsh. This isa Decca Eloquence reissue, and their remas-terings are always superb.

The Weber overture is conducted by AntalDorati (8 minutes).

VROON

SCHUBERT: Arpeggione Sonata;see Collections

SCHUMANN: Piano PiecesNono Gvetadze—Challenge 72855—67 minutes

This young Georgian pianist, born in Tbilisi,student at the conservatoire and later in theHague, demonstrates her artistry once again.Those a bit confused by the appearance of“einsam” here are alerted that it is not a name,but German for “lonely” to indicate thepianist’s response to the pandemic and hersatisfaction on discovering the composer inthis isolated period of her life.

While the presentation seems a bitobsessed with her hands, they fortunately donot get in the way of her playing such stan-dards as Kinderszenen and Kreisleriana. Onthe contrary, these are agile, pleasant perform-ances which show considerable strength whenneeded. The use of pedal never turns to over-use, and the children may be boisterous some-times, but never rambunctious.

Other contents include the `Arabesque’ inan especially felicitous reading, `Prophet Bird’from Forest Scenes and `Einfach’ from 3Romances. Sound is good, if not exceptionaland the notes decent.

BECKER

SCHUMANN: Songs 9Detlef Roth, bar; Ulrich Eisenlohr, p


For this ninth program in his Schumann proj-ect, “Romances, Ballads and Melodramas”,Eisenlohr has selected songs having a dramat-ic narrative with texts by some of the leadingEuropean poets of the 19th Century. Some ofthe late songs have a dark and menacing quali-


ty, which probably reflect the composer’s anxi-ety and mental instability.

From 1840, Schumann’s inspired “Year ofSong”, we hear the three songs of Op. 45; fromRomances and Ballads, Book 1; and the threesongs of Op. 49 from Book 2. The most familiarof that Op. 49 group is `The Two Grenadiers’.Less often heard is the third song, `The Nun’.Rarely heard is the second song, `The HostileBrothers’—who end up killing each other in abattle for a woman they both desire. We alsohear Five Songs, Op. 40 from 1840.

The remaining 10 songs are from 1849-52.In the last years of his life Schumann turned tomelodrama—spoken text with piano accom-paniment. Three are included here: Two Bal-lads, Op. 122 and `Pretty Hedwig’, Op. 106. Wealso get Four Hussars’ Songs, Op. 117 and theballad `The Singer’s Curse’, Op. 139.

Roth’s melodramatic narration is engagingand nicely shaped. In singing he does a finejob enunciating the text and shows a clearaffect for it, but he sounds too tentative and isless satisfying than in his narration. I wouldlike to hear more legato in the line. His bottomnotes are sometimes inaudible, and he strainsfor the top notes.

Eisenlohr’s playing is up to his usual highstandards, and he makes the most of the pianowriting in the narrated ballads.

Notes in English and German. Texts andtranslations on the Naxos website.

R MOORE

SCHUMANN: Symphonies 1+4Gurzenich Orchestra/ Francois-Xavier Roth

Myrios 28—55 minutes

This is a hit-or-miss conductor. He has donethings that I really liked, but in other music hemisses the point. This is not romantic Schu-mann. It is too businesslike. The main part of Iis Allegro molto vivace. “Vivace” seems tolicense conductors to speed. That wrecks themovement here. II is a minute or two fasterthan in my favorite recordings, and it seemsless felt that way. III, the Scherzo, is not too fastbut seems choppy to me. It must be smoother.Even that Scherzo is majestic in some record-ings!

In Symphony 4, all the movements are toofast. The Romance, for example, at less than 4minutes, is 2 minutes faster than Furtwangler,who obviously influenced Bernstein andBarenboim.

So there’s no reason to bother with this. Asso often nowadays, a conductor decides to

record something that has been exhausted inrecordings (see our Overview). We didn’t needa new one, and any “original” ideas here areunattractive.

VROON

SCHUMANN: Symphony 4;see MENDELSSOHN

SHAPERO: Sinfonia; Credo; Partita; On Green Mountain; Serenade

Vivian Choi, p; Boston Modern Orchestra Pro-ject/ Gil Rose—BMOP 1072—84 minutes

Harold Shapero (1920-2013) was a nightmar-ishly archconservative composer, who rejectedmid-century academic modernism andsavored imitations of standard tonal reper-toire. He studied with Boulanger and Hin-demith, became friends with Bernstein at Har-vard, where he studied with Walter Piston, andhad an influential lunch with Stravinsky. Hebought into the neoclassicism of the time, buthe was no Stravinsky. His music is tonal in awarped way.

The program opens with the Sinfonia in Cminor (1948)m which uses Handel concertosas a model. After the French overture openingthe work progresses in a complex neo-tonallanguage. Credo (1955) places the text inabstract, purely musical terms. The words aretranslated into melodies and harmonized inStravinskian manner. Partita in C, for pianoand small orchestra (1960), is a suite withBaroque dances along with a scherzo, an aria,a cadenza, and a virtuosic finale.

On Green Mountain (1957) is for jazzensemble (in the spirit of Gunther Schuller’sThird Stream jazz-classical fusion). The classi-cal part in this piece comes from the accompa-nying chord progression of Monteverdi’smadrigal Zefiro Torna. The piece’s title isMonteverdi’s name. The chords become acatchy jazz riff, which I dare you get out of yourhead (surgery might help). The jazz partreminds me of high school jazz bands, typicalof the type in many colleges and high schools(in conservatories!)

The program closes with Serenade in D(1945) for string orchestra after Mozart—morein genre than style.

The composer’s notes are followed byhelpful notes by Rodney Lister in the booklet.This extremist postmodernism will be of inter-est primarily to historians and students whoseek examples of the genre, though only incomparison with the master (Stravinsky). Themusic is more difficult to perform than you


might think, but this great band gives it theirall.

GIMBEL

SHOSTAKOVICH: Quartet 8; Piano Quintet;GOLEMINOV: Quartet 4

Victor Chouchkov, p; Sofia QuartetGega 420—64 minutes

Despite clocking in at only 8:27, MarinGoleminov’s compact, expressive “microquar-tet” is the main draw here. It is reminiscent ofBartok in its drama, gestures, and extendedtonality, but it is in no way imitative; Golemi-nov’s harmonies and themes are his own. Briefbursts of aggression alternate with nocturnalpassages or dance episodes, textures andinstrumentation varying all the while.

The Shostakovich pieces are competentbut unpolished; the competition for bothpieces is far too fierce. I wish Gega had givenus an all-Goleminov album: they could havereissued his Third and Seventh quartets. Thesound is fine if not exemplary; notes are inEnglish and Bulgarian.

ESTEP

SHOSTAKOVICH: Symphony 5Bavarian Radio/ Mariss Jansons

BR 900191—44 minutes

The Germans spell the composer’s nameDmitrij Schostakowitsch. I’m glad the rest ofthe world resists! I also think this is a shortprogram, not good value. It is short partlybecause Jansons is a fast conductor—and cold,I would say. I know no faster Largo than this,yet even so it does not cohere especially well.Jansons was a peppery guy and conductedaccordingly. His lack of emotion almost seemsEnglish. It’s certainly not Russian! And in apiece I have loved all my life he left meunmoved. I’d call this a “so what?” perform-ance—utterly routine.

The sound is excellent, as is the orchestra;but this is hardly competitive in a huge field ofrecordings.

VROON

SHOSTAKOVICH: Piano Sonatas;see RATHAUS

Viola Sonata; see CollectionsViolin Sonata; see PROKOFIEFF

SIBELIUS: Quartet; see VERDI

SILVESTROV: Symphony 7; Piano Concerti- no; Cantata 4; Ode to a Nightingale

Inna Galatenko, s; Oleg Bezborodko, p; Lithuan-ian Symphony/ Christopher Lyndon-Gee


Valentin Silvestrov (b. 1937) is a Ukrainiancomposer who was involved in the avant-garde in the 1970s; he later moved to a post-modern style, with “...nostalgia for sounds half-heard, barely remembered from a past full ofbeauty and spiritual aspiration”, as the con-ductor’s excellent booklet essay says. Silvestrovhas left us divided, with Allen Gimbel findingmuch of his music “hauntingly beautiful”, andMark Lehman wanting to “shove a big, floofybanana-cream pie right smack dab into (his)otherworldly kisser” (Nov/Dec 2007). RobHaskins liked his pieces that didn’t turn into“absolute kitsch” (Mar/Apr 2017); heck, Silve-strov even wrote a piece called Kitschmusik.He struck me as a sedated Schumann (Sept/Oct 2013).

Ode to a Nightingale (1983) uses a Russiantranslation of the Keats poem, taking it into aneerie, completely foreign world. The sopranois given basically eight short melodic phrases;multiply those in 19 minutes of music and youget a lot of repetition. The bird-song motifs inthe orchestra make the piece sound likestripped-down Messiaen. Ode grew on me alittle after the first time through, as I learned toapproach it on its own terms. More adventur-ous harmonies helped, as well as the fact thatit takes a stand for something, where the otherpieces wouldn’t dare have an opinion.

Cantata No. 4 sets poems by three differentmen. The melodies come to a halt at the end ofevery phrase; as critic Raymond Tuttle wrote,“Silvestrov’s music is usually in the process offading into nothing...” That is an apt descrip-tion, and it isn’t necessarily a compliment. The


Word Police: The Dis Problem

Everybody seems to use “disinterested” to mean “not interested”, but that is not what it means. Adisinterested person is someone who can be objective and see things clearly, because he is notinvolved. He is impartial (M/A 2006, p 284).

“Discomforted” is also starting to turn up in this age of the death of dictionaries. There is nosuch word. “Discomfort” is a noun. There is a verb, “discomfitted”, that means to make uneasy orpuzzled.

Concertino for piano and small orchestra(2015) imitates some of Gavin Bryars’s soundworld (The North Shore), but it lacks his wit. Itis an ethereal but finally disappointing collec-tion of cheap melodies and gauzy orchestra-tion. The symphony, like the cantata, is moreadventurous, but it alternates drama—or whatpasses for it in Silvestrov’s world—with thefacile gestures that inundate the other pieces.The performances are fine, and the sound israther gauzy, too.

ESTEP

SIVELOV: Piano Concertos 2+5; Concerto Classico

Niklas Sivelov; Malmo Symphony/ Victor Aviat;Livgardets Dragonmusikkar/ David Bjorkman


Swede Niklas Sivelöv was a child prodigy onorgan who switched to piano and then studiedpiano and composition at the Royal College ofMusic in Stockholm; he now teaches piano atthe Royal Danish Academy. All three concer-tos—Classico with full orchestra, No. 2 withstrings, No. 5 with brass band—are spiky andperky; they remind me in favorable ways ofMartinu, Bartok, and Michael Torke. Sivelöv isa cerebral composer by his own admission,and though his style is accessible and enjoy-able, nothing here stirs my soul. Even account-ing for the warm, almost-glowing, expansiveslow sections or movements, the generalimpression is that the music churns away—another similarity to Martinu. The ConcertoClassico is the best of the three, but all the the-matic material lacks a strong profile.

ESTEP

SKALKOTTAS: Duo; see KODALYSLAVENSKI: Quartet 4; see KUNC

SOKOLOV: 13 Postludes; Violin Sonata 2; Reminiscence; Elegie

Karen Bentley Pollick, v, va, p; Ivan Sokolov, pToccata 560—69 minutes

Ivan Sokolov (b. 1960) is a pianist and com-poser. Like many other composers (see Silve-strov above), he moved from an avant-gardestyle to roughly a neoromantic one, and all thepieces here are in that vein. If I may anthropo-morphize the sonata (2018), I’d say she spendsher first three movements gazing drearily outwindows dripping with rain, hoping somestranger will come by and notice her sweetlymournful demeanor. In the finale she arisesand emotes with vigor. But everything is so

derivative that the piece goes from bland tocorny.

The performance doesn’t help; there areirregularities in Sokolov’s technique, and Pol-lick’s bowing is uncontrolled and her intona-tion tragic in several places. `Reminiscence’for piano four hands (2013), is more of thesame soggy pablum with syrupy Hollywoodharmonies. `Elegie’, a 2001 work for solo viola,is spare rather than maudlin, but it still doesn’tsay a lot.

The slow movements of the 13 Postludesfor viola and piano (2018) are dutifully pretty,cut from the same cloth as the sonata. Thefaster movements keep trying to spike thepunch, but their decorous housemates don’tlet them get far. The contrasts help the set as awhole go down better, though, and Pollick is inbetter control of the viola. But if you like Silve-strov, ignore everything I said about the com-positions themselves and buy Sokolov as well.

ESTEP

SOMMER: Songs 1Jochen Kupfer, bar; Marcelo Amaral, p


After having been relegated to the musicalmargins for a century, the songs of Hans Som-mer (1837-1922) are being rediscovered.Jochen Kupfer and Marcelo Amaral havesearched through Sommer’s 300 or so songs(both published and unpublished) and select-ed 25 of them, all but 3 recorded here for thefirst time—and with pleasing results. Sommerwas a pioneer in establishing copyright prac-tices. His success in establishing that practicethat prevented easier availability of his works.

Hans Friedrich August Zincken (his birthname) was a German composer and mathe-matician who served as the director of theBraunschweig University of Technology, wherehe taught mathematics from 1875 to 1881. Hewent on to become director for several yearsand was a leading figure in his field ofdioptrics. From early in his life music was histrue passion, though his prospects for a careerin music were dim.

In 1881, at the age of 47, having becomeindependently wealthy, Sommer abandonedhis scientific career and pursued his lifelongdevotion to music with encouragement fromFranz Liszt. This may be when he adopted thename Hans Sommer.

When he died in 1922 his friend RichardStrauss eulogized him as “an outstandingartist, a composer with an ideal disposition”


and called Sommer’s opera Lorelei “one of thefinest and most interesting things written inGermany at the moment”. His finely craftedsongs are solidly in the romantic tradition.

Both artists are new to me. Jochen Kupferis a rising star in the world’s opera houses andconcert halls. He is listed as a bass-baritone,and he has both the low and upper ranges athis command. His phrasing, lovely legato,clear and attractive timbre, and use of dynam-ics are all exemplary. He sounds thoroughly athome in lieder and (in a video I heard of himsinging Wotan) sounds just as at home in Wag-ner. He has a big voice that he can reduce to acommanding hush, as in his soft release at theend of `Schöne Nacht’.

Amaral has gained a reputation as asought-after accompanist of singers andinstrumentalists. Winner of the Pianist Prize atthe 2009 Robert Schumann Song Competition,he has performed worldwide with internation-ally renowned artists. Both artists do a splen-did job here.

Until recently it was hard if not impossibleto find any recording of Sommer’s songs otherthan one archival 78rpm record of one songmade more than 100 years ago by Leo Slezak.Recordings of his songs are now starting toappear. I reviewed a fine release of his orches-tral songs (S/O 2012). Krishan Oberoireviewed an album of songs with pianoaccompaniment (S/O 2018), and Avi releasedanother in 2018 performed by SebastianNoack and Manuel Lange. This release byKupfer and Amaral is the best of the three.There is practically no duplication on any ofthem. Since Naxos lists this as Lied Edition 1 Ihope we can look forward to more of his songsfrom Kupfer and Amaral. A performance thisgood may help others take note of these songsand bring them out of the margins.

Liner notes give biographical detail of thecomposer’s life. Texts and translations on theNaxos website.

R MOORE

SPERGER: Double Bass Concertos 2+15; Sinfonia 30

Roman Patkolo, db; Kurpfalz Chamber OrchestraMannheim/ Johannes Schlaefli

CPO 555 101-2—69 minutes

Johann Matthias Sperger (1750-1812) is aHaydn-Mozart style composer and double-bassist whose 45 symphonies and 30 concertosare worth exploring, judging by what we havehere and the few earlier recordings I have.

There are at least 18 double-bass concertos byhim. The four-movement symphony is a niceaddition to separate the two concertos.

Patkolo is an outstanding double bassplayer with a history of awards. He studiedwith Klaus Trumpf, who wrote the liner notesfor this release, at the University of Music inMunich, where he himself became a professorat the age of 24. He teaches at the University ofBasel, Switzerland. This technically demand-ing music is played with fine accuracy andmusical polish, and I am sure we will hearmuch more from him soon. More Spergerwould be a great pleasure, since this music isunexpectedly beautiful. Nicely balancedrecording!

D MOORE

STANFORD: Sacred PiecesMagnificat & Nunc Dimittis in G, B-flat; WhenMary through the Garden Went; I Heard a Voicefrom Heaven; Latin Magnificat; O for a CloserWalk; Te Deum in Cwith HOWELLS: Requiem; Gloucester Service;The Fear of the Lord; Like as the Hart; Long, LongAgo; All my Hope on God is FoundedWayne Marshall, org; Cambridge Singers/ JohnRutter—Collegium 524 [2CD] 93 minutes

This was originally released in 1992 as I WillLift up Mine Eyes and adds the Stanford NuncDimittis in G, Latin Magnificat, and the NuncDimittis from the Howells Gloucester Service,which were not included in the originalrelease. The Cambridge Singers were formedby Rutter in 1981, initially using students fromClare College, Cambridge, where he had beenthe chapel music director. Their primary pur-pose was to make recordings under their ownlabel, Collegium—which now number nearly40 and include several highly acclaimedChristmas albums. They are a superb group,whose intonation, blend, ensemble, musician-ship, and interpretation are all in perfectaccord.

Many of their recordings, including thisone, were made in the Lady Chapel at ElyCathedral, where the acoustics are of an aston-ishing perfection. The 1992 sound has agedwell, and the remastering has delivered clear,resonant sound. You won’t hear better per-formances of these pieces. Informative notesby Rutter on the music and composers, withtexts and translations.

DELCAMP


STOHR: Suite for Organ & Violin; 5 Inter-mezzos for Piano & Organ; Organ Sonata in DminorJan Lehtola, org; Anna-Leena, v; Annikka Kon-tori-Gustafsson, p—Toccata 280—75 minutes

Richard Stöhr (1874-1967) was born in Vienna,studied under Robert Fuchs and taught theory,composition, and music history at the ViennaAcademy of Music. In 1939 he fled the Naziinvasion, emigrating to America and teachingfirst at Curtis, then at St Michael’s College inColchester, Vermont. His output as a compos-er includes 7 symphonies, 2 operas, choralmusic, 150 lieder, 15 violin sonatas, chamberand solo piano music. In his 50-year career asa teacher his students numbered in the thou-sands and included Barber, Bernstein, ErichLeinsdorf, Rudolf Serkin, and even MarleneDietrich.

Aside from an unpublished collection ofchorale-preludes, this program has his entireoutput for the organ. This is pleasant, well-crafted music in a late 19th-early 20th Centurytonal idiom with a strong influence fromReger. I found the suite particularly effectiveand engaging, but the sonata is tedious,sounding like re-worked Reger.

Lehtola plays the sonata on a 1931/2005 3-manual, 53-stop Kangasalan organ in St Paul’sChurch, Helsinki, and the chamber pieces on a2013, 2-manual, 18-stop Veikho Virtanenorgan in the Church of Reconciliation in Hol-lola, Finland. The pianist and violinist are bothexcellent. Notes on the music and composer,with photos and specifications.

DELCAMP

STRAUS: Piano Concerto; Serenade; Reigen Waltz; Tragant Waltz

Oliver Triendl, p; German Radio/ Ernst TheisCPO 555280—58 minutes

Oscar Straus is wrongly thought to be a rela-tion to the Strauss waltz dynasty. Early in hiscareer, Straus removed the second “s” from hisname so as not to be confused with the otherStrausses. Although much of his work waswritten for the stage, he also wrote about 500cabaret songs, chamber music, orchestral andchoral works, and worked in German, English,and French language films into the 1950s.Straus was particularly adaptable to thechanging operetta scene in the 1920s and1930s mirroring advancements in the form byLehar and Kalman. His first operetta, writtenin 1904, was the The Merry Nibelungs, a paro-

dy of the Wagner operas. The more popularoperettas include A Waltz Dream (1907) andhis most famous show, The Chocolate Soldier(1908).

Straus’s orchestral works are the subject ofthis program, and they are a revelation. ThePiano Concerto written early in his career butunearthed in the 1950s, is a complex work witha jaunty I, a somber and church-like II, and aIII that is joyous and enthralling. This fascinat-ing piece is truly unexpected from a composermostly known for light music. The concerto isquite difficult, tasking the pianist with a com-plex score. The performance by pianist Triendlis superb, and the orchestral playing and con-ducting are first rate. A wider audience shouldappreciate this melodic and multifacetedshowpiece.

The Serenade for Strings was originallywritten in a period when Straus was MaxBruch’s student in Berlin. Bruch was ataskmaster, and even the mention of lightmusic or operetta was forbidden. Bruch want-ed Straus to write a Requiem, but Strausbalked and wrote instead this five-piece suitethat he later renamed a Serenade. It, like thePiano Concerto, is in a classical-romantic stylefavored by Bruch, but the Serenade is a lighterpiece enhanced by the string orchestra. It ismelodic, and although not as consequential asthe Piano Concerto, it is quite accomplishedand very enjoyable.

The Tragant-Waltzes is also a suite, but ofwaltzes derived from the Straus one-act danceplay The Princess of Tragant. These lighter-than-air waltzes are infectious, melodic, andcharming. The final item on the program isone of Straus’s most familiar pieces, theReigen-Waltz (Round Waltz), though you maynot recognize it by that name. It was writtenfor the 1950 Max Ophuls film La Ronde. Thefilm is based on the play Reigen by ArthurSchnitzler. It follows the escapades of severallovers in a “round dance of love” in France’s“fin-de-siècle” period. This delightful film isenhanced by Straus’s intoxicating waltz playedat the opening, ending, and in between. Formany years the Los Angeles classical radiochannel KFAC used to introduce its afternoonprogram with this waltz.

This is a highly enjoyable disc, and thePiano Concerto will leave you wondering whysuch an outstanding work hasn’t been per-formed more often. The orchestra plays all themusic with the right amount of flair and deft-ness, making all the selections impressive andenjoyable. If you only think of Oscar Straus as


an operetta writer, here are examples of hishighly accomplished work in other forms.

FISCH

STRAUSS: Don Juan; Death and Transfigur-ation; 6 Brentano Songs

Louise Alder, s; German Symphony Berlin/ RobinTicciati—Linn 640—69 minutes

Ticciati, who is still in his 30s, had his firstmajor position with the Scottish ChamberOrchestra from 2009 to 2018; he added on theDirectorship of the Glyndebourne Festival in2014 and the German Symphony Berlin in2017. Here he tackles two of the most popularStrauss tone poems along with a seldom-heardset of songs, the Brentano lieder, Op. 68.

Don Juan, which premiered in 1889, wasfar from Strauss’s first work—it is Op. 20—butit is the one that put the composer, then just24, on the map as a leader of the New GermanSchool. It combined orchestral virtuosity andmelodic lyricism in a new and wonderful way,setting the stage for Strauss’s long career. Tic-ciati plays the opening, which some havelikened to the popping of a champagne cork,with great panache, by which I mean it’s asweeping gesture that you couldn’t transcribeif your life depended on it. The lyrical sections,though, are quite broad, so the overall time ismore in Furtwängler territory (18 minutes)than Klemperer (17) or Kempe (16). Death andTransfiguration is similar in that the total timeis a trifle slow (24 minutes), and the pacing issimilar to Furtwängler’s back in 1950 (VPO).The big climactic sections (roughly letter G upto L, leading to the G major section and Q upto the big A-flat statement of the transfigura-tion theme) are effective and exciting. In shorta fine job on both tone poems.

Strauss wrote lieder all his life, but most ofthem (and many of our favorites) are early,before about 1906; many of them were writtenfor his wife, Pauline de Ahna. The Brentanosongs are later (1918), but they are a superbset, challenging for the singer and quite varied;they were orchestrated later, in 1933 and 1940.The fifth (`Amor’) requires a Zerbinetta voice,light and agile. `Lied der Frauen’, whichdescribes women in fear of losing their hus-bands, is an 8-minute piece, intense and dra-matic. Soprano Louise Alder has full measureof these songs. She is a lyric, with a voice suit-ed to Pamina and Zerlina in Mozart, Sophie inRosenkavalier. In a sense these songs are thehigh point of the program, because we havelots of good recordings of Don Juan and D&T,

but the Brentano songs are seldom recorded.Texts and translations are included, along withinformative liner notes.

ALTHOUSE

STROZZI: Cantatas & AriasElissa Edwards, s; Richard Kolb, theorbo, archlute


In the seven works that are Part 1 of BarbaraStrozzi’s Opus 8, one observes the composerstretching the boundaries of genre. Early-baroque arias were usually tuneful and strong-ly metrical (often in triple meter), while can-tatas consist of recitative and aria-like singingover basso continuo, much like scaled-downoperatic scenes. But as Richard Kolb notes, theterms were fluid, as Strozzi shows in theblended style of her Opus 8, published in 1664.

Edwards’s talents are on full display fromthe beginning of this release. Her nimble fiorit-uras in the cantata L’Astratto are breathtaking.The way she bends pitches in the aria Non c’ePiu Fede draws attention to Strozzi’s chromaticinflections. Tu me ne Puoi Ben Dire might bethe best example of Strozzi’s blended style. Thearia is so full of rhapsody that it seems to defygravity. Edwards slips easily from tuneful song-like textures to wild melismas to bring outStrozzi’s ardor. Kolb breaks up the sequence ofvocal pieces with two Correntes by BernardoGianoncelli. Texts and notes are in English.

LOEWEN

SUK: Serenade for Strings; see CollectionsSZYMANOWSKI: Piano Sonata 3;

see MESSIAEN

TARREGA: Guitar PiecesMichael Winkler—Eos 234200—56 minutes

Here are 24 works for solo guitar by Spanishcomposer and guitarist Francisco Tarrega(1852-1909) These include his “greatest hits”,along with a few nice surprises, delivered witha clear, meaty tone by Swiss guitarist MichaelWinkler, who has often recorded as a memberof the EOS Guitar Quartet. If you are a fan ofthe romantic period, this is for you!

Delicate ornaments abound in `CaprichoArabe’ with Winkler always singing the canta-bile melody expressively, placing lusciousspaces between some phrases. His very enjoy-able, even-sounding tremolo is evident in `Re-cuerdos de la Alhambra’ but in this romantic-ally conservative performance, he could haveused more tone colors and dynamics, not tomention rubato.


No Tarrega compilation nowadays wouldbe complete without his `Gran Vals’, which wasthe source for the famous Nokia ringtone a fewyears back. Not sure what this melody is? Justlisten to this and you’ll recognize it!

Other favorites include the charming `LaAlborada’, with nicely-balanced, simultaneousright-hand harmonics and left-hand ligados;`Mazurka (en Sol)’, which truly captures adancelike mood; and `Maria (Gavota)’ with itsclearly balanced lines. This is consistent in allthe dance pieces included in this program,including `Rosita (Polka)’.

To balance out the many Tarrega “hits”that guitarists so often program, Winkler in-cludes some less often heard pieces: `TangoMaria’, `El Columpio’, and `Isabel’ (a waltz), allof them convincingly delivered and deservingof more exposure. The sweetly played `Pavana’belongs here as well.

The second half is mostly miniatures (un-der 2 minutes). Winkler treats each of themwith respect and care.

The recorded sound is realistic, with ap-parently little added to the natural reverb inthe chapel where it was recorded. Winkler’s as-sured technical connection with the instru-ment and his feel for the music make this a re-cording to hear!

MCCUTCHEON

TARTINI: Violin SonatasDuo Tartini—Muso 40—80 minutes

One baroque composer I had never warmed tois Giuseppe Tartini (1692-1770). I’d never real-ly been able to put my finger on why this isso—he was as competent a composer as mostothers of his era. When I saw this I thought,“Well, here’s 80 minutes of tedium.” I amhappy to report that I was wrong.

Duo Tartini (violinist David Plantier andcellist Annabelle Luis) play the last violinsonatas written by the master, and the effect ofa violin-cello duo does wonders for this music.Dispensing with the usual keyboard instru-ment gives greater prominence to the cello.Luis alternates bowed and pizzicato notes, giv-ing variety to the music’s textures. This may beher choice as the accompaniment for music ofthis era was largely written in figured bass forthe accompanist to realize. The duo plays verywell together, and it is obvious that they knoweach other well and are not afraid to exercisetheir own imaginations.

For the first time, I can give an unreservedrecommendation to an all-Tartini disc. Per-

haps toward the end of his life he finally fig-ured out how to compose music that I enjoy.

Plantier’s violin was made by GiovanniBattista Guadagnini in Parma in 1766. Luis’scello was made by Nicolas Augustin Chappuyin 1777.

MAGIL

TARTINI: Little Sonatas 25-30Peter Sheppard Skaerved, v


These unaccompanied sonatas are historicallysignificant for two reasons. Tartini was one the18th Century’s greatest performers and teach-ers of the violin, and his teaching line wouldproduce such distinguished progeny as Heifetzand Milstein. His Devil’s Trill Sonata with thefamous Fritz Kreisler cadenza is a mainstay instandard repertoire. His stature is such that allof his works merit recordings; four of the son-atas on this disc are overdue first recordings.The other reason for their importance is theirplace in the solo violin genre, succeeding bar-oque masters such as Westhoff, Biber, Bach,Geminiani, Locatelli, and Telemann. The gen-re then hibernated through the classical erauntil Paganini’s groundbreaking caprices re-vived interest 50 years later.

Called “sonatas”, these pieces resembleBach’s partitas more than his sonatas; they te-ther to rhythm and distance themselves fromimprovisation or fantasy. In musical depththey lie between Bach and Telemann. Tartiniwas looking back more than forward; like Bachhe was viewed as atavistic in his later years. Helived well into the classical era but is rarelyspoken of in the context; he shares this anach-ronistic distinction with romantic luminarieslike Rachmaninoff, Saint-Saens, and Strauss.Perhaps it is of little import that Mozart was al-ready a teenager, an accomplished composer,and a widely traveled performer when Tartinidied.

The playing is competent, sometimes a lit-tle rough, sometimes a little out of tune—slop-py errors that seep into concert performancebut usually evade studio recordings. He mostlycaptures the pieces in a way that does not dis-tract much from the music. For anybody inter-ested in exploring the unaccompanied violinin a baroque context beyond Bach, this wouldbe a logical stop. I cannot say I am enthusiasticabout it, but it’s a first recording, and I supposeit is fair to say that it is better than nothing.

KELLENBERGER


TCHAIKOVSKY: Swan Lake (excerpts)Philharmonia Orchestra/ Santtu-Matias Rouvali


In 2021 Finnish conductor Santtu-Matias Rou-vali, 35, will become only the sixth principalconductor of London’s Philharmonia Orches-tra since its founding in 1945. He will havebeen preceded by Esa-Pekka Salonen,Christoph von Dohnanyi, Giuseppe Sinopoli,Riccardo Muti, and Otto Klemperer—quite alineup.

One thing he is not, at least on this album,is a ballet conductor. His tempos, which feelvery controlled, are strict rather than flowing,and they’re too deliberate to have balletic “lift”.Nor is his conducting subtle. He draws outharmonies usually not attended to, but toooften they do not feel integrated into theensemble. The principal trumpet has twosolos, and neither of them is perfect—nowrong notes, but he lacks an even touch. And apiccolo line at the end of the waltz, which I’venever paid attention to, sounds more “hey,look at me” than blended.

The sound projects everything from trebleto bass, which is surprising for a recording inRoyal Festival Hall, but instruments soundsomewhat spotlighted. Four engineers are list-ed, and someone seems to have tamed thepercussion and bass drums in the finale,which is followed by applause. Ugh.

If this album had been 73 rather than ameasly 43 minutes, it’d still be a waste ofmoney. For an album of highlights from thisballet, stick with Eugene Ormandy and theincomparable Philadelphia Orchestra onSony’s Essential Classics, a series of reissueswith more outstanding performances than anyother I know.

FRENCH

TCHAIKOVSKY: Violin Concerto; Sere-nade Melancolique; Waltz Scherzo; Pas dedeux; Lensky’s Aria; Letter Scene

Guy Braunstein; BBC Symphony/ Kirill KarabitsPentatone 5186747 [SACD] 70 minutes

The violin concerto is solid. Braunsteinachieves a refreshing amount of charm in II,and his muscular playing works well in most ofIII. His limitations with the bow surface in thedifficult double-stop passages in I. Sometimeshe is too thick and aggressive, and the musicsags. He never quite captures the playfulnessor the grace of Tchaikovsky’s balletic writing.

Waltz Scherzo feels a little stodgy; his

robust sound is good on its own merits but incontext does not project the proper energy orbuoyance; when it is time to impress us in thecadenza, the music sounds measured andsluggish. Some clever impishness enters in thesecond section, but one does not feel the waltzfrom violin or orchestra.

The Serenade displays crystalline soundbut lacking a tremulous vibrato. He sometimeshas too wide and thick a vibrato, defying Tchai-kovsky’s character. The resonance and timbreof his sound is rare and worth listening to, buthe does not phrase with the heart, and his ges-tures are combined piecemeal. Tchaikovskyshould flow like characters on a ballet stage.

Is it my preconceived notions about thisconcertmaster of the notoriously tradition-steeped and proud Berlin Philharmonic, ordoes he play everything like German music,with deep, philosophical sound, with weightand struggle behind every note? His soundshould adapt more to the music. There is acommon misconception that music personali-ties are not what they were in the Golden Age,where personality dwarfed adherence to styleand era of composition. This half truth is notwrong because the performers today have lesspersonality, but rather the old guard of per-formers intuited style, particularly in romanticcompositions, at a much more personal andvisceral level, many having direct or farstronger indirect connections to the com-posers. As a youngster, Kreisler played forBrahms; Leopold Auer was a close acquain-tance of Tchaikovsky; Milstein studied withYsaye, the consummate late romantic violinist,who in turn had studied with both Vieuxtempsand Wieniawski. One should not conflateBraunstein’s lack of versatility with strong per-sonality.

This is a respectable if unremarkablerecording.

KELLENBERGER

TCHAIKOVSKY: Rococo Variations;see DVORAK

TELEMANN: 6 Flute Partitas; Cello SonataManuel Staropoli, rec & fl; Gioele Gusberti, vc;Manuel Tomadin, hpsi & org


The first score printed in present-day Germanyto mention the transverse flute explicitly wasactually dedicated to four oboists. Telemann’sset of Small Chamber Music pieces was pub-lished in Frankfurt in 1716. He admitted in a


preface that he kept the writing short and sim-ple “to present something that could meeteveryone’s taste”. A Sonata in D for cello andcontinuous bass dating from 1728 or 9 con-cludes the program.

Details about the instruments are given inthe booklet. In the leading role we hear asoprano recorder in C, another in B-flat, atenor recorder in C, and a flute modeled afterone by Denner, which could mean Johann(1655-1707) or Jacob (1681-1735), probablythe latter. Together, Staropoli, Gusberti, andTomadin give us deft, stylish readings made atA=415. We hear a group sound rather than arecorder soloist raised above the others. Thebalance in the cello sonata is optimal too.Tempos, which range from Largo to Presto,seem apt. For an idea of the variety here, com-pare the Allegro movements that constituteAria 1 & 2 in Partita 4 in G minor.

Our Index lists nine similar albums, butgiven Telemann’s vast output they cover a con-siderable range of selections. The most com-parable present all six partitas as here (Well-Tempered 5169, CPO 999497, M/A 1995 &Musicaphon 51539). Well-Tempered had ascoring of oboe, bassoon, and harpsichordwith modern wind instruments. It was record-ed in 1968 for the Musical Heritage Society andissued in stereo sound. The other two hadperiod instruments and assorted instrumenta-tion. CPO supplied a track for each movement,making an album of several dozen tracks, likethis one. The Musicaphon put each partita ona single track, making an album of six tracksthat were not terribly long, but a little incon-venient to isolate any movements. In Sept/Oct2020, Brad Lehman reported that he enjoyedBrilliant 95683 with Andrea Coen on harpsi-chord (solo; no winds).

GORMAN

TELEMANN: 12 FantasiesRenate Mundi, gamba

Perfect Noise 2104—80 minutes

It’s always a pleasure to hear Georg PhilipTelemann’s music, a little lighter in naturethan Bach, more rococo than baroque. Theviol fantasies are in three movements, somefast-slow-fast, some otherwise. They werepublished in 1735. This is only the third time Ihave come across them in toto and there is areason for that: they had been lost until about2015 when Thomas Fritzsch discovered themin the so-called Ledenburg Collection. He pro-ceeded to record them himself (Coviello

91601, S/O 2016) in a rich recording that Ienjoyed. Richard Boothby took them up twoyears later (Signum 544 N/D 2018) in a lightersounding but just as impressive reading.

Now we meet a new contender, RenateMundi. She plays both gamba and cello,notably with the ensemble La Tirata. Her inter-pretation of these fine fantasias is perhaps atouch more feminine but technically up there.Telemann’s style lends itself well to a certainbrightness and lightness. My only criticism isthat the recording leaves no more spacebetween fantasias than it does between theindividual movements, making unclear thedivision between works and movements.

D MOORE

THEOFANIDIS: Violin Concerto; Viola Concerto

Chee-Yun; Albany Symphony/ David Alan MillerAlbany 1816—53 minutes

Texan Christopher Teofanidis (b. 1967) hashad a significant career thus far with ampleawards. He is a neoromantic with modal ten-dencies, not necessarily Greek in origin inspite of his name.

The Violin Concerto (2008) is in the usualthree movements. I is passionately romanticwith with exotic flavors. II is sweet, written forthe birth of his daughter, and III is a breathlessdance sure to elicit an appreciative ovation.

The four-movement Viola Concerto (2002)was written for Kim Kashkashian. The openingmovement is a dramatic affair in the romanticsense. II is mournful. III is a memorial to thevictims of 911 inspired by a Sikh melody heardat the Yankee Stadium service following theattack. IV is an intense development of previ-ous materials.

These are professionally executed pieces,but I doubt they will change the repertoires inthe long run. Performances should delight thecomposer. Notes by the composer, mostly con-sisting of puffery.

GIMBEL

TOGNI: Sea Dreams; Earth Voices; TotusTuus; Requiem et Lux; Da Pacem Domine; Ofthe Father’s Love Begotten; Psalm 98; Respon-sio Introit; SilentioKatie Partridge, s; Oliver Munar, Timothy Shantz,t; Sarah Hahn-Scinocco, Sarah MacDonald, fl; JeffReilly, bcl; Tova Olson, Victor Cheng, perc; Lumi-nous Voices/ Timothy Shantz

Leaf 236—62 minutes

Peter-Anthony Togni (b 1959) is a Canadian


composer, keyboardist, and broadcaster basedat Acadia University in Wolfville, Nova Scotia.The notes tell us that his music is “spirituallyrooted and introspective”, which means he hasthings in common with just about every otherchoral composer coming before us these days.Togni’s a cappella works are pleasant enough,especially the lyrical and lovely `Totus Tuus’and the bouncy Psalm 98, which is sung inFrench. This choir from Calgary serves himwell, though their intentions are not flatteredby the engineers. Luminous Voices wouldsound a lot more luminous if the sonicsweren’t so glaringly close.

Sea Dreams is a set of three songs for choir,solo soprano and tenor, and a pair of flutes.Togni turns to TS Eliot, the Alma RedemptorisMater, and the Perpetual Angelus to expresshis reverence for the sea and for those who sailit. The booklet presents the texts in English,Latin, and French. I’m assuming that Eliot issung in English and the others in Latin, butcan’t tell for sure. Diction seems not to havebeen a priority, and I can’t make heads or tailsout of the words. It’s the hyperactive flutter-tonguing and other noodles and doodles fromthe flutes that dominate the proceedings.

Earth Voices brings on the percussion tospeak in the whispers of spring and set therhythms of life. The bass clarinet joins the pro-ceedings to bless the Virgin Mary’s name inthe `Responsio’ and to hint at the inner quietof salvation in `Silentio’.

Togni writes adeptly for instruments aswell as for voices, so if you’re up for somethingnew, this collection might be something toseek out. Better sound, though, would havemade me more enthusiastic.

GREENFIELD

TOURNEMIRE: Organ PiecesTjeerd van der Ploeg

Brilliant 95983 [4CD] 296 minutes

I reviewed an earlier volume in Van der Ploeg’sperusal of Tournemire’s magnum opus,L’Orgue Mystique (S/O 2015). The 51 suites setthe portions of the Mass the organist wasexpected to improvise, using the appropriateGregorian chant themes for that day in thechurch year.

This program presents another aspect ofTournemire’s output: secular pieces drawingtheir inspiration from the symphonic style ofhis teacher Cesar Franck, variously titled sym-phonie sacre, symphonic chorale, fresquesymphonique, fantasie symphonique, piece

symphonique, and triple chorale. These arelarge-scale pieces using two or three themes,which are then developed much in the man-ner of Franck’s Chorales.

His other major sacred piece is SevenPoems for Organ on the Seven Last Words ofChrist. This is a monumental work, lastingover an hour and, in the words of Messiaen,“the direct expression of a powerful originalityat the service of a profound faith”.

There are also several collections of small-er pieces, most notably the delicate SeiFioretti—six movements illustrating the storiesand sayings of St Francis d’Assisi—and theSuite Evocatrice, inspired by the forms of 17thCentury French organ music. There are severalother gems worth exploring that will not befamiliar to most organists.

Tournemire’s music, like Messiaen’s, maybe an acquired taste. It is a subtle, complex,and wholly original symphonic impression-ism, laced with refined harmonies and infusedwith the language of Gregorian chant and theatmosphere of the liturgy.

Van der Ploeg plays it all with understand-ing and virtuosity, greatly helped by three mar-velous organs: the 1922, 4-manual, 64-stopCharles Mutin in the Collegiate Church of StPeter in Douai; the 1936, 3-manual, 34-stopAuguste Convers in Cambrai Cathedral; andthe 1885, 3-manual, 55-stop Cavaille-Coll inthe Church of Notre Dame in Auteuil. Exten-sive notes on the music and specifications.The recorded sound and playing are superb.

DELCAMP

TUMA: Stabat Mater; see BIBER

VAINBERG: Mazel TovKatia Guedes (Madame), Anna Gütter (Fradl),Olivia Saragosa (Bejlja), Jeff Martin (Reb Alter),Robert Elibay-Hartog (Chaim); Potsdam Cham-ber Academy/ Vladimir Stoupel

Oehms 990 [2CD] 80 minutes

For several decades now, many musicians onthe European Continent have been keen toexplore the Jewish musical heritage, whichhad been suppressed in the 1930s and 40s byFascist and Communist regimes. For example,klezmer bands (often made up entirely of non-Jewish players) are today fashionable in Ger-many and Poland.

And musicians and concert presenters invarious countries have discovered a majorneglected Jewish composer : Moissei (orMieczyslaw) Vainberg (1919-96). Born in


Poland, Vainberg ended up fleeing the advanc-ing Nazi troops by moving to the Soviet Unionin 1943. (Record companies sometimes spellhis name Weinberg or Vajnberg.)

We have reviewed dozens of all-VainbergCDs since late 1986, including his cello con-certo, many of his 22 symphonies, and muchstring chamber music. The reviewers wereoften very impressed and moved.

Vainberg also composed seven operas. Thetwo-act opera recorded here (1975-82) isbased on a one-act play written by therenowned Yiddish short-story writer whosepen name was Sholom Aleichem, famous forhis tales about the silly townspeople of Chelmand for creating the indelible Tevye the Dairy-man, who would become the central characterin the 1964 Broadway musical Fiddler on theRoof. The title of the 1889 play was Mazel Tov.Here the sentiment is translated “Wir Grat-ulieren!”.

The main characters are a grumpy richRussian woman (Madame), her cook Beylya,her maid Fradl, plus two men—Reb Alter, animpoverished bookseller, and Chaim, a ser-vant from a neighboring estate—who end uppairing off with the cook and the maid, withclear intent to marry soon. Mazel Tov!

This is the first Vainberg vocal work that Ihave heard. It comes to us in an effective “ver-sion for chamber ensemble” by Henry Koch.The “German adaptation” is by Ulrike Patow.The words may be a roughly accurate equiva-lent of the Russian (I have no way of knowing),but they often don’t fit the vocal line. Theexchanges, if one reads them on the page, feelvery conversational, but to the ear they areawkward: individual words and syllables areoften elongated and in ways that impede auralcomprehension.

It comes to life only at a few moments,such as the folk song-like orchestral prelude toAct 2 and a song that Reb Alter and the otherthree lovers sing in celebration of their futuremarriages. Act 1 ends very touchingly, withReb Alter singing a condensed (though quitedistorted) paraphrase of the famous inscrip-tion on Sholom Aleichem’s gravestone, includ-ing, here, the words “He ridiculed the greatworld...His whole life long he was a schlimazel[unlucky man]...and wept in silence.” Afterwhich all five characters moan “Aha”. Vainbergrepeats the “Aha” passage (or Koch and Patowdo in this adaptation) at the beginning of Act 2.

Otherwise, the work is mostly grim, slug-gish, sometimes angular recitative. The mood

and pacing sound much the same no matterwho is singing or what she or he is feeling.

The vocal performances are competent butrarely manage to make the emotional contentspecific. One exception: Katia Guedes (fromBrazil) looks youngish in her photo but alreadyhas a troubling throb and a shrieky edge in thehigh register. Her vocal mannerisms wereclearly considered appropriate to the charac-ter: the grumpy lady of the manor, who endsup objecting to all the pre-wedding singingand celebrating. But her vocal excesses woreme down.

In a few spots the small audience laughs,apparently at some amusing stage business.

The libretto is given in German only. Thebooklet is generously laid out, with longishbiographies of the singers and large photos ofthem. If the bios and photos had been omittedor reduced, there might have been room for anEnglish translation—which would have madethe whole package useful to more listeners.

The printed libretto also has numerousglitches. Several times the names of a charac-ter who is singing is printed small and incor-porated into the sung text, as if somebody issinging that name! The reverse happens aswell: the first sung line in a track is printedlarge, above the singing character’s name, as ifit were the title of a scene or aria, with theresult that the printed text (below the name ofthe character who is singing) starts with line 2instead of line 1. Also, one set of lines isassigned to the wrong character entirely.

The chamber ensemble (11 players)sounds tight and precise. The recording comesfrom a staged performance (2012) in the small“black-box” theater found in Berlin’s Konz-erthaus. I wish it showed Vainberg to bettereffect.

LOCKE

VAINBERG: Symphony 6;21 Easy Piano Pieces

Elisaveta Blumina, p; Konzertchor Rutheneum;Altenburg Gera Philharmonic/ Laurent Wagner

Klanglogo 1532—66 minutes

Mieczyslaw Vainberg was a Shostakovich pro-tegé. Like his mentor’s Symphony 13, Vain-berg’s Symphony 6 (1963) commemorates theNazi massacre at Babi Yar. The work is in 5movements played without a break; 3 of themfor youth choir. I is orchestral, beginning withhorn calls. There’s a slow, treading theme withpizzicato accompaniment. The movementoften uses solo instruments over sustained


pedal notes, but eventually fills out to an emo-tional climax. It ends in a long decrescendo.The general effect is one of desolation.

II sets Lev Kvitko’s poem “The Little Fid-dle”, about a boy playing his homemade violin.The music is in a lighter mood. Trumpet fan-fares begin III, an extroverted scherzo, verymuch in the manner of Shostakovich. IV is themost intense segment, setting Shmuel Hakim’spoem “A Trench Is Dug in the Red Clay”. Thereference is to the specific site of the massacre.The vocal writing has a passionate vehemence,matching in expressiveness a text of achingreminiscence for irreparable loss. In V, thewords of Mikhail Lukonin’s “Sleep, People,Sleep” finish the symphony in a mood ofrestrained hope. Vainberg’s vocal writing iseffective in its combination of extended ariosowith tunes recalling childhood.

The performance is a good one, with trans-parent sound that does the most for themusic’s lean textures. The Rutheneum Choirsings with accurate pitch and expressivephrasing. The notes have German and Englishtexts, though the performance is in Russian.Still, the words do give you the emotionalimport of each poem and of Vainberg’s sensi-tive musical response to them. His choice ofpoets is significant. Halkin was sent to theGulag and Kvitko executed, both as part ofwhat would undoubtedly become an anti-Semitic purge had Stalin lived. Lukonin wasdeemed acceptable by the regime; did hisinclusion point to a truce?

I suppose the common factor in the oddcoupling is that both involve young people.The 21 Piano Pieces are teaching works rough-ly equivalent to the later books of Bartok’sMikrokosmos. They readily express their titles.Thus `The Skipping Rope’ uses leaping figures,and `Baba Yaga’ has a faint flavor of Mous-sorgsky’s witch. `Granny’s Fairytale’ has inter-esting harmonies that could engage a youngplayer, while the stomping march of `The GreyWolf ’ dispenses with the subtlety of Prokofi-eff ’s. Some pieces aren’t all that easy. `Hideand Seek’ needs fluency in scales as well asfacile finger work in its alternating phrases. If Ihad kids with an aptitude for the piano, thesewould be on their music rack. Blumina’s per-formances are excellent; she interprets themwith an intelligence that shows what theyought to sound like and why they’re worthplaying.

O’CONNOR

VAN DER PALS: Concert Piece for Violinand Orchestra; Cello Concertino; Piano Con-certo; The Monk Wanderer SuiteGordan Trajkovic, v; Tobias van der Pals, vc; Mar-ianna Shirinyan, p; Helsingborg Symphony/Fredrik Burstedt—CPO 555 316—63 minutes

A previous release of Van der Pals’s music gen-erally struck me as uninspired (Jan/Feb 2019).This one has more to recommend it. The Con-cert Piece for violin (1911) is in two move-ments. I is meditative, its themes gaining inter-est from whole-tone garnishing. II by contrastis more extroverted and sweetly lyrical.

The Piano Concerto (1938) at less than 10minutes’ length could be dubbed a concertino.It opens with a clarinet theme, the pianistadding accents, the movement continuingwith appealing harmonies. The middle move-ment—less than 90 seconds—is a perpetualmotion scherzo. The finale opens grandly,leading to an abrupt end. Who’d ever imaginea concerto that was too short?

The Cello Concertino was originally writ-ten as a saxophone piece for Sigurd Rascher.The cellist here, Tobias van der Pals, arrangedand finished the music for cello. (The notes arevague as to his relationship to the composer.) Iis dramatic, with dense sonorities. II floats along cello line that’s harmonically adventur-ous. As with the Violin Concerto, some phrasesin the development branch out into whole-tones. The finale is lively, with some good writ-ing for the soloist. The contrast of moods iseffective and the balance of solo parts withorchestral are skillfully handled.

The movements of the Monk WandererSuite (1931) are collectively called Music of theSpheres. As with Holst, they’re named aftersome planets plus the moon and the sun. Thenotes include the composer’s poetic phrasesprinted before each movement. The musicitself often shows some pleasant British influ-ence. The Prelude is Delian; other segments—Venus and Saturn—do resemble Holst. Thework is enjoyable, if not especially vital. It’shard to pick out a theme or progression whereyou could say “That’s got to be by Van derPals”. All the movements are well scored, espe-cially The Sun, which has sonorous trumpetwriting, and Saturn, a cortege for the lowerbrass. The soloists acquit themselves well. Theorchestra, both of itself and as an accompany-ing ensemble, is able, as is Burstedt’s conduct-ing.

O’CONNOR


VASKS: Distant Light; Lonely Angel; Dona Nobis Pacem

Daniel Rowland, v; Maja Bogdanovic, vc; Con-sensus Vocalis; Stift Festival Orchestra/ ThomasCarroll, Benjamin Goodson

Challenge 72830-72 minutes

Distant Light (1997) is a violin concerto writ-ten for Gidon Kremer—a romantic, single-movement work with endless extended lines,Latvian dance, three cadenzas (one with a lit-tle aleatoric episode), and a general aura ofloneliness. It has become a repertoire item.Check indexes for competitors. This one is aconcert performance recorded in a 15th Cen-tury Dutch church and supervised by the com-poser. Some will be bothered by in the rockconcert applause following both concertos.Couplings might make a difference, too.

Lonely Angel is Violin Concerto 2 (1996,rev. 2006). It is a shorter single movement, aMeditation with endless line climbing into theheavens and floating back down. Mr Row-land’s vibrato is too rapid for my tastes. MariSamuelsson on DG is better.

Plainscapes (2002) is for mixed choir, vio-lin, and cello. It was inspired by the Latviancountryside, plains, birds, and nature. Thepiece is beautiful, with a choir acting asorchestra. The combination works well in thischamber-choral context.

The program ends with Dona NobisPacem for mixed choir and strings. A heart-breaking rendering combining plainchantwith mournful Latvian spirituality makes anappropriate ending.

The applause at the end is especially egre-gious. The Concerto and choral work are stu-dio recordings. Notes by the composer.

GIMBEL

VASKS: Castillo Interior; see KODALY

VERDI: Quartet;SIBELIUS: Quartet

Vertavo Quartet—LAWO 1201—53 minutes

The two composers on this recording havenothing whatever in common, save that theybecame famous for writing things very unlikestring quartets and wrote one quartet each.Apparently that is sufficient matter on whichto hang a coupling, because this is not the firsttime these two have been together: in fact, mycomputer thought this was the Juilliard Quar-tet’s recording of the same coupling when Ifirst popped the disc in, until it became yet

more recalcitrant and refused to recognize thedisc at all.

I have not heard the Juilliard’s recording,but I doubt it’s much like this, which seems tohave a lot less, er, beef on the bone than I’dexpect of the Juilliards; the Vertavos are quick,lithe, and rather narrow-toned, as perhapsbefits a quartet that once sat, and mostlyplayed, through an all-day-and-night Haydnfestival involving the complete quartets. Theymight have thrown a little more stereotypical“Italianate” passion into their Verdi (the HagenQuartet mostly outplays them), but the giddy,“orchestral” passages they have down pat.

In the Sibelius things are complicated bythe nature of the piece, which despite theevocative subtitle doesn’t give up its “intimatevoices” easily. Half of it seems too straight-outromantic to be as late Sibelius as it is, while theother half has a curious bare-bones quality,like a late Sibelius symphony’s string partsplayed without any other instruments. What-ever the intimacy really is here, it’s kept in dis-guise; compared with this, Janacek’s “IntimateLetters” don’t just wear their heart on theirsleeve, but shout its existence to the entire uni-verse.

The performances are, at any rate, terrific; Ican’t see anyone complaining of either, exceptperhaps wishing for a bit more Italian flavor inparts of the Verdi.

THOMSON

WEBER: Clarinet ConcertosJorg Widmann, cl; Denis Kozhukhin, p; IrishChamber Orchestra—Alpha 637—69 minutes

German clarinetist, composer, and conductorJorg Widmann enlists Russian-born pianistDenis Kozhukhin and the Irish ChamberOrchestra for an all-Weber concert that heleads as soloist and conductor. The programincludes the Concertino, the Grand Duo Con-certant, the Clarinet Quintet scored for stringorchestra, and the overture to Der Freischutz,where Irish Chamber Orchestra principal clar-inet Katherine Spencer enjoys a brief momentin the spotlight.

Once again, Widmann sports his wonder-fully expressive personality, outstanding fin-gers and articulation, daring tempos, and dra-matic flair. He also brings his very free-blowingset-up that is marvelously clear in lyrical linesand annoyingly thin and out of tune at loudvolumes and in heated technical passages. Asusual, his supporting cast complements hiszesty readings well. Kozhukhin handles theformidable keyboard part in the Grand Duo


Concertant with skill and brilliance; and themusicians of the Irish Chamber Orchestra playwith the aplomb, weight, and smoothness oftheir German colleagues indulging in one oftheir favorite romantic composers.

HANUDEL

WEBERN: Piano Pieceswith CHAU, GACHE, AMODEI, STODDARD,

JOHNSON, OATFIELD, MATZION: TheKinderstuck Project; MCMANUS: 4 Pieces forChildren; BELET: 3 Kinderstucke; FURMAN:

Trip to 12-Tone TownJanis Mercer, p—Centaur 3771—40 minutes

This album is creative and inventive, but noteasy to listen to if you do not find 12-tonemusic your cup of tea. I don’t either, but I com-mend Mercer both for her skill in interpretingthese works and in collecting (and in manyinstances, commissioning) other works on theprogram. It brings together the small handfulof works Webern composed with worksinspired by them.

Mercer’s performances of Webern’s com-plete works are incredibly expressive, evenlyrical, and she manages to bring coherentmelodic lines out of these thorny, dissonantpieces. She brings contrasts out. `Klavierstuck’is delicate and sprightly.

The idea of 12-tone for children may seemsurprising and impossible, but The Kinder-stuck Project commemorates the 60th anni-versary of his death in 2005 by completing hisunfinished project of children’s piano pieces.It is a little up in the air whether these pieceswould be good teaching tools for children—orare perhaps meant to be performed for chil-dren. I am not sure how accessible these workswould be for children. `The Little WoodenHorse’ (Denise Matzion) may be too advancedfor the average young student. These workshave interesting titles and even in the 12-toneframework evoke the characters and moodsthey suggest. `Subarctic Penguins’ (ChristinaOatfield) and `Laughing Man’ (Donavan John-son) explore the higher registers of the pianoin chromatic, rhythmic pulses. Four Pieces forChildren, based on the same fragment byWebern, is meant more as a preliminaryapproach to Webern, according to the com-poser. Trip to 12-Tone Town does interestingthings with the tone row in a retro style.

Your mileage may vary, but this is overall agood effort at making Webern’s legacy relevantto modern audiences.

KANG

WHITACRE: The Sacred VeilLisa Edwards, p; Jeffrey Zeigler, vc; Los AngelesMaster Chorale/ Eric Whitacre


Eric Whitacre, a popular, much-performedcomposer, has written extensively for orches-tra, wind ensemble, music theater, film, televi-sion, and choir. Composed in 2018, this 12-movement work was inspired by the death ofthe poet Charles Silvestri’s wife in 2005. Thetexts, written by Silvestri in collaboration withWhitacre, are about confronting loss and deal-ing with the fragility of life: “Whenever there isbirth or death, the sacred veil between theworlds grows thin and opened slightly up, justlong enough for Love to slip, silent, either in orout”. This is a gorgeous soundscape beautifullysung by the Los Angeles Master Chorale withatmospheric cello and piano accompaniment.It has grown on me every time I listened.

Extensive notes by the composer, withtexts and photos. Beautiful.

DELCAMP

WOLF-FERRARI: I Quatro RusteghiMunich Radio/ Ulf Schirmer

CPO 555140 [2CD] 130 minutes

In Sept/Oct 2018 I reviewed a fine new record-ing of Ermanno Wolf-Ferrari’s delectablecomic opera I Quatro Rusteghi (The Four Cur-mudgeons—or, perhaps, The Four StubbornFathers), conducted by Vasily Petrenko. Firstperformed in 1906 in Munich (in the Germantranslation heard here: Die Vier Grobiane) andin 1914 in Milan (in the original Italian—or, forthe most part, Venetian dialect).

Wolf-Ferrari (1876-1946) was born inVenice to a German father and Italian mother,studied in both countries, and was also activein both.

The libretto for Rusteghi is freely based ona 1760 comedy by Carlo Goldoni. The plot,which I summarized in my previous review,hangs on the insistence of four fathers that ayoung couple should only get married if,according to local tradition, the two individu-als do not get to know each other at all beforethe wedding ceremony. Each of the roles isimportant, making it a bit like Cosi Fan Tutte,but with 11 characters instead of 6.

The music is tuneful, attractively harmo-nized, and exquisitely orchestrated, as recordcollectors know from a few orchestralexcerpts—notably the intermezzo before Act 2.If you are wondering what Italian opera


around Puccini’s time could be like withoutthe verismo intensity, here’s a good answer.The work is extremely attractive and poised,not least through its conscious evocation ofstyle elements from operetta and from Mozart-era opera. This time around, though, I couldn’thelp but also be reminded (because of theGerman words) of the sunnier moods ofMahler, as at the beginning of Act 1, Scene 4.

Particularly delightful is Wolf-Ferrari’s skillat differentiating the characters and their shift-ing moods, from sneaky and suspicious tograndiose or elated. The main “father” charac-ter (Lunardo) has a tendency to repeat a wordor phrase several times, as if comically sputter-ing in annoyance.

There is also much amusing unison andchordal singing for the fathers and othergroups of characters (Act 1, Scene 8). Passagessuggest that Wolf-Ferrari was familiar withVerdi’s Falstaff and perhaps also took someinspiration from Wagner’s Meistersinger, awork that had much success in Italy in transla-tion. The famous “Grossvater-Tanz” (used bySchumann and Tchaikovsky) gets quotedprominently at the ends of Acts 2 and 3(though this goes unmentioned in the writtendiscussions of the opera that I have consulted).

The orchestra also gets some chances toshine, as in the Intermezzo, based on a tradi-tional ballad sung by Marina in Act 1, Scene 5,that sounds a bit like the `Carnival of Venice’tune. The scene-changing music that precedesMarina’s ballad offers a refreshingly expansivemoment in a work that otherwise chatters at usalmost without pause (but quite amusingly).And often, in the opera’s main scenes, theorchestra—a bassoon, the brass section, etc.—comments on a character’s most recent state-ment.

The singers here are as professional andeven sometimes as eloquent as the ones in thePetrenko recording; most of them are nativeGerman-speakers. Jürgen Linn, Zoryana Kush-pler, and Christine Landshamer are one pair ofparents and their daughter; Susanne Bern-hard, Peter Schöne, and Markus Francke areanother and their son (the two young peopleeventually realize they love each other and getmarried); and, as other busybodies, ChristineBuffle, Nathalie Flessa, Uwe Eikötter, Victorvon Halem (a veteran basso, whom I saw yearsago as a superb Osmin in Mozart’s Abduction),and Friedemann Röhlig.

I must express special appreciation forLandshamer and Francke, compact and elo-quent as the two young lovers, and Linn and

Von Halem, both of whom have voices thatripen toward the bottom instead of becominggravelly. Such true basses and bass-baritonesare in short supply in the opera world. VonHalem was 74 when the recording was made,but sounds as firm and clear as all the others.In a long career, was he careful not to take onroles that were too heavy and not to sing inhalls that were too large?

The recording comes from performancesin 2014, when Ulf Schirmer was artistic direc-tor of the (superbly responsive) Munich RadioOrchestra. The performances took place in theacoustically superb Prinzregenten Theaterand, by the aural evidence, were not staged:the singers all sound as if they are standingnear each other without moving. Quickexchanges are always clearly audible. Themicrophones pick up a few moments of quietchuckles from the well-behaved audience.There is Applause only at the ends of acts—ashas long been the general practice in Germanopera houses.

I Quatro Rusteghi has had several record-ings. The Petrenko has many strengths: excel-lent vocal control on the part of all the singers,a fine orchestra, and rich and clear recordedsound. Still, the heavily international cast givesthe impression of having been well trained in atricky and quick-moving Italian/Venetian textthat is not quite native to most of them.

The new recording, despite the oddity ofbeing sung in German, is perhaps the mostconvenient way to get to know, in fine modernsound, this exquisitely crafted and rarelystaged comic opera. The libretto is printed inGerman and good English, whereas thePetrenko recording supplied the Italian libret-to but, in English, only prose summaries ofeach scene. The booklet includes a fine essayand synopsis. These are translated a bit morestiffly than the libretto, but you’ll get the drift.

For a sense of how vital this work can bewhen sung by Italians, I urge opera lovers tolisten to its first recording (1951), conductedby Alfredo Simonetto. It deserves to bereleased on CD.

Still, I am thrilled to have gotten to knowthis amazing light opera now in a second lan-guage (German) and would love to hear it in athird: English. Edward J Dent’s “splendidlywitty translation”, under the title School forFathers, was a resounding success in Londonin 1946.

LOCKE


WRIGHT: Sacred ChoralMagnificat & Nunc Dimittis; 3 Carols; PenitentialPrayer; Hymn of Salvation; In Memoriam; MissaBrevis; Bread of Life; Thy Perfect Grace; I ComeInto Deep Waters; Prayer for Peace; Rejoice in theLord Alway

Julian Thomas, org; Canticum/ Mark ForkgenToccata 457—71 minutes

Christopher Wright (b 1954) is a retired Britishschoolteacher whose career as a composer hasbeen going great guns since he left the class-room in 1994. He has written string quartets,instrumental solos, and choral works that havebeen performed at festivals and on broadcastsin the UK, Canada, Australia, and NewZealand. His style reminds me of England’spre-Rutter choral tradition—polite but snappydissonances and splashes of color from theKing of Instruments animating his sacred fare.He’s pretty good at it, too, especially in settingup his contrasts between introspectivemoments and outbursts of joy.

You hear those extremes often—from thejaunty Magnificat to the hushed “Who takesaway the sins” in the otherwise ebullient Glo-ria of his Mass, and the attractive `Rejoice inthe Lord’ that closes the program. The choir isnot a world-class outfit, but there’s no mistak-ing their enthusiasm for the music. Thatcounts for something in a release like this. Sowhile I’m not proclaiming the Second Comingof RVW, Benjamin Britten, or WilliamMatthias, I can commend Christopher Wrightto you as a composer who knows his businessand brings a nice story line with him.

GREENFIELD

XENAKIS: Dhipli Zyla; see KODALY

YOUNG: BeowulfArmonico Consort/ Christopher Monks


Perhaps I am not the only person whose firstawareness of Beowulf came when, as a teenag-er, I saw the 1977 film Annie Hall. DianeKeaton’s character expresses an interest inenrolling in an adult college class, and WoodyAllen counsels her somberly, “Just don’t takeany course where they make you readBeowulf.”

Well, any sense of forboding that sur-rounds this epic fable is effortlessly dissipatedby Toby Young with his delightful and accessi-ble musical-dramatic adaptation. It is scoredfor harp and keyboards, chorus and soloists

(libretto by Jennifer Thorp), and punctuatedby a witty spoken narration assigned to thetitle character himself. Written by WilliamTowers, Beowulf ’s story is told here with asuperb blend of humor and suspense by theesteemed British actor Timothy West.

The opening choruses have the jauntyappeal of Britten’s Ceremony of Carols. As thepiece progresses, there are homages to Gaelicrhythms and British folk songs, jazz, and thecontemporary Broadway style of classically-oriented composers like Ricky Ian Gordon andJason Robert Brown. The meltingly beautifulchorus `When I Was King’, sung by the chil-dren’s chorus, might have sprung from the penof Stephen Schwartz. Young gracefully inte-grates these disparate elements into an emi-nently pleasing whole.

The work is performed with gusto by theArmonico Consort, the AC Academy Warwickand AC Academy Scholars. Full texts areincluded. Though it has the earmarks of a con-cert work, one can imagine an inventive stag-ing that might find an audience in an intimateoff-Broadway theater or on the West End.

ALTMAN

YSAYE: Solo Violin Sonatas; Unfinished Sonata

Niklas Walentin—Naxos 574214 [2CD] 86 min

The principal distinction of this set is that it isthe first that I know of that includes the recent-ly discovered Unfinished Solo Violin Sonatathat apparently was originally intended to bededicated to the Spanish violinist ManuelQuiroga, who was the dedicatee of Sonata 6.The first recording of the unfinished sonata,which I reviewed, was made by Philippe Graf-fin (May/June 2019). If there is anythingremarkable about it, it is that it lacks the inspi-ration and invention of the six publishedsonatas. I hope it will soon be forgotten. All itwill do is to necessitate two discs to accommo-date all seven sonatas.

The other six sonatas by the great violinistare among the very finest in the repertoire.Danish-Swiss violinist Niklas Walentin does agood job playing them. My only serious objec-tion is that he changes the final notes of Sonata1:II, and his change is less effective than whatYsaye had written. These sonatas have becomedeservedly very popular in the past threedecades, and there are quite a few otherrecordings that are better than this one. Bestare the sets by Thomas Zehetmair (Jan/Feb


2005), Rachel Kolly d’Alba (March/April 2011),and Viktoria Kaunzner (July/Aug 2017).

MAGIL

ZEMLINSKY: Clarinet Trio; RABL: Clarinet Quartet

Christoph Zimper, cl; Kristina Suklar, v; FlorianEggner, vc; Peter Ovtcharov, p

Gramola 99228—52 minutes

In the halls, salons, and theaters of late 19thCentury Vienna, conservatives and progres-sives quarreled over the future of German-Austrian music. Although each camp boasteda lineage back to Beethoven, they differedsharply over how much to preserve and howmuch to move forward. In 1885, a group ofconservatives established the Vienna Musi-cians Society to protect classical traditionamidst the Wagner revolution. They invitedJohannes Brahms, their idol and model, to behonorary president.

While Brahms was a source of comfort tomany in the Society, he challenged their think-ing in other ways. In 1887 the Society began acomposition competition to encourage newchamber music in the vein of their reveredcomposers. Brahms served as a judge; and inorder for each piece to have a fair hearing, hecoached rehearsals and insisted that Societymembers pay the performers. He also statedthat, while the string quartet was a fine medi-um for the first year of the competition, theSociety needed to dispense with the notionthat no other genre could match its supposedmusical perfection. In 1888, the medium was acappella choir with at least four voices; in1892, piano with at least one other instrument;in 1893, at least three mixed voices and piano;and in 1896, at least one wind instrument.

The 1896 competition took place only afew years after the honorary president’s promi-nent contributions to clarinet chamber music:the Trio, the Quintet, and the two sonatas. Italso happened during his battle with cancer.(He died the following April.) A record 18 sub-missions arrived by the July 1 deadline; and ofthese Brahms and his two fellow judges select-ed 12 for performance over 5 concerts. 10 ofthe 12 included the clarinet.

Walter Rabl, a 23-year-old pianist pursuinga doctorate in musicology at the German Uni-versity of Prague, took home first prize with hisOpus 1 and a first in music history: piano trioplus clarinet. The four-movement Quartet inE-flat demonstrates the young musician’s text-book grasp of the Brahms heritage. Joseph

Miroslav Weber, an established 42-year-oldviolinist, earned second place with his Septetin E for violin, viola, cello, clarinet, bassoon,and two horns. The four movements vividlydepict the composer’s Czech homeland.

Alexander Zemlinsky, a rising 25-year-oldpianist-composer, came in third with his Trioin D minor for clarinet, cello, and piano.Though modeled after the Brahms Trio in Aminor, it pursues a folk aesthetic and lasts 27minutes.

After the competition, Brahms wrote to hispublisher Simrock and asked the company toissue the Rabl and the Zemlinsky. Though leftout of this favor, Weber was older and morerecognized; in 1899, Aibl of Munich publishedhis Septet. As the next ten years unfurled, sodid the fate of each piece.

Rabl continued to compose; but heincreasingly turned to conducting and vocalcoaching. He also began to champion the pro-gressive works of the New German School; andin 1903, his Wagnerian opera Liane, based ona Teutonic fairy tale, was produced. After this,he worked exclusively from the podium andthe piano. His handful of opus numbers—allcompleted before the age of 30—eventuallybecame a footnote, and he died quietly in1940. Two years before that, Hindemith wrotea quartet for piano trio and clarinet as he pre-pared to leave Nazi Germany; and the nextyear, Messiaen wrote his Quartet for the End ofTime in a German prisoner-of-war camp. Waseither composer aware of the Rabl Quartet?Messiaen said that he wrote his Quartet forpiano trio and clarinet because that was theonly instrumentation available to him.

Weber maintained his high profile andbusy career. In 1898, his String Quintet wonfirst prize in the Prague Chamber Music Soci-ety competition; and he appeared all over Ger-many and Bohemia as a violinist and conduc-tor. He died in 1906 at age 51; but if his wistfulromantic oeuvre didn’t catch on beyond theoccasional contest, the modernist tidedoomed it. A few of his works survive in printand on recordings, even the Septet; but for themost part, Weber and his music are forgotten.

Zemlinsky persisted as a composer, con-ductor, and teacher over the next four decades,obtaining important music director positionsand working with some of the most importantmusicians of the early 20th Century: Mahler,Schoenberg, Stravinsky, Berg, Weill, and Klem-perer. In 1938 he fled Nazi Germany for NewYork, where he passed away unknown andneglected; but unlike Rabl and Weber, his


Lento ReligiosoBERG: Sonata; KORNGOLD: Lento Religioso;BRUCKNER: Adagio; BRIDGE: Lament;LEKEU: Adagio;WAGNER: Tristan & IsoldePrelude; STRAUSS: Capriccio Sextet

Amsterdam Sinfonietta/ Candida ThompsonChannel 36620—78 minutes

This is a collection of slow movements orarrangements for string orchestra. The Berguses Wijnand van Klaveren’s arrangement; theWagner one by Adrian Williams. The Korngoldis from his 1949 Symphonic Serenade. It’s amovement of somber beauty, quoting from thecomposer’s Oscar-winning score for AnthonyAdverse. Bruckner’s adagio is from his Quintet.A beautiful movement in itself, it gains evenmore from the larger string ensemble. Bridge’sbrief Lament eulogizes a young girl lost in theLusitania sinking.

The selection by Lekeu—a major talent,stricken at the ridiculous age of 24—proves yetagain how clumsy and whimsical are the fates.He was overwhelmed when he first heard Tris-tan and Isolde, thus his beautiful essay makesthe ideal lead-in to the Wagner prelude.Williams’s arrangement is skilled, though thefamous Tristan chord does lose some bitewithout its woodwind color.

Strauss’s wonderfully mellow Sextet sacri-fices nothing being played by larger numbers.The Amsterdam Sinfonietta is an ensemble of20 or so strings; their roster varies. Their play-

ing is a constant delight, with refined tonequality and precision of ensemble. These givethe Korngold a crisp, more modern sound.Their dynamic control is also firm, so themusic never sounds bloated or ill-propor-tioned. Ms Thompson conducts with a steadyhand, plus the flexibility these mostly postro-mantic pieces need. It’s all strings and all slow,but it’s also all valuable.

O’CONNOR

Roger DesormiereBIZET: Patrie Overture; Jeus d’Enfants;CHABRIER: Habanera; CHARPENTIER:

Depuis le Jour; CHOPIN: Les Sylphides;DEBUSSY: Marche Ecossaise; DELIBES: Cop-pelia Suite; Sylvia Suite; GOUNOD: Ah! Je VeuxVivre; O Legere Hirondelle; IBERT: Divertisse-ment; IPPOLITOV-IVANOV: Caucasian Sketch-es; OFFENBACH: Les Oiseaux dans laCharmille; POULENC: Les Biches Suite;PROCH: Deh! Torma me Bene; TOMMASINI:

The Good-Humored Ladies; TCHAIKOVSKY:

Sleeping Beauty Suite; THOMAS: Je Suis TitaniaJanine Micheau, s; Paris Conservatory Orchestra;National Symphony

Decca Eloquence 484 0416 [4CD, mono] 3:51

Roger Desormiere (1898-1963) began as acomposition student of Vincent d’Indy. As aconductor, he led several important Frenchpremieres, including Messiaen’s Three LittleLiturgies and Stravinsky’s Symphony in Three


CollectionsCollections are in the usual order: orchestral, chamber ensembles, brass ensembles, bassoon,cello & double bass, clarinet & saxophone, flute, guitar, harp, harpsichord, miscellaneous, oboe,organ, piano, trumpet & brass solos, viola, violin, wind ensembles, early, choral, vocal.

place in music history is secure, and his com-positions continue to be performed andrecorded.

Here, four Austrian-based musicians keepalive the memory of the 1896 Vienna Musi-cians Society competition in their pairing ofthe popular Zemlinsky Trio with the rarelyheard Rabl Quartet. Christoph Zimper is Pro-fessor of Clarinet at the University of Musicand Performing Arts Vienna; Kristina Suklar isAssociate Concertmaster of the Radio Sym-phony Vienna; Florian Eggner is an activechamber musician and festival director in Aus-tria; and when not giving masterclasses inAustria, the Russian-born Peter Ovtcharov is

Professor of Piano at Yonsei University inSouth Korea.

The concert is thoroughly professional andartistically convincing, replete with rich andbeautiful timbres, evocative phrasing, sizzlingtechnique, seamless collaboration, and a fieryand intense romantic ethos. The performancesremind the listener how fresh and urgent theseworks must have sounded to the Society as itsmembers perceived the ailing Brahms and hislegacy to be under siege. Even so, each piecelooks to the horizon; and though the Zemlin-sky is the bolder of the two, particularly in itscyclic elements, both Rabl and Zemlinskywear their emotions on their sleeves much liketheir progressive colleagues.

HANUDEL

Movements. After hearing him conductDebussy’s Pelleas, Virgil Thomson describedhim as “among the very great musicians of ourtime and the great French conductors of alltime”. His career ended tragically with a seri-ous stroke in 1952, after which he was unableeven to converse. Despite this, the youngPierre Boulez would visit him often, and madesure that the recorded set of his completeworks included Desormiere’s Soleil des Eaux.

These discs completely back up Thom-son’s claim. On track after track, I found myselfthinking “I wouldn’t need to hear this musicdone any other way.” With his balancing preci-sion and lightness of touch and strength ofexpression and eloquence of interpretation,he’s ever in the Goldilocks Zone of conduct-ing—everything done just right.

The performances are also fine. TheNational Orchestra was a British pickup group,but picked up the right players. I recall theParis Conservatory Orchestra when they madesome good LPs for Decca’s budget label, Rich-mond. In the Sylvia Suite, their ensemble inthe pizzicato movement—a trap even for thebest of orchestras—is executed with precisionand humor.

I’d seen the name Janine Micheau, butnever heard her sing. My loss, as she was alyric and coloratura soprano of major stature.She sings with a clean, clear tonal quality, onpitch and with firm rhythm in some tres diffi-cult ornamental flourishes. At the same time,her soulful singing of `Depuis de Jour’ fromCharpentier’s Louise proves her ability to floata sustained line with superb phrasing. Des-ormiere’s accompaniments are again first-rate.There’s the feeling that conductor and soloistare a true partnership where each respects andreinforces the other.

Let me preface my impressions of therecorded sound by noting that I have nopatience with dinosaur sonics, regardless ofhow “historically important” the performancemight be. Though these discs are not stereo,that’s no bar to their enjoyment. The set provesthat even back in the late 1940s-early 1950sDecca was becoming a hallmark for top-quali-ty recordings. The sound is thoroughly enjoy-able, with minimal background noise. Theorchestral choirs are well balanced, and therecordings have a good range of registerresponse. Even in tutti passages, there’s littlecongestion. This set is for people who want—need—to hear French conducting at its best.

O’CONNOR

Antal Dorati on MercuryMozart & Haydn

London Symphony & othersDecca 4840385 [4CD] 5:23

This is for Antal Dorati fans. These are all Mer-cury recordings, from 1952 to 1962. Mozart’sSymphony 40 is here twice. The early one wasin Minneapolis (1952), the later one in London(1962). There are more repeats in the LSOrecording, and the minuet is a bit faster. Thesound is terrific in both. I would not rejecteither recording, but I prefer Bruno Walter andBeecham.

The first disc also has Eine Kleine Nacht-musik and 3 marches, 3 German Dances (K605), and the delightful Minuet in C, K 409.These items are not done much—at least notby major conductors—and they are all enjoy-able.

CD 2 has Mozart 36 and 40 (LSO; 36 in1956), with Haydn 59 (Bath Festival 1964). Theother Haydn symphonies—45, 81, 94, 100, 101,and 103—are played by the London Sympho-ny, The Bath Festival Orchestra, and the Phil-harmonia Hungarica. I don’t think 45, 59, or 81are among Haydn’s best; and the others havebeen recorded a lot. I prefer Decca sound toMercury (richer; more bass), so I am happywith the complete Dorati Haydn set on Decca.I also prefer Beecham and Bernstein to Doratiin most of these symphonies, but again I can-not complain about his conducting. All of thiswas music he did well.

VROON

King Frederik IX ConductsKUHLAU: Elves’ Hill Overture; LUMBYE:

Dream Pictures; Galop; SCHUBERT: Symphony8; WAGNER: Tannhauser, Rienzi, & FlyingDutchman Overtures; Siegfried’s Funeral March;BEETHOVEN: Symphonies 1, 3, 7; GRIEG: LastSpring; GADE: Echoes of Ossian; BERRESEN:

Royal Guest Prelude; WEBER: Euryanthe &Freischütz Overtures

Royal Danish Orchestra, Danish SymphonyDacapo 8204001 [4CD] 4:18

King Frederik IX of Denmark was born in 1899and was king from 1947 to 1972. Although hewas a self-taught (amateur) conductor, hecaught the bug when he was 16. His motherliked to play piano with an ensemble of familymembers, friends, and members of the court,which her son conducted. In his 20s he maderecordings with a larger ensemble, and by1938 he was offered the chance to conduct


occasional pieces with the Royal DanishOrchestra as a gesture of thanks for his patron-age. In 1941 he first conducted the DanishNational Orchestra.

This album contains recordings from 1946to 1954, with inferior monophonic sound rem-iniscent of the claustrophobic Studio H soundon Toscanini’s NBC Symphony recordings(and worse). Three works (Beethoven’s Sym-phony 1, and Wagner’s `Funeral March’ and`Flying Dutchman Overture’) were recorded in1969. Only the `Funeral March’ is in stereo.

As for the performances, my standard criti-cism for each work is that, when the music isslow, the tempos are lumbering and ensembleis not tight, but when things speed up theensemble is tighter and the playing canbecome exciting (sign not only of an amateurbut of many younger soloists and conductors).Thus the king waxes hot and cold in Kuhlau’sOverture to Elves’ Hill but turns in a fine three-minute Galop from Lumbye’s Salute to AugustBournonville. And Schubert’s UnfinishedSymphony lacks cohesion in I and is four-square and lumbering in II.

`The Last Spring’ by Grieg and theTannhauser Overture have so much surfacenoise that they must have been transferredfrom very grainy 78 rpms. The Grieg at six min-utes is strung out enough to last all summer!Tannhauser’s initial tempo is lethargic, espe-cially with very slow-moving triplets. In theRienzi Overture I sat nodding my head to eachtedious beat. When the tempos picked up,both overtures edge toward interesting.

But, oh boy, Beethoven’s Symphony 7!Right off the bat, woodwind tuning is exe-crable, the French horns are wobbly, and theoboes sound like Morse code. From start tofinish the tempos have to be the slowest onrecord. And the trio in III is really awful.

The king gives Niels Gade’s Echoes of Oss-ian a decent, nicely shaped performance, butit’s not the last word in refinement. Nor doesthe canned 1949 radio-type sound help.Hakon Borreson’s Prelude to The Royal Guest(1919) is rather Elgarian with its touches ofnobility and playfulness. The performanceconfirms another generalization about theking’s conducting: he’s better with one-move-ment works because he’s able to get a firm gripon the structure, giving the flow form and aim.

In Beethoven’s Symphony 3 once again thewoodwinds are immediately sour and temposare slow. But this time the conductor’s conceptis indeed heroic or emperor-like. Accents fromthe strongly effective timpani define I’s delib-

erate character. The `Funeral March’ is veryslow but deliberate. III has farting horns, andIV is soggy. Consider it a triumph compared toBeethoven’s Symphony 1, which is soggy, withpoor ensemble and the most excruciatingsound on the album; it says “recorded in 1969”but it sounds more like 1929.

`Siegfried’s Funeral March’ from Götter-dämmerung has poorly tuned brass and losespulse. Why is it in stereo and the unremark-able performance of The Flying DutchmanOverture from the same year is not? Thealbum’s worst engineering is in the two Weberovertures, which sound like they were record-ed in the 1920s.

Why anyone would want this album otherthan fans of the king and his family is beyondme.

FRENCH

Eugen JochumBACH: Prelude & Fugue in G; BEETHOVEN:

Symphonies, all; Piano Concerto 1; Consecrationof the House, Coriolan, Egmont, Fidelio, NameDay, Leonore Overtures 1, 2, 3; BRUCKNER:

Symphony 5; BRUHNS: Praeludium 3;DAQUIN: Noel 10; MOZART: Symphonies 35,36, 38, 41; Piano Concerto 14; MENGELBERG:

Magnificat; SCHUBERT: Symphonies 4+8;SCHUMANN: Symphony 4; STRAUSS:

Rosenkavalier Waltzes, Till Eulenspiegel; DonJuan; WAGNER: Preludes to Flying Dutchman,Meistersinger, Tannhauser, TristanLiselotte Rebmann, s; Anna Reynolds, mz; AnnieWood, a; Anton de Ridder, t ; Gerd Feldhoff, b;Veronica Jochum, p; Adalbert Meier, organ;Netherlands Radio Chorus; Concertgebouw,Bamberg Symphony, Bavarian Radio, Berlin Phil-harmonic


Eugen Jochum (1902-87) was among the last ofthe old-time German romantic conductors, amusical descendant of Bach, Mozart, andBeethoven, and one of the great Brucknerinterpreters. He was a conductor of great ener-gy who inspired orchestras to warm, spirited,and disciplined music-making. Niek Nelissen’sexcellent booklet essay on the conductor andthese recordings tells us that Jochum talkedoften in rehearsals, yet musicians who playedfor him believed it was his musical spirit thatinspired their performances.

The son of an organist and conductor,Jochum attended Augsburg’s Academy ofMusic and the Munich Conservatory, where hestudied conducting under Siegmund von


Hausegger, a composer recognized now, butfor a long time, famous only for leading thefirst recording of Anton Bruckner’s Ninth Sym-phony. Jochum began his own associationwith Bruckner on his conducting debut in 1926when he programmed the Seventh Symphonywith the Munich Philharmonic. He moved onto the Kiel Opera, then Mannheim, where hecaught the attention of Wilhelm Furtwängler.In 1932 he took over the Berlin Radio Orches-tra and two years later the Hamburg Philhar-monic, despite not being a member of the Naziparty. Apparently, his claim that to join thepart would violate his Catholic religion satis-fied the less-than-fanatic party leaders inHamburg, though his presence on JosephGoebbels’s Gottbegnadeten-Liste [God-giftedList] of artists probably gave them—andJochum—cover. He remained at that post until1949. Meanwhile, 1941 to 1943 he worked withthe Concertgebouw in the Netherlands, thanksto their efforts to engage “acceptable” Germanconductors. After the war, he cleared de-Nazi-fication only when the Americans withdrewtheir objections in 1948. A year later, hebecome the first music director of the BavarianRadio Orchestra, remaining until 1961.

This collection contains all of Jochum’srecordings for Philips save for four large Bachreligious works and Beethoven’s Missa Solem-nis. His first recording for the company was ofthe Beethoven Fifth in 1951 with the BerlinPhilharmonic (BPO). The performance dis-played expressive breadth and grandeur with-out losing energy, momentum, or clarity, all ingood monaural sound. A year later, he and theConcertgebouw recorded an excellent Schu-bert Unfinished, marred slightly by sound thatis too bright in the highs. That year he alsorecorded Rudolf Mengelberg’s Magnificat plusStrauss’s Don Juan and Till Eulenspiegel inperformances that are aggressive and dramaticthrillers. In 1957 he made a Wagner disc withthe Bavarian Radio Orchestra (BRO). The per-formances are spiritual, drawn out, sinewy,and energetic when called for. Particularlyeffective is the gorgeous Tristan prelude. Thatwas his only project with the BRO associatedwith Philips, but he made many recordingswith that orchestra for DG, including a Bee-thoven symphony set and part of a Brucknersymphony set the orchestra shared with theBPO. (The only Wagner operas he recordedcommercially were Lohengrin and Meis-tersinger for DG, but there is a wonderful,good sounding 1953 broadcast recording ofTristan with that orchestra on Andromeda and

Youtube with Astrid Varney and RamonVinay.)

In 1958 Jochum returned to the Concertge-bouw podium and in 1960 recorded the Schu-mann and Schubert Fourths in performancesthat are full and energetic. He also tapedBeethoven’s Consecration of the House, Cori-olan, Egmont, Name Day, and Leonore No. 3overtures. The performances are good, thoughEgmont is so fast that it loses some power. Thesound is OK but not great, especially in theLeonore. 1960 also gave us stereo remakes ofDon Juan and Till Eulenspiegel plus Rosen-kavalier Waltzes that are too driven and fast.Things settle down, but more delicacy andsensitivity would be welcome. The tone poemrecordings are similar to their predecessors.

FRom 1961 to 1963 Jochum split the direc-torship of the Concertgebouw with the youngBernard Haitink, serving as mentor for theman who would become the orchestra’s long-time music director. In 1960 and 1961, herecorded Mozart Symphonies 35, 36, 38, and41 in performances that are vigorous, regal,songlike, and in some outer movements fast. Iwish he had recorded more Mozart sym-phonies with the Concertgebouw, but Philipsand the orchestra did give us great perform-ances of the middle and mature ones withJosef Krips that are somewhat heavier thanJochum’s.

Jochum’s association with Bruckner is rep-resented by two sets of the composer’s sym-phonies: the DG and a superior EMI with theDresden Staatskapelle. From Philips, there isonly this 1964 recording of the Fifth from aconcert with the Concertgebouw in a Bavarianchurch that had a wonderful acoustic for thismusic. The performance is typical JochumBruckner: organic, breathing, emotional, andspiritual. The outer movements are powerful,the Adagio glorious with a stupendous climax,and the Scherzo surging and churning. Theorchestra sounds great save for a bright trum-pet that becomes annoying after a while.

Jochum’s Beethoven symphony set, plusFidelio Overture, Leonores 1 and 2 and a(superior) remake of 3, was made from 1967 to1969. It was his second set of the symphonies,made between the BRO set for DG and onewith the London Symphony for EMI. ThePhilips performances are straightforward, rich,powerful, elegant, lyrical, and beautifullyplayed with reasonably consistent tempos. TheFirst is laid back, but the Second exhibits morelife than usual, making for one of the best per-formances of it. The stellar Eroica is strong,


vigorous, and cleanly presented, with trum-pets that sound like stentorian gods when theysound forth near the end of the slow move-ment. The Fourth can seem insignificantbetween 3 and 5, but this strong performanceholds its own. No. 5 displays expressivebreadth and grandeur without losing energy,momentum, or clarity. It is similar to the 1951Fifth, though a little faster in I and II. 6 is richand full-bodied. I could be a bit more relaxed,but II is glorious, and the rest is first-rate. 7 isterrific, mainly because Jochum does not con-centrate too much on rhythm and maintains afull sound and strong line. 8 is fast and serious,but great in any case. The 9th is regal, stately,and full sounding, with all lines clear. II is wellcontrolled, animated, and displays fine wood-wind color. III flows like the river in the Sixth,and the violins are stellar. IV is clean, clear,and powerful with great climaxes and terrificfugues. The quartet is fine, with a warm bassentrance and a soprano singing like an angeljust before the ending. The chorus is big andwonderful. This set was highly praised in anARG review (M/A 1991) but overlooked in theBeethoven Symphony Overview (J/A 2003)and unforgivably by me (since I have the LPs)in a roundup of sets in my review of AndrisNelsons’s mediocre one with the Vienna Phil-harmonic (M/J 2020). It belongs with the elitecycles mentioned there, along with the Krips, arecent discovery that I find underrated in theOverview.

In 1969 Jochum became principal conduc-tor of the Bamberg Symphony (until 1973) andrecorded these Mozart and Beethoven concer-tos with Bamberg and pianist VeronicaJochum, whose rich full pianism resemblesher father’s conducting. The recording issomewhat close to the piano but not enoughto prevent enjoyment of some powerful read-ings. As for the “bonus” disc, the Bruhns,Daquin, and Bach organ pieces are attractive,upbeat, and very well played; Mengelberg’sMagnificat is warm and nicely spiritual.

The stereo sound is rich, full, colorful, anddetailed. The Beethoven LPs sound a bitwarmer, but these CDs are fine. The entire col-lection is a joy—and inexpensive.

A few minor caveats. The front covers ofthe CD containers of the Beethoven symphonydiscs are taken from the Philips Festivo singleLP issues. The pictures are beautiful, but theprogram labeling is wrong on all of them, e.g.,the disc in the one that reads Symphonies 1and 8 contains 1 and 2! The correct listing is onthe plain back covers. According to the front

disc covers, the Bruckner Fifth takes up twodiscs; it only takes one—the other has thebonus works. Finally, the remake of Leonore 3was in 1968, not 1969 as listed in the booklet.

HECHT

Armin Jordan at LucerneDEBUSSY: Afternoon of a Faun; EpigraphesAntiques; ROUSSEL: Bacchus & Ariane 2;CHAUSSON: Poem of Love and the Sea

Felicity Lott, Suisse Romande OrchestraAudite 95648—75 minutes

The Epigraphes are Debussy piano piecesorchestrated by Ernest Ansermet, who alsorecorded them (I have that recording). Theyhave not been recorded much as orchestralpieces. This is Ansermet’s orchestra, but hedied in 1969. Still, it sounds the way he madethem sound—even in Lucerne at the festival in1988 and 1994.

Despite the generally beautiful sound, Idon’t find the Chausson an attractive record-ing. Maybe it’s the way Felicity Lott is miked—or maybe she was just out of sorts that day. Shehas an irritating edge to her sound. It may bethat I am used to a more subtle sound: myfavorite recordings are by Victoria de los Ange-les and Montserrat Caballé. Chausson was astudent of Massenet and Franck, but he wasalso friends with—and influenced by—Debussy and Albeniz. It is not a mistake to givethis song cycle a slight Spanish edge.

And I cannot now like the Roussel—the 19-minute Suite 2 from the ballet. I say “now”because when I was a student in Chicago JeanMartinon made quite a convincing case for thecomposer. Here his music seems brash anddissonant.

I saw Jordan conduct this orchestra, and Ithought he was excellent. I expected to be dis-appointed, because I remember seeing Anser-met; but Jordan maintained the orchestra’stradition quite well.

VROON

LCO LiveVaughan Williams, Suk, Dvorak

Christopher Warren-GreenSignum 638—71 minutes

This is a group of 32 strings—too few to bereally lush (and, after all, they are English!).Still, they vary from gentle to emphatic, andthey put the Suk across well (or is it justbecause it’s the least known of the three sere-nades?). Great care is taken in phrasing in all


three pieces, but I’d prefer more strings andsome majesty. Think of Ormandy and Slatkinin the Vaughan Williams Tallis Fantasia andStokowski in the Dvorak.

The “live” is meant to tell us that this wasrecorded in concert, before an audience(2019). It does have the immediacy one some-times senses in concert recordings. There is noapplause.

VROON

Charles Munch Decca RecordingsBARRAUD: Symphony 3; BEETHOVEN: Sym-phony 8; BERLIOZ: Benvenuto Cellini Overture;Romeo & Juliet excerpts; Les Troyens—Chasseroyale et Orage; Corsaire Overture; SymphonieFantastique; Requiem; BIZET: Symphony;Danse Bohemienne; Arlesienne Suite; CarmenSuite; BRAHMS: Violin Concerto (Renardy);DEBUSSY: Iberia; Berceuse Heroique; FAURE:

Pelleas & Melisande Suite; Pavane; FRANCK:

Symphonic Variations (Joyce); Symphony;HAYDN: Sinfonia Concertante; D’INDY: FervaalPrelude; MENDELSSOHN: Symphony 5;MOZART: Adagio & Fugue; OFFENBACH:

Gaité Parisienne; PROKOFIEFF: Symphony 1;RAVEL: Piano Concerto Left Hand (Blancard);Bolero; Daphnis & Chloé Suites; Piano Concerto(Henriot-Schweitzer); RESPIGHI: Pines ofRome; Fountains of Rome; ROUSSEL: PetiteSuite; Festin de l’Araignée; Suite in F; Bacchus &Ariane Suite 2; SAINT-SAENS: Danse Macabre;Rouet d’Omphale; SCHUMANN: Symphony 4;TCHAIKOVSKY: Symphony 6 (P); WIDOR:

Fantaisie (Herrenschmidt)Paris Conservatory, French Radio Orchestra,Hungarian Radio, London Philharmonic, Phil-harmonia, Concertgebouw, Bavarian Radio

Decca Eloquence 484 0219 [14CD] 4:18

Munch (1891-1968) was born in Strasbourg,on the border between France and Germany.Strasbourg had been given to Germany afterthe Franco-Prussian War (1870), so Munchwas raised in German territory and served inthe German army in WW I. After that war theAlsace region was returned to France, and byWW 2 he had become a staunch French patri-ot. He began as a violinist at the StrasbourgConservatory (run at that time by Hans Pfitzn-er), but then studied at the Paris Conservatoryand later in Berlin with Carl Flesch. His youth,then, brought him into close contact with themusical cultures of both France and Germany.He became a fine orchestral violinist, servingfor eight years as concertmaster of the Gürzen-lich Orchestra in Cologne (under Abendroth),and then as concertmaster of the Leipzig

Gewandhaus Orchestra under both Walter andFurtwängler. So, by the time Munch made it tothe podium he was well seasoned in theorchestral repertory.

His debut as a conductor came relativelylate—he was 41—but he leapt to the top ranksvery quickly. In this he was aided by hiswealthy wife, who was the granddaughter ofthe founder of Nestle. So, right at the startMunch was able to hire the Walther StraramOrchestra and rent the Theatre des Champs-Elysées to launch his career in 1932. By 1935he was making recordings with Cortot (Saint-Saens’s Fourth Concerto), and soon after hewas entrusted with a new orchestra, the ParisConservatory Orchestra. The first effort withthis group, the recording premiere of Ravel’sLeft-Hand Concerto, came in 1938 and isincluded in this collection. Munch was activethrough the war; and in 1949, aged 58, he wasappointed successor to Koussevitzky at theBoston Symphony, where he remained until1962. Following Boston he moved to Paris,guest-conducted, and presided over thefounding of the Orchestre de Paris in 1967,shortly before he died from heart attack whileon tour in Richmond, Virginia.

These 14 CDs contain all the recordingsMunch made for Decca, as well as recordsdone for L’Oiseau-Lyre, DG, Philips, Polydor,and Vega. This is a great deal of music, but alot of Munch’s recordings are not here. Missingare many early performances includingwartime ones, which can be found in the 13-CD Warner set. And hundreds of pieces are onthe blockbuster 86-CD set of (mostly BSO)recordings for RCA Victor, issued by Sony. (Seealso N/D 2012.)

The recordings here fall into three neat cat-egories: 1. early pre-war, all 1938-39 and fittingon one CD (Ravel Concerto, Widor, Haydn,and Mozart; 2) eight monaural discs of post-war recordings from 1946-1949, mostly withthe Paris Conservatory Orchestra; and 3) fivediscs from the very end of Boston through theBerlioz Requiem of 1968, his last recording. Itadds up to 9 monaural CDs, all before theBoston years and 5 CDs in stereo after Boston.

The earliest performances all sound quitegood; you wouldn’t guess “pre-war”. TheHaydn and Mozart are a little dated stylistical-ly, but they are sprightly and never objection-able in a romantic way. The Widor Fantasy,new to me, is quite a nice piece, and we hearthe premiere recording of the Ravel concerto,nicely done by Jacqueline Blancard.

Munch specialized in French repertory,


and, once established with his Paris Conserva-tory Orchestra, he seems to have exhaustedthe French orchestral catalog. Central to hiswork was Berlioz, represented here by late,stereo recordings of Symphonie Fantastiqueand the Requiem, along with earlier monauralrecordings with the Paris ConservatoryOrchestra: some overtures and instrumentalexcerpts from Romeo et Juliette and LesTroyens. None of these pieces strikes me aspoorly done, but Munch here faces his stiffestcompetition: himself! The overtures are verygood, particularly the exciting parts of Ben-venuto Cellini and Le Corsaire; but Munchcovered this repertory in a much-admiredrecording of overtures with the BSO, where thesound is stereo. The big pieces—SymphonieFantastique, originally done for Philips, andthe Requiem, recorded for DG—are both with“guest” orchestras—non-French groups thatMunch did not conduct regularly. In bothpieces these groups certainly perform well; butBoston, where Munch had imprinted his styleover the years, has the more exciting playing.The symphony sounds too refined for me andlacks the grotesque and terrifying momentsthat other performances have. In the Requiemthe choral work (Bavarian Radio) is very good,particularly in quieter places like `Quaerensme’; but in Munch’s Boston recording the col-legiate group (New England ConservatoryChorus) brings a youthful enthusiasm andcommitment that are more exciting. And PeterSchreier, who overdubbed the `Sanctus’ solomonths after the main recording was finished,is little more than satisfactory; he is no substi-tute for Leopold Simoneau in the Bostonrecording—in this work Simoneau alone isworth the price of admission.

French composers, coming shortly afterBerlioz, are well represented in the postwarmonaural recordings, mostly with the ParisConservatory Orchestra. One disc is given toFranck—the Symphonic Variations, with sen-sitive piano playing by Eileen Joyce and a fineaccount of the D-minor Symphony—and twocolorful tone poems of Saint-Saens: the won-derfully delicate Rouet d’Omphale and theDanse Macabre (with the ConcertgebouwOrchestra). Except Danse Macabre they wererecorded in London in 1946 and sound quitegood; the Danse was done in Amsterdam in1948.

Bizet is represented by two early record-ings (Symphony in C and La Jolie Fille dePerth, both 1947 with the LPO) and late stereoperformances of the Carmen and L’Arlesienne

Suites (both 1967 with the New Philharmonia).All of these are quite good. The light, efferves-cent Bizet symphony is a perfect vehicle forMunch’s talents, and it’s hard to find anythingyou would want to change in the suites. Themusic always sounds fresh and spontaneous,never calculated or over-rehearsed.

In addition to Franck, Saint-Saens, andBizet, the generation after Berlioz is represent-ed by Fauré (Pelleas et Melisande and Pavane)along with D’Indy’s overture to Fervaal. Whatpleases me here is Munch’s ability to capturethe light, delicate textures of French musicwithout losing backbone and strength. Theopening of the Bizet symphony, which crack-les and explodes like a sprung trap, has no lackof energy.

One additional piece should be men-tioned, Gaité Parisienne, which is a collectionof excerpts from Offenbach’s stage works,arranged by Manuel Rosenthal (1904-2003).The music was used for a ballet that premieredin 1938, and later orchestral versions haveincluded different numbers of pieces. Here wehave 21 little pieces, ranging from half aminute long to about 3-1/2 minutes. Theseminiatures, some delicate, some rhythmic anddancey, are a perfect vehicle for Munch.

The later French repertory includes, unfor-tunately, too little Debussy (only Iberia and aberceuse); but Ravel and Roussel (whomMunch programmed often) are present ingood measure, along with the Third Symphonyof Henry Barraud (1900-97). The Ravelpieces—Daphnis, the Piano Concerto in Gwith a fine Nicole Henriot-Schweitzer, andeven good old Bolero—are all delightful. It isalso good to hear several works of Roussel,who was a fine neo-classical composer. Bar-raud’s work is certainly worthy, but I wouldn’tseek it out. All of these pieces are nicely done,and again you’re hardly aware you’re listeningto 70-year-old monaural. As before, though,Munch has to self-compete; I would prefer thelater stereo recordings with the BSO, particu-larly their Daphnis et Chloe suites.

We also have some Russian and Italianmusic. Prokofieff ’s Classical Symphony is adelight when played with the effervescencethat Munch gets from the Paris players; theperformance, though a little unkempt, is aliveand spontaneous. Even more impressive—infact one of the finest performances on all 14discs—is Tchaikovsky’s Pathetique Symphony.The second theme in I has rarely sounded solush and lovely, and the finale with its tragicend is perfectly calculated.


The Italian side is covered by two works ofRespighi: Pines of Rome and Fountains ofRome. These are perfect for Munch, whobrings excitement to the bigger parts. Moreimpressively, he brings wonderful atmosphereto the many quieter sections; I particularlyliked the third of the Pines (Janiculum), wherethe ending (with the nightingale) is beautifullydone.

While Munch’s basic affinity was to Frenchand Russian repertory, he didn’t ignore Ger-man music. He certainly must have absorbed agreat deal when he was in Leipzig, and he pro-grammed German music regularly in Boston.It is interesting, though, that in the six yearsafter Boston he was based in Paris and con-ducted almost entirely French music.Nonetheless, we have about 2-1/2 discs of Ger-man music here. The Haydn and Mozart wererecorded 1938-39. The playing reflects an olderstyle, but it is sprightly and buoyant, not at allembarrassing to modern tastes. The others—Beethoven, Mendelssohn, Schumann, andBrahms—are from the monaural post-waryears. Munch tended to take this kind of musicfast, and the Beethoven Eighth is a great exam-ple. The opening movement is quick, almostdriven, but he slows for the second theme, andthen (no repeat) charges through the develop-ment at fever pitch. This is not grand, reveren-tial conducting, but it is musical and veryexciting. It sounds like a real performance,where the musicians have thrown some cau-tion to the wind and gotten excited them-selves. Later movements bear this out. Themusic is never heavy, ponderous, or philo-sophical. French charm has replaced Germanweight. The Mendelssohn Reformation Sym-phony and Schumann’s Fourth are in the samemold: a little quick, flowing and never heavy,but also exciting and spontaneous. Conduc-tors like Furtwängler and Klemperer havemade a majestic statement out of the Schu-mann (and one wonders if Munch played itunder Furtwängler in Leipzig). Munchachieves similar excitement, but without thephilosophical musing. In the Brahms ViolinConcerto the star of the proceedings is soloistOssy Renardy, a Viennese violinist (born OskarReiss) who immigrated to the US and had apromising career ahead of him when he waskilled in an auto accident while traveling onicy roads in New Mexico in 1953, aged only 33;this was apparently his only concerto record-ing with orchestra. It’s a wonderful youthfulperformance with a splendid cadenza(Kreisler’s). Munch gives fine support, but I

would not place it in the first rank if onlybecause the sound and balances are not. All inall Munch makes a good impression in theGerman repertory, and it is interesting to notethat the most “Germanic” pieces (Schumannand Brahms) are done with non-Frenchorchestras, the London Philharmonic and theConcertgebouw.

Recommendations are a little tough. If youare interested by historical performance andMunch’s specialties, he is someone you shouldknow. I wouldn’t steer you to Munch for Ger-man repertory, but for everything else he isvery fine. Both this and the Warner set are bar-gains (about $45 to $52. The various boxes ofRCA material, which would probably be firstchoice, seem to be unavailable now, but theywill probably show up again.

Munch was said to be much better in theconcert hall than in a recording studio becausehis music was so alive and spontaneous. Hedid not particularly like to rehearse, and inrecording he hated splicing and re-recording.In a sense, then, we’ll never get the best of theman. That said, though, there is a sense ofmoment, of spontaneity that comes from theserecordings. Everything is in very good soundfor the period, and the monaural selectionssound almost as good as the stereo ones. Con-gratulations, then, to Decca and particularlyMark Obert-Thorn, who restored all the mon-aural recordings.

ALTHOUSE

Great Classic Film Music 2Philharmonic Promenade Orchestra/ IainSutherland—Ariadne 5009—74 minutes

This rather odd collection is music thatappeared in films, but not necessarily writtenfor films. Authenticity to the source materialdoesn’t seem to matter. For example, you getthe Overture to Gershwin’s Funny Face; it wasnot used in the 1957 film, but for the 1927stage show. You also get `September Song’,used in the 1950 film September Affair, butwritten by Kurt Weill for the 1938 stage musicalKnickerbocker Holiday. Also included is JohnLanchbery’s arrangement of Cole Porter filmand stage songs for the 1982 film Evil Underthe Sun. There is also a medley of music fromFinian’s Rainbow and “themes” from MauriceJarre’s Lawrence of Arabia in kitschy arrange-ments that aren’t attributed to anyone. TheLawrence of Arabia medley starts with Gersh-win’s opening notes for `Wintergreen for Presi-


dent’ from Of Thee I Sing, which I don’t recallbeing in the Lawrence film.

The only tracks of interest are RobertStolz’s `March’ from the 1940 film SpringParade (the only recording I’m aware of) andBenjamin Frankel’s jaunty `Carriage and Pair’from the 1950 film So Long at the Fair. Thesereissues, from apparently other “classicalpops” collections, were recorded over severalyears in various studios and concert halls withwidely varying sound and volume. The orches-tra playing ranges from acceptable in the stu-dio recordings to under-rehearsed and sloppyin the concert recordings. Iain Sutherland’spacing is flaccid (as in other recordings I’veheard from this conductor). Sloppy and flaccidare two terms you don’t want connected to arecording of Korngold’s Main Title from TheSea Hawk, but that’s what you get here. This isnot recommended.

FISCH

Turkish Piano Trios Alnar, Tuzun, Baran, Balci

Bosphorus Trio—Naxos 579071—69 minutes

These four trios blend traditional Turkishmusic and Western forms quite well. All werewritten from 1950 on, and their nationalismisn’t in a fervent romantic style but more influ-enced by impressionism. Hasan Ferid Alnarespecially wrote with spare textures; his 1966trio rewards careful attention and a willingnessto be satisfied with less. The piano part is oftenmerely in octaves. Ferit Tuzun’s brief offeringfrom 1950 is fuller and has a little more viscer-al excitement. It finally isn’t compelling, need-ing either contrast or increasing intensitytoward the end.

Ilhan Baran’s Transformations (1975) doeshave the needed contrasts, ranging from ethe-real pizzicato sections to vibrant dances. TheMorgenstern Trio (Azica 71326, Sept/Oct 2019,p170) is more inventive and engaging; theBosphorus Trio doesn’t quite do enough to sellit. Oguzhan Balci’s Trio 1 (2019), with move-ments titled `Sunrise Red’, `Pure Water’, and`The Mare’, brings out the best in the playerswith its gleaming, tense lines and propellingrhythms. I would like more intensity at thehighest swell of `Pure Water’. Also, as themovement wound down, the different speedsof the violinist’s and cellist’s vibrato becamedistracting. Though the musicians need morefire, I’ll happily return to the Baran and Balcitrios. Sound is fine; notes are in English.

ESTEP

20th Century Polish Chamber MusicSZYMANOWSKI: Violin Sonata; BACEWICZ:

Sonata 4; PANUFNIK: TrioHuberman Trio—Divine Art 25206—55 minutes

The Huberman Trio is named after one ofPoland’s greatest violinists, Bronislaw Huber-man (1882-1947). Violinist MagdalenaZiarkowska-Kolacka and pianist BarbaraKaraskiewicz are joined by cellist SergeiRysanov. Ziarkowska-Kolacka studied music atthe Paderewski Academy of Music in Poznanand is deputy concertmaster of the Leopold-inum Orchestra in Wroclaw. She is writing herdoctoral dissertation on Bronislaw Huberman.Karaskiewicz studied at the Karol Szymanows-ki Academy of Music in Katowice and the Fry-deryk Chopin University of Music in Warsaw.Rysanov attended music conservatories inBaku and Moscow and is principal cellist ofthe Czestochowa Philharmonic. All threemusicians are excellent and do full justice tothe music.

The best-known work here is Szymanows-ki’s (1882-1937) late-symbolist masterpiece,the Violin Sonata from 1904. This is one of thevery best performances of it that I have heard,rivalling the accounts by David Oistrakh, Tas-min Little (Nov/Dec 2017), and Chee-Yun Kim(Sept/Oct 2020) and with better sound thanthe Oistrakh or Kim.

Andrzej Panufnik (1914-91) and GrazynaBacewicz (1909-69) were from the next gener-ation of Polish composers. Panufnik’s trio islate romantic with slightly modern harmoniesscattered here and there. It is his Opus 1 andhe wrote it when he was 20. Sometimes it has aslight air of foreboding and touches of the kindof sardonic humor that are common in themusic of Soviet composers like Prokofieff andShostakovich. The composer would later haveto endure the same kind of bureaucraticoppression that his Soviet counterparts weresubjected to.

Bacewicz wrote her Violin Sonata 4 in1949. It is in a similar late-romantic vein asPanufnik’s Trio with the same 20th CenturySlavic sardonicism. It is remarkable how thisstyle became popular when the authoritieswould probably have preferred a more opti-mistic, naive mood. Both the Trio and Sonata 4are very fine works, but many may prefer thesunny optimism of Szymanowski’s Sonata,which was written before the skies of Europehad been clouded by two horrible wars andseveral oppressive regimes.


Rysanov’s cello was made in Bresciaaround 1650 by Giouita Rodiani. Good sound.

MAGIL

Premier!Cheetham, Rheaume, Johnston, Koetsier

American Trombone Quartet; Peter Marshall, pMark 54634—40 minutes

This quartet consists of tenor trombonistsNathaniel Lee (University of Virginia, Char-lottesville Symphony), William Mann (GeorgiaState University, Des Moines Symphony,Columbus Symphony), Zsolt Szabo (WesternCarolina University), and bass trombonistJemmie Robertson (University of Florida,Gainesville Orchestra). I must say that thegroup’s name is audacious. It must haveseemed like a bold move, for four people toname themselves the American TromboneQuartet. But I suppose the name wasunclaimed, so why not? All they have to do isprove themselves worthy. Are they?

It is a program of first recordings. I reallylike the idea behind John Cheetham’s 11-minute Variations on a Brahms Chorale,where the chorale is the one orchestral trom-bone sections wait a very long time to play inthe finale of Brahms’s Symphony 1. Thatchorale is only four measures long, soCheetham extends it by repeating the thirdand fourth measures in a different key, andthen in another; and then by repeating thefour measures in yet a different key; and thenby continuing to extend and work the idea out.It is a beautiful, dignified, and ingenioustheme, as are the seven variations that follow.

Mark Rheaume’s four-movement, 11-minute American Suite is based on the intervalof a perfect fourth, an interval Aaron Coplandused extensively in music that sounds veryAmerican. I especially enjoy the fast and intri-cate II (Scherzo). III is a Coplandesque settingof the song `Ten Years’. IV is an `Anthem’ withalternating declamatory and lyrical materials. Ienjoy the questions this piece raises, the enig-mas it leaves unanswered.

A little five-minute Quartet 1 by Paul John-ston begins as a lovely chorale with a high-pitched melody, then takes on gentle swingelements, works its way through various keys,and gives each member of the group chancesto shine.

The album ends with a 3-movement, 14-minute Concertino for trombones and pianoby the prolific Belgian composer Jan Koetsier(1911-2006), whose music is always skillfully

crafted and usually includes sly humor. I isfast, intricate, and rhythmically vigorous. II is awaltz-like Intermezzo, and III has the intricacyand energy of I. Pianist Peter Marshall deliversa lively reading, even though he is rather over-whelmed at the end.

So, is American Trombone Quartet worthyof the name? Yes, it is an outstanding ensem-ble with big, resonant, well-matched tonequalities and technical skills. They sound ter-rific, and I look forward to hearing them again.

KILPATRICK

The Precious Sun’s Light and SplendorTelemann, Handel, Bach, Purcell, Philidor,Beethoven, Gluck, Brahms, Dubois

Pfeiffer Trumpet ConsortCantate 58051—67 minutes

It is always a pleasure to hear this fine ensem-ble: trumpeters Joachim, Harald, and MartinPfeiffer; timpanist Mathias Muller; and organ-ist Matthias Neumann. This was recorded inHamburg in 2014, three years before thegroup’s previous release (Jan/Feb 2020: 161).

The program, with plenty of ensemblechanges to keep things interesting, opens withtwo pieces from Telemann’s lively HamburgAdmiralty Music (1723). A suite by Handelcombines a movement from his early oratorioLa Resurrezione with several from WaterMusic, each movement played by a differentensemble—including solo organ. A Bach sethas a little three-minute Concerto from a can-tata, then continues with a chorale for trum-pets and organ, a dramatic organ fantasia(`Komm, Heiliger Geist, Herr Gott’), and final-ly the ubiquitous `Jesus Bleibet meine Freude’for solo trumpet and organ. Another Bach setoffers imaginative settings of three chorales.

Seven little selections from Henry Purcell’sKing Arthur also show great imagination inarranging and varying. The Overture passespassages around between the trumpets, organ,and timpani. In an Air, timpani are heard induet with organ, giving them unusual promi-nence. Glockenspiel is a tinkling presence inan organ solo; the rare sound of three flugel-horns with organ is warm, and the Finale issuitably splashy.

Timpani is heard without accompanimentin Philidor’s little `Marche de Timballes’ andas accompaniment with organ in an unusualsetting of Beethoven’s `An die Freude’.

The program ends with 3 romantic songsby Brahms and two Gluck miniatures.

KILPATRICK


Bassoon AloneScott Pool—MSR 1734—78 minutes

I have always liked the mellow sound of thebassoon, and I find a program of solo bassoonmusic much easier to listen to than solo fluteor oboe or clarinet. Do remember, though, thatthis is 78 minutes of one sound. In the firstpiece, an arrangement of `Carnival of Venice’,you keep expecting an orchestra to push itsway in—or at least a piano, as in the original.The second piece is by Persichetti and involvespitch-bending, which I hate. It dates from1969. The most recent work here is from 2015and by Alexandre Ouzounoff. It just soundslike rehearsal exercises to me.

Antonio Lauro died a year before Per-sichetti (1986) and was known for guitarpieces. These bassoon pieces reflect their gui-tar origins—and I certainly would rather hearthem on guitar! Among the other pieces hereare Libby Larsen’s `Jazz Variations’ and GeorgePerle’s Inventions (which begin with a loudand repeated fart-like noise).

Scott Pool was once principal bassoon inSavannah, Georgia and now teaches at CorpusChristi in Texas. But he has played and taughtin many places in Europe as well.

VROON

Russian TalesMIASKOVSKY: Cello Sonatas 1+2; GLAZOU-

NOV: 2 Pieces; Chant du MenestralAndreas Brantelid; Bengt Forsberg, p


Russian ImpressionsMIASKOVSKY: Cello Sonata 2; RAKOV: 3Pieces; GRECHANINOFF: Sonata; BAL-

AKIREV: RomanceRamon Jaffe; Andreas Frolich, p

Paladino 110—67 minutes

Here we have two similar productions, heldtogether by Nikolai Miaskovsky (1881-1950),whose strong and lovely Cello Sonata 2 of 1948suggests that you might not want both record-ings. Sonata 1, written back in 1911, is also wellworth our attention as are the Glazounovworks, the `Melodie’ and `Serenade Espag-nole’ that he originally wrote in 1888 for celloand orchestra and then arranged with piano,and the `Minstrel Song’ of 1900.

Brantelid and Forsberg have written theirown liner notes. Brantelid is a 33-year-old cel-list, but Frolich is up in his later 60s. They haveplayed together since 2002 and put across thisprogram to fine effect.

Jaffe and Frolich are more alike in age,judging by their photographs. They worktogether with notable warmth and dexterity.Nikolai Rakov’s Poeme, Romance, and Sere-nade are from 1943, and Balakirev’s Romancewas written back in 1856.

When you come right down to it, it isn’teasy to tell these players apart. The cellistsboth use consistent vibrato and have similarphrasings. This is Russian music played to aturn by European musicians. Both are fineprograms, played and recorded beautifully. Iam lucky that I don’t have to choose betweenthem.

D MOORE

Music We LoveVictoria Mullova, v; Misha Mullov-Abbado, db

Onyx 4220—54 minutes

This is an unusual collection of works from avariety of sources played by a violinist motherand her double-bassist son, who does not pickup a bow.

The music includes three pieces com-posed by the bassist, called `Blue Deer’, `Brazil’,and `Little Astronaut’. They are attractive andsubstantial and go well with their comrades,which include Schumann’s `Traumerei’ andBach’s Violin Sonata in B minor (if you cantake these without keyboard accompaniment)and lesser-known recent composers like Laer-cio de Freitas (b. 1941), who wrote `O CaboPilanga’, Shalom Hanoch (b. 1946), who turnsin `Shir Lelo Shem’, John McLaughlin (b. 1942),who depicts `Celestial Terrestrial Commuters’;Lenine (b. 1959) and Dudu Falcao (b. 1961)who share `O Silencio des Estrelas’, AntonioCarlos Jobim (1927-94) whose `Sabia’ bringshim back to life, a traditional Brazilian folksong, `Caico’, and Lepo Sumera (1950-2000),who ends this attractive program with a themefrom Kavadine Karbes, otherwise known asSpring Fly.

All of this is pleasant listening and playedwith clarity and warmth by these relatives. Weare given pictures of them but not informativeliner notes. My ears took it well and I hope tohear from them again.

D MOORE

Rossini for CelloAndrea Noferini; Massimo Giorgi, db; DenisZardi, p—Tactus 791817—75 minutes

“All About Rossini” might have been a moreaccurate title for this program, since it includes


Bohuslav Martinu’s Variations on a Rossinitheme, Mario Castelnuovo-Tedesco’s setting of`Figaro’ from The Barber of Seville, GaetanoBraga’s `Leggenda Valacca’ (Angel’s Serenade),and Vittorio Monti’s `Czardas’. Rossini is repre-sented by his big 3-movement Duet for celloand double bass, here played to a turn byNoferini and Giorgi.

Zardi enters, and we have Rossini’s ownvariations on Ùne Larme’, `La Promenade enGondola’, Tarantella from Soirees Musicales 8,the Ballet from Moise et Pharaon, Ùn mot aPaganini’, and an Allegro Agitato, all playedwith piano.

Noferini has been with us for a while. Ihave him playing Alfredo Casella’s Concerto(Naxos 572416: March/April 2011); OffenbachDuets (Brilliant 94475; July/Aug 2014) and TheCello Virtuoso (Bongiovanni 5073: Sept/Oct1998, p. 266). He is one of the most virtuosicand musical cellists around, and he works sowell with his musical companions that I haveno hesitation in recommending this.

D MOORE

DoubleBach, Mendelssohn, Stamitz, Telemann,TchaikovskyMichel Portal, Paul Meyer, cl; Wallonia ChamberOrchestra—Alpha 415—65 minutes

In January 2018 the legendary French clar-inetist, saxophonist, composer, and crossoverartist Michel Portal visited Swiss-born clar-inetist and conductor Paul Meyer and theRoyal Chamber Orchestra of Wallonia insouthern Belgium for a concert designed todelight clarinet fans of all ages. The programincludes the Telemann Concerto for TwoChalumeaux, the Stamitz Clarinet Concerto 4for two clarinets, the Mendelssohn Concert-pieces, and the Tchaikovsky Àutumn Song’from his piano suite The Seasons in a tran-scription for clarinet and string quartet byJapanese composer Toru Takemitsu (1930-1996). Portal and Meyer conclude the albumwith a piece for musical clock by Carl PhilippEmmanuel (CPE) Bach, rendered as a duet fortwo clarinets.

Overall, the performances are good, full ofnimble technique and lively phrasing. Theorchestra is professional, presenting the con-certos and concertpieces with polish and vigorand painting a gorgeous backdrop in theTchaikovsky. Portal and Meyer share the samecreative intent; yet their timbres are strikinglydivergent: one clear and resonant, the other

hazy and spread. As a result, the blend andteamwork vary from passage to passage andfrom satisfactory to disappointing. Clarinetfans should find enough to enjoy; but betterduet albums have been made.

HANUDEL

Baroque Recorder PiecesTabea Debus ; Jonathan Rees, gamba ; AlexMcCartney, g & theorbo

Delphian 34243—70 minutes

The Young Classical Artists Trust, a Britishcharity akin to the American Concert ArtistsGuild, presents this program of selectionsmostly from the 14th Century to about 1750.Many are arrangements or originally weresung. Two others are new and were written in2019. Details of the instruments are given inthe booklet along with dates for composers orwhen pieces were published. All three per-formers are entirely beyond technique. Fromher treble and alto voicings, German TabeaDebus gives us serenity and spunk; her collab-orators support with perfect precision. Theiraffinity and energy just might inspire you todance during the Spagnoletta by Caroubelpublished back in 1612. Try to resist it!

GORMAN

Brandon Patrick George, fluteSteven Beck, Jacob Greenberg, p

Hanssler 18039—67 minutes

Exceptionally neat, clean, and unobtrusivearticulation and breaths that interrupt the flowcharacterize the approach to the Bach Partitain A minor. I also don’t get the sense that he’sreally communicating anything much here. Itsounds intentional, and I’d like to contrast thatwith natural or inspired. Occasional orna-ments and the general approach to the line(s)neither harm nor help. There are many betterperformances. He’s much better on the weird-nesses in Kalevi Aho’s two-movement Solo 3(1990-1), the first movement of which con-stantly alternates among notes played ordinar-ily, altered fingerings, harmonics, and othersuch stuff.

Flute and piano sound absolutely greattogether in the Prokofieff Sonata and BoulezSonatina. Our flutist seems to have a lot ofpower while still sounding gentle—the legacyof his French training from Michel Debost atOberlin and Sophie Cherrier at the FrenchNational Conservatory. For the Prokofieff, heand Greenberg give us a great rendition. I can’t


believe he chooses to tongue the Ds at the topof the triplets in the first movement, butmaybe it’s easier for him that way. A moderatetempo for II, but the music works fine withmore whirlwind or relative leisure. Sameapproach for the finale: not trying to use speedto make the writing work. With Beck, theBoulez also gets an exemplary treatment. Onlya few people have recorded this piece, andthese two nail it to the wall. Whether youmight enjoy the piece even done this well isanother matter, but here’s the opportunity tofind out.

GORMAN

French Flute & VoiceCaplet, Debussy, Delage, Emmanuel, Gaubert,Hue, Ibert, Koechlin, Ravel, RousselAlexis Kossenko, Magali Mosnier, fl; SabineDevieilhe, s; Anna Reinhold, mz; EmmanuelOlivier, p—Aparte 227—68 minutes

The distinguished French performer, compos-er, music teacher, and conductor Paul Taffanel(1844-1908) has been commemorated in textby Edward Blakeman through a biographypublished in 2005 and in sound by KennethSmith and Paul Rhodes in a 3-disc set fromDivine Art (May/June 2011: 198). His playingbecame the international standard even beforethe French flute school’s transatlantic expo-nents came to New York and Boston in theearly 1900s, having been invited by WalterDamrosch and Pierre Monteux.

Louis Lot (1807-96) was the preeminentFrench flute maker of the late 19th Century.The two instruments lent for this recording byFrench flutist and saxophonist BernardDuplaix were owned by the eminent perform-ers and teachers Adolphe Hennebains (1862-1914) and father and son Joseph (1895-1983)and Jean-Pierre Rampal (1922-2000). TheHennebains instrument was made in 1877 andthe Rampal was made in 1880. Accompanyingthem is an Erard piano from 1902.

Behind much of the program is the neo-classicism that led to the revival of the Olym-pic Games by educational reformer Pierre deFredy, Baron of Coubertin, and the architec-tural style of the Columbian Exposition of1893, having been brought from the FrenchSchool of Fine Arts by Richard Hunt. Thus ref-erences such as Anacreon, Apollo, and Dianapermeate the largely contemporary texts. Inaddition, we have the rare opportunity to hearDebussy’s Flute of Pan or Syrinx with narrationfrom the naiad and the oread.

The young French mezzo-soprano AnnaReinhold sings most of these selections. As anative speaker and graduate of the FrenchNational Conservatory, where she studied withIsabelle Guillaud, there are many ways she isideally suited to this repertory. Her vibratoseems a little too big and delivery a little toooperatic, so she doesn’t always communicatethe intimacy and simplicity many of us mightthink French songs ought to have. Understate-ment and mystery and reverie are what thesetexts are about. The potency and poetry of theflute sounds is not too much—it is just right.Kossenko and Olivier intertwine with and sup-port the voice wonderfully. We even get tohear an early example of flutter-tonguing inCaplet’s `Listen, my heart’ from 1924. Thus it islargely satisfying performances that are pre-sented to us in sound that is absolutely accu-rate and clear. A substantial booklet includestexts and translations.

GORMAN

20th & 21st Century Flute by WomenBONIS: Sonata; BOULANGER: Nocturne; GAL-

BRAITH: Atacama; GRIER: Sonata; TAILLE-

FERRE: Forlane; PastoraleErin K Murphy; Kirstin Ihde, p


These selections were written between 1902and 2001. Lita Grier’s Sonata is the companionto the Eldin Burton Sonatina we never knewwe’d been missing all along—that is, a delight-ful addition to our mid-20th Century Ameri-cana most characterized by Blitzstein, Cop-land, Foss, Harris, and Schuman. AlthoughNancy Galbraith (b 1951) uses extended play-ing techniques such as flutter tonguing, whis-tle tones, circular breathing, singing whileplaying, pitch bends, and air sounds, her pieceis a very accessible and musical composition.Whether or not it evokes a Chilean desert toyou, it has something to say worth hearing.

Erin Murphy has a sound with lots of body.Her very vocal and relaxed approach to play-ing is maintained from the softest to the loud-est moments. Since this concept traces finallyback to the great French flutist Marcel Moyse,one of the teachers of her teacher Trevor Wye,it comes from the French tradition behindthree of these composers and indicative of thesound that became the international standard.The Scherzo of the Bonis Sonata has someunevenness that ought to have been workedout, and I would have liked it faster. From the


keyboard, Kirstin Ihde sounds marvelous, isbalanced well, and contributes much.

A booklet has notes by our flutist withbiographies and photographs of the perform-ers; on the cover is an oil painting, Day andNight (2017) by Canadian-born and Okla-homa-based Benjamin Murphy.

GORMAN

20th Century Flute & HarpALWYN: Naiads; BEDETTI: Marsyas & Apollo;DEBUSSY: For Invoking Pan; Syrinx;GAUBERT: Greek Diversion; INGHEL-

BRECHT: Antique Sketches; MAZZONI:

Caprice 3; MOUQUET: Greek Diversion; SCIAR-

RINO: Faun Whistling at a Blackbird;SHILKRET: The Nymphs

Claudio Ortensi & Anna PasettiBrilliant 95925—72 minutes

This program collects little known pieces,mostly short and neoclassical. The exceptionis William Alwyn’s “fantasy-sonata` Naiads,which runs just under 15 minutes. Several byDebussy, Gaubert, Mouquet, and Shilkret areheard for the first time in their original instru-mentation.

Claudio Ortensi has an attractive sound,but his tendency of just cutting notes off tobreathe strikes experienced ears as amateurand crude. He doesn’t have much resonance.Comparing his playing with Kenneth Smith,who has recorded a movement of the Mou-quet, will reveal the vast difference betweenthem. A deeper difference is the overall level ofexpression in his playing: it’s limited. PaulaRobison comes to mind as the polar oppositeof this, although others such as Rachel Brownand Leonard Garrison come to mind as well.Occasional unclear technical passages clinchthe decision that the flute playing would notbe a reason to get this album.

Anna Pasetti comes through clearly,though the bass notes seem recessed. Theextent to which her playing is fine, though, isundone by another factor. The sound is closeenough to have the sort of nuances that arelost from a greater distance. That’s mostly pos-itive. Final notes finish with a halo rather thana resonant kind of echo. It gives the impressionof a low-quality production. Track 5 soundsdownright weird. A little more than 10 minutesof this was enough.

GORMAN

BanterGLASS: Etude 6; RAVEL: Mother Goose;STACKPOLE: Banter, Bicker, Breathe; FALLA:

El Amor BrujoDavin-Levin Duo

IRIS 0—69 minutes (440-225-5725)

The unusual duo of guitar and harp presentsnumerous challenges. The instruments are soalike in their plucked-string sound, yet tonallyidentifiable. This effort brings together twoexcellent performers, savvy arrangements, andtechnical expertise in recording.

Opening with Davin’s arrangement ofPhilip Glass’s Etude No. 6, the duo demon-strates exquisite precision both rhythmicallyand musically, maintaining interest in a piecethat might, in its minimalism, be boring. Notso here, with perfect coordination in phrasingand dynamics between the players.

Maurice Ravel’s Ma Mere l’Oye, arrangedby the duo, is a treat for the ears, with a partic-ularly effective movement, `Laideronnette,Imperatrice des Pagodes’, well-rendered withits contrasting sections. The arrangement ofthe Falla presents balanced roles where eachinstrument alternates between melody andaccompaniment—very nice!

Will Stackpole’s `Banter, Bicker, Breathe’ isa virtuosic contemporary work commissionedby the duo, musically portraying each activityin the title. The ten-minute work maintains thelistener’s interest and speaks volumes.

A second commissioned work, Dylan Mat-tingly’s `Vita Nuova’, opens with repeated-notepentatonic sequences with a variety of timeoffsets which sound harsh with the guitar,recorded at a high level, creating an irritatingeffect, saying very little. There is beauty here inthe tone and relaxed spaciousness of the twoinstruments in the second section and the del-icate interplay of crystalline notes in the con-clusion. Very imaginative!

Liner notes, of which there are none, or alink to them on a website, would be helpful.

MCCUTCHEON

Tales from MalaysiaNathan Fischer, g—Soundset 1114—47 minutes

What a unique recording! This music is all newto my ears, and it is delightful!

The works are framed by variations onMalaysian and Indonesian songs written bythe late John Duarte (1919-2004), a British gui-tarist and writer who composed these for aMalaysian guitar camp he attended in 1996.


Los Angeles-based composer Amirah Ali’s`Salji’ (which means snow) was originally writ-ten for the piano and is artfully transcribed byFischer himself. His flowing phrasing alongwith dynamics enhanced by the reverberationof the hall (and possibly the studio settings)yield a beautiful recording.

Fischer’s arrangements of Three PopularMalaysian Songs by Az Samad, who lives inKuala Lumpur, offers a nice contrast in styleand texture, with the second piece, `Welcome,Love’ and the third, `The Sunset Begins toWeep’, delivered with engaging emotion. Thisis music that touches us deeply.

A poignant piece, `Wasted Love’ by jazzsaxophonist Patrick Terbrack, is framed by twoshort pieces by British composer VincentLindsey-Clark, `Malaysian Sunrise’ and`Malaysian Landscape’. The sequencing ofthese three pieces speaks to the eternal quali-ties of nature and the comparative transienceof human feelings.

Fischer, who is a Career Advisor with theIndiana University Jacobs School of Music, issimultaneously a mature artist with all thenecessary performance attributes—tone, clari-ty, and sensitivity—as well as the ability toenvision and produce a unique project such asthis, which points to the value of music tobring the people of the world together withrespect and appreciation for each other’s art.

Take a trip to somewhere you’ve neverbeen with this recording.

MCCUTCHEON

KharacterKHALIL: Suite Apuntes; The Cascade Summon-ing; Fantasia Bachiana; DUPHLY: La Forqueray;La Victoire; HENZE: Cello Serenade

Jonas Khalil, g—Hänssler 20004—41 minutes

Opening with an original work, Suite Apuntes,Homenaje a Leo Brouwer, Khalil delivers atechnical tour de force: a fantasy using quota-tions from Brouwer’s better-known works,including El Decameron Negre and CubanLandscape with Rain in the first movementand Elogio de la Danza and a snippet fromDanza Caracteristica in III. It was composed tohonor Brouwer’s 80th birthday, and Khalil hastruly captured his spirit.

Khalil’s two transcriptions of keyboardworks by mid-18th Century composer JacquesDuphly are quite listenable, and `La Victoire’is delivered with aplomb. His transcription ofHans Werner Henze’s Solo Cello Serenade isdelivered expressively, with each short move-

ment (the longest is 1:20) making its point in asuccinct manner.

Khalil’s original work, The Cascade Sum-moning, is created almost completely witharpeggios that make creative use of the guitar’sharmonic possibilities, going beyond whatmany players create by chord planing, i.e. sim-ply moving chord shapes up and down theneck. This music clearly is on a higher leveland becomes a six-minute cosmic journey.The combination of Khalil’s sense of tone andhis dexterity are emotionally engaging.

Khalil’s `Fantasia Bachiana’, unconsciouslybased on a Bach chorale tune, is not as good.While the writing makes good use of theinstrument, it lacks the tightly-knit construc-tion one would have hoped for in a piecebased on Bach’s music.

The album concludes with Khalil’s restfulperformance of his arrangement of the `Anth-em’ from Gluck’s Iphigenie en Tauride. Ahhh.

Khalil shows himself to be quite compe-tent on the classical guitar, and this is unusual,because his other career is with a heavy metalband—none of that is evident here! Just musicfrom a very open-minded and serious musi-cian.

MCCUTCHEON

Fandango!Aguado, Giuliani,Coste,Sor, Regondi, BoccheriniJohan Lofving, g; Consone Quartet; Nanako Ara-maki, castanets—Resonus 10260—73 minutes

Swedish-born Johan Lofving presents a pro-gram of mostly solo romantic guitar worksplayed on a restored period instrument from1850. It is nicely recorded here so the listenercan truly hear the difference from current clas-sical guitars.

Staples of the guitar repertoire follow thedelightful opening piece, `Fandango’ by Dion-sio Aguado—not often recorded. The oft-heardOp. 15 Sonata by Giuliani is played with cer-tainty and a wide range of dynamics, tone, andarticulation, perfect for this style period. II, theadagio, is played with expression, Lofving tak-ing just the right amount of time to say what hehas to say, transporting us into that worldwhich eludes so many performers.

In Napoleon Coste’s `Soirees d’Auteuil’,Lofving sings with a beautifully balancedmelody made interesting with frequentchanges in tone color. His performance ofGiulio Regondi’s Introduction and Capriceconfirms his mastery of this period’s music.

The much-recoded Boccherini quintet,


with its concluding `Fandango’ movement isplayed with energy and grace.

MCCUTCHEON

Mandolin & GuitarMarucelli; Mozzani; Munier

Duo Zigliotti Merlante—Tactus 860003—66 min

This recording includes music composed bythree late 19th Century and early 20th CenturyItalian composers who wrote for the guitar andthe mandolin, parlor instruments that wereflourishing at the time. This was recorded inBologna on Italian instruments made in thelate 1800s.

The lighthearted `Valzer-Concerto’, byCarlo Munier begins the program. Munier wasa mandolinist and founded the first classicalmandolin quartet. He had also studied the gui-tar. Later in the recording, keeping with a tra-dition in this period of transcribing works frompopular operas, Meunier’s Rossinianaincludes familiar operatic themes and ener-getic, attention-getting tremolo octaves in themandolin.

Guitar accompaniments are reminiscent ofPaganini’s works for guitar and violin, such asthe Centone di Sonate with clear harmonicprogressions and effective bass lines played bythe guitar.

To maintain variety, the recordingsequences the works so that no composer hastwo in a row. Mood transitions are effective,especially when Munier’s lyrical `Preghiera’ isfollowed by Marucelli’s lively `Moto Perpetuo’.There follows the only multimovement workhere, Munier’s Dances Bijoux, a delightfulgroup of five contrasting pieces played with avariety of sensibilities. The duo is always ofone mind, so we can enjoy the artistic fruits oftheir two-decade history.

Though the one piece included here byLuigi Mozzani is lovely, and the pieces by Enri-co Marucelli are stylish and rich, Munier’smusic, chosen to both open and close, shinesbrightly. His `Capriccio Spagnuolo’ brings thisrecording to a climactic, exciting conclusion.

Having performed over 20 years on mod-ern instruments, Duo Zigliotti Merlantesearched for a more authentic sound and haveachieved their goal with this charming mixtureof pieces. With such well-recorded tone colors,this alone would be a reason to hear the disc.The liner notes are quite informative, andinclude excellent photos of the instruments—adelight for the eyes as well!

MCCUTCHEON

Guitar Double ConcertosDEL PUERTO: Mistral; ABRIL: Concierto deGibralfaro; GUERENA: Concierto EcuanimeMiguel Trapaga; Teresa Folgueira, g; Angel LuisCastaño, accordion; Fernando Arias, vib


The program opens with Mistral, a 20-minutework by Spanish composer David del Puerto,who won his homeland’s National Music Prizein 2005, and who plays classical and electricguitar. The piece is dedicated to the soloistsheard here, guitarist Miguel Trapaga andaccordionist Angel Luis Castaño, who pre-miered the work in 2012 and thus have hadtime to absorb it fully.

The writing and scoring are brilliant, theguitar taking more of the spotlight. Theorchestral accompaniment is fluid and spa-cious. The language is modern, but accessible.The accordion could have a little more pres-ence; it is not often as well-defined as the gui-tar, but Castaño’s virtuosity is still audible.

Serenely melodic, reminiscent of Casteln-uovo-Tedesco, this world-premiere recordingof Concierto de Gibralfaro (2003) for two gui-tars and orchestra by Anton Garcia Abril (b.1933) is simply sweet music, with Trapaga’sguitar interlocked precisely with Teresa Fol-gueira’s. The scoring gives the guitars the auralspace to weave their magic, with the orchestraproviding a variety of pianissimo accompani-ments during solo sections and well-writteninterludes in between. Even at a length of al-most 30 minutes, the music is never boring orsuperfluous.

Concierto Ecuanime for guitar, vibra-phone, and orchestra is by Javier Lopez deGuereña (b. 1957). It is the most contempo-rary-sounding work on the recording. Themore listener is prepared for it by the previousexcellent music as well as the high caliber ofthe musicians. The contrasting timbres andattacks of the guitar and vibraphone are skill-fully handled and recorded.

Bravo! to producer, engineer and editorBertram Kornacher and Naxos for bringingthis music to us! This is one of the most cre-ative programs I have ever heard.

MCCUTCHEON

Baroque MasterpiecesHandel, Couperin, Weiss, Bach, VivaldiArtis Duo—Naxos 551420—51 minutes

This is almost entirely transcriptions for two


guitars by the German husband-and-wife ArtisGuitar Duo.

Fluidly moving from section to section inHandel’s `Chaconne in G’, the duo plays bril-liantly with perfectly matched dynamics andphrasing that engage the listener with theirvibrancy and immaculate playing.

Contrasting this large opening work is aseries of delightful shorter keyboard transcrip-tions by Francois Couperin. As in the Handel,ornamentation abounds, with well-matchedtrills.

Sylvius Leopold Weiss’s three-movementlute duo, Concerto in D, is a new piece to thisreviewer.

The duo includes an interesting transcrip-tion of the Capriccio in B-flat by JS Bach, com-posed on the occasion of his older brotherJohann Jakob leaving home to play the trum-pet in the king of Sweden’s orchestra. The sixcontrasting short movements grow in intensityto a climactic fugue which the duo deliversadmirably.

Joined by baroque guitarist Olaf vonGonnisen and theorbist Sergio Bermudez Bul-lido playing continuo, the duo continues withVivaldi’s Concerto in G, R 532 for two man-dolins—an uplifting, often recorded work byguitar duos. What makes this recording specialis the texture supplied by the plucked-stringcontinuo. II sings here with lovely ornamenta-tion. The baroque guitar offers a lively sup-portive role in the outer movements, with fullchords and occasional rasgueados. III is a joy-ful tour de force, bringing the program to a fit-ting conclusion.

This is excellent, technically proficientplaying of music both familiar and unfamiliar,performed with sensitivity that is a joy to hear.

MCCUTCHEON

The Hitchcock SpinetAbel, Burney, Geminiani, Loeillet, Mattheson,Telemann, VeraciniAnke Dennert, spinet ; Gabriele Steinfeld, v ;Simone Eckert, gamba—Genuin 20696—68 min

This seems like a nice disc to offer for sale as amemento in a museum’s gift shop. It has musicthat made it to London in the 18th Century,before and after Thomas Hitchcock built thisspinet there in 1730.

The spinet is a small single-manual harpsi-chord built sideways to fit into a tight space.This one belongs to a Telemann museum inHamburg. Anke Dennert plays four multi-movement solos on it. One or both string play-

ers join her for the four other interspersedpieces, giving a nice variety to the presenta-tion. The ensemble selections are my favoriteparts of the program. Some listeners might notfancy the often astringently penetrating toneof Steinfeld’s gut-strung violin.

This spinet sounds relatively undistin-guished and deferential when covered up bythe string players. Any generic one-registerharpsichord would make a similar impression.I would welcome some thicker chords andbass octaves from Dennert to help the balancein these ensemble pieces, as recommended byCPE Bach in his book about the true art ofplaying keyboards. Some crushed non-har-monic tones would sound good here, too, asexplained in Geminiani’s treatises.

Among the solo pieces, some readingmishaps mar III and IV of John Loeillet’s five-movement lesson in E minor. The left-handpart is missing some sharps, making the har-monic progressions odd. Dennert’s interpreta-tions here are generally glib and fast, anyway,rushing through the ornaments and not givingthe spinet’s tone much time to speak. Thatapproach works fine in Charles Burney’s moreboisterous sonata (1776).

Someone neglected to list Veracini on thefront cover. His Sonata 12 (1744) and Burney’sare the most substantial pieces here, taking usbeyond the genteel rococo smile of the othersalon pieces.

Other records by Dennert are her set ofTelemann’s harpsichord overtures (July/Aug2016) and some Hamburg chamber music inher duo with Steinfeld (July/Aug 2017: 200).

LEHMAN

Black SwansFirst Recordings of Black Performers

Florence Cole Talbert, Antoinette Garnes, s; Hat-tie King Reavis, a; Roland Hayes, t; Harry Bur-leigh, bar; Edward H.S. Boatner, b-bar; R. Nath-aniel Dett, p; Clarence Cameron White, v

Parnassus 96067—79 minutes

We are told these are the first recordings ofblack classical music performers, most not re-issued in 100 years, and some evading extinc-tion through a single copy. There are someexcellent performances and some averageones. Based only on this recording, Burleighwas not a great operatic singer, but he has acompelling charism and earnestness. Hisvoice is powerful; his diction is perfect; but hissound is sometimes throaty and forced onhigher notes. He was born one year after the


end of the American Civil War to a Union vet-eran and a daughter of a former slave. Hisgrandfather taught him the spirituals and slavesongs he learned in captivity. His big breakfinally came at 26 when he was admitted to theNational Conservatory of Music, where hebecame friends with Dvorak during Dvorak’slengthy American sabbatical. He introducedmany spirituals to Dvorak, who internalizedthe inspiration and infused several of his mostfamous compositions with their influence.

Dett proves himself with performances ofwarm and nostalgic pieces. Oh for the dayswhen popular music sounded like this! Whiteshows a keen musical intuition, of comparablequality to more famous artists of the time.Slight intonation problems remove some ofthe luster, but an old-world Kreisler-like charmwill draw listeners in. Hayes is likewise irre-sistible; he sounds exactly as a tenor should,with a pure, natural, silky tone. Garnes andTalbert are top-shelf talents. Garnes displaysstunning, breathtaking virtuosity in the Verdiarias, and I hope these recordings inspireresearch into her mostly unknown back-ground. I suspect I will revisit Talbert’s contri-butions many times. Many thanks to the won-derful work of Steve Smolian, Tim Brooks, andLeslie Gerber, and anybody else involved withthe discovery and restoration of these record-ings. Their importance as historical landmarkscannot be overstated. I am struck by thehumility and optimism of the repertoire choic-es and performances. Mostly recorded duringand shortly after the Great War, their messageis an inspiring reminder of sincere art gazinglongingly toward a brighter future.

KELLENBERGER

Ukrainian Organ KOTYUK: Fanfare; Song of Zechariah; MACHI:

Piece in 5 Movements; GONCHARENKO: Fan-tasia; KOLESSA: Passacaglia; OSTROVA: Cha-cona; KRYSCHANOWSKI: Fantasy

Gail ArcherMeyer 20042—55 minutes

Archer is on the music faculty at Barnard Col-lege, where she is Professor of ProfessionalPractice and director of the Barnard-ColumbiaChorus and Chamber Choir. She has pursuedan active concert career, made several record-ings, and is s fine player, but unfortunately thisis not one of her most memorable efforts. Ifound these pieces tiresome and meandering,pointless noise all sounding the same. I couldbarely listen to the whole program. The bland,

slightly out of tune 3-manual, 37-rank Riegger-Kloss organ in the Armenian Catholic Churchin Chernivtsi, Ukraine, doesn’t help.

DELCAMP

Isabelle Demers, organMACMILLAN: Cortege Academique;TCHAIKOVSKY: Sleeping Beauty pieces; RE-

GER: Introduction, Passacaglia & Fugue in Eminor; LAURIN: 3 Short Studies; MENDELS-

SOHN: Midsummer Night’s Dream excerpts;DUPRE: Prelude and Fugue in B


This is played on the 4-manual, 132-rank1928/2006 EM Skinner organ in RockefellerChapel at the University of Chicago. Demers isProfessor of Organ at Baylor University andhas enjoyed an international concert career.The program contains her own transcriptionsof Tchaikovsky and Mendelssohn excerpts, thelively march by Canadian composer ErnestMacmillan, a spirited performance of theDupre; and three colorful pieces by anotherCanadian, Rachel Laurin. The centerpiece isReger’s massive Op. 127 which, at over 30 min-utes, is one of the composer’s longest. Unlessyou are a fan of Reger, this is an endless bore.

Demers is a fine player who uses theresources of this organ in imaginative and col-orful ways. My problem is with the recordinglevels—you will need to turn the volume downfor loud and up for soft.

Excellent notes on the music by the per-former, with photos and specification.

DELCAMP

Organ 1530-1660Du Caurroy, Attaingnant, Titelouze, L Couperin,H Praetorius, Hassler, Sweelinck, Scheidt, Tunder

Aude HeurtematteRaven 165 [2CD] 82 minutes

This program of music from the 16th and 17thCenturies is played on a modern instrument(2010) built in the style of a French organ ofabout 1630. According to the booklet notes,the characteristics of the instrument owemuch to innovations in organ design proposedby Jean Titelouze (1563-1633), who wasappointed organist of Rouen Cathedral in 1588and is widely regarded as the founder of theFrench organ school. Titelouze was Flemish,and he became versed in organ building dur-ing his youth in St Omer, then part of the Span-ish Netherlands. He enlisted the assistance ofhis fellow countryman Crespin Carlier to


redesign the organ at Rouen, regarded bysome as the birth of the French baroque organ.

The organ heard here is at the Church ofthe Assumption in Champcueil, France, about35 miles south of Paris. It is the work of theBelgian builder Dominique Thomas, who in2000 took over direction of the firm foundedby his father in 1965. The organ has threemanuals and is tuned in meantone. The man-uals and pedals have two split keys per octaveto enable the player to differentiate betweenG-sharp and A-flat and between D-sharp andE-flat.

The program consists of liturgical organmusic and secular compositions. The openingwork is the last of a set of 42 fantasies in 3 to 6parts by Eustache Du Caurroy (1549-1609),published anonymously in 1610 to be playedeither by an instrumental consort or at thekeyboard. The earliest music here is a group offour courtly dances arranged for keyboard andpublished by Pierre Attaingnant (c1494-1552).Titelouze himself is represented by four organverses of the plainsong hymn `ExsultetCoelum Laudibus’ from his first set of organhymns published in 1623. Louis Couperin(1626-61) was the most important member ofhis musical family before François. Four organfantasies dating from 1654-56 are includedhere.

The rest of the program consists of musicby non-French composers illustrating theadaptability of the Champcueil organ to othermusical traditions of the time. There are threeMagnificat verses by Hieronymus Praetorius(1560-1629), four keyboard arrangementsfrom 1601 of secular German songs by HansLeo Hassler (1564-1612), a majestic andexpansive ricercar by Jan Pieterszoon Sweel-inck (1562-1621), five variations on the Adventplainsong hymn `Veni Redemptor Gentium’ bySamuel Scheidt (1587-1654), and two piecesby Franz Tunder (1614-67), who was Buxte-hude’s predecessor at St Mary’s in Lübeck: achorale fantasia on `In Dich Hab Ich Gehoffet,Herr’ and a free North German prelude in Gminor.

For most listeners this will be a rather eso-teric program. Some performers have the giftof bringing such music to life, but I cannot saythat is the case here. The playing here is notnotable for flowing and coherent phrases.Sometimes it seems as if each note is in itsown box with little connection to other notes. Ihad a similar response to her recording of thetwo Couperin Organ Masses on the 1768 Clic-

quot organ at the church of St Gervais in Paris,where she is organist (Raven 153; M/A 2020).

The Champcueil organ is remarkablyattractive as recorded here. There is plenty ofheft in full registrations ; but they neverscream, as do so many instruments, historicaland modern. Here the grand jeu produces amajestic fullness that does not tire the ear.Meanwhile, the luscious quieter registers willcharm the attentive listener.

GATENS

From the Ground UpALCOCK: Introduction & Passacaglia; MUR-

RILL: Postlude on a Ground; Carillon; WEST:

Passacaglia in B minor; GRACE: Reverie on Uni-versity; Resurgam; GIBBONS: Ground;WILLAN: Chorale Prelude on a Melody by Gib-bons; Introduction, Passacaglia & Fugue;BLACKFORD: Prelude; Passacaglia

David Hill, org—Regent 539—68 minutes

Hill is best known as a widely respected choraland orchestral conductor, with appointmentsas director of the Bach Choir, BBC Singers,Leeds Philharmonic Society, the Yale ScholaCantorum, and Associate Guest Conductor ofthe Bournemouth Symphony. What is oftenoverlooked is his distinguished career as anorganist. He held posts at Winchester andWestminster Cathedrals, Westminster Abbey,and St John’s Cambridge, producing over 80recordings of a broad-ranging repertoire.

This program presents pieces by Englishcomposers in the form of a passacaglia or sim-ilar bass-oriented structures. The most famil-iar will be the Healey Willan, which has beenrecorded many times, but is distinguishedhere by a particularly magisterial perform-ance. Also of note are the pieces by HerbertMurrill and Harvey Grace, which are wellworth the attention of organists.

The 1879/1930/1981/2005 4-manual, 89-stop Hill organ in Peterborough Cathedraloffers a perfect complement to the performerand the music. I can’t imagine better perform-ances. Intelligent notes on the music withspecification. Rule Britannia!

DELCAMP

Le Grand Jeu—French BaroqueMarchand, Rameau, Dandrieu, Couperin,Grigny, Lully, Corrette, d’Anglebert, Charpentier,Purcell, Handel

Gaetan Jarry—Versailles 24—65 minutes

This recording shows off the 1711 organ in the


Royal Chapel at the Palace of Versailles. It wasbuilt by Julien Tribuot and Robert Clicquotafter plans drawn up in 1679 by EtienneEnocq. It was inaugurated by FrançoisCouperin. Over the years, the organ wasrebuilt many times, by succeeding generationsof the Clicquot family in the 18th Century, byAristide Cavaillé-Coll in 1872, and Victor Gon-zalez in 1935. By then it bore little resemblanceto the instrument of 1711. In 1994 Jean-LoupBoisseau and Bertrand Cattiaux restored theorgan to its original design. Michel Chapuisinaugurated the instrument in 1995. The organis mounted above the altar at the east end ofthe chapel. This is because the royal gallery isat the opposite end of the chapel, and that iswhere the organ would usually be placed.

Gaetan Jarry’s program may rub somepurists the wrong way. He plays a representa-tive assortment of original organ pieces byLouis Marchand (1669-1732), Jean-FrançoisDandrieu (1682-1738), François Couperin(1668-1733), and Nicolas de Grigny (1672-1703); but the greater part of the program con-sists of transcriptions of orchestral, vocal,chamber, and harpsichord works by Frenchbaroque composers. Among those pieces areinstrumental dances from Les Boreades byRameau (1683-1764), the overture and an ariafrom Atys by Lully (1632-1687), a chamberconcerto by Corrette (1707-95), and the well-known orchestral prelude to the Te Deum in Dby Marc-Antoine Charpentier (1643-1704).

To complete the program, Jarry looksbeyond France for Henry Purcell’s `When I AmLaid in Earth’ from Dido and Aeneas and Han-del’s `Arrival of the Queen of Sheba’ fromSolomon. Jarry has not hesitated to make useof current recording technology of edits and“re-recording” to produce rapid changes ofregistration and combinations that could notbe managed on an instrument without mod-ern registration aids.

As an organist and conductor, Jarry spe-cializes in French baroque music. He is thefounder of the choral and orchestral ensembleMarguerite Louise. His playing here is animat-ed and engaging, exhibiting the stentorianglory of the grand jeu as well as many deli-cious quieter registrations. It is a fine docu-ment of an important instrument.

GATENS

Voices of the Hanse 1Stellwagen Organ, St Jakobi, Lübeck

H Praetorius, J Praetorius, Scheidemann, Weck-mann, Tunder, Buxtehude, Lüneburg Organ Tab-ulature

Jonathan William MoyerLoft 1165—65 minutes

The Hanseatic cities of northern Germanybecame prosperous from commerce, and asignificant portion of that wealth was expend-ed on city churches and their organs. The pres-ent recording is the first in a series to explorethe instruments and repertory of that region.In this case it is the north or “swallow’s nest”organ in the church of St Jakobi (St James) inLübeck. It was originally a Gothic “Blockwerk”organ built between 1467 and 1515. It consist-ed of a principal chorus whose registers couldnot be drawn separately. The celebratedLübeck organ builder Friederich Stellwagen(1603-60) was engaged to rebuild, enlarge, andupdate the instrument. His work was complet-ed in 1637, producing an instrument of threemanuals and pedals that retained much of thepipework of the old organ.

For this recording, Jonathan WilliamMoyer has selected a program of music byeminent North German organists of the mid tolate 17th Century. With the exception of thePrelude in G minor by Franz Tunder (1614-74),all of the music here is based on liturgicalmelodies in the form of Magnificat verses,pieces based on Latin plainsong hymns thatwere retained by the Lutheran Church, andpreludes on German chorales. The program isframed by two expansive Magnificat composi-tions by Hieronymus Praetorius (1560-1629) toopen and Dietrich Buxtehude (1637-1707) toclose. Some of the pieces were intended toalternate with congregational singing, like thefour verses of the Christmas chorale `VomHimmel Hoch’ by Johann Praetorius (1595-1660) or three verses of the Pentecost hymn`Komm, Heiliger Geist’ by Matthias Weck-mann (1616-74). Several pieces come from theLüneburger Orgeltabulatur, a collection ofmostly anonymous pieces compiled aroundmid-century by Franz Schaumkell.

The instrument is beautifully recordedwith excellent presence but not oppressivelyclose. The tone is rich and refined, whether inbrilliant plenum registrations with or withoutchorus reeds or in the more delicate voicesheard in some of the chorale preludes. Moyerputs the organ through its paces, exhibitingthe breadth and variety of its tone colors in


The purpose of “marketing” is to make uswant what they want us to want.

No one cares what we really want.

performances that are elegant and animated.My only complaint is that he too often resortsto registrations based on 4-foot pitch that tendto sound squeaky or cute. In recent years,there have been several series of recordings ofthe North German organ repertory. If this isany indication of what is to come, it can takeits place with the best of them.

The recording does not come with a book-let. The listener is directed to the label websitefor that. There are informative notes, the spec-ification of the organ, registrations used for thepieces, and some beautiful photographs, buthow long will they be available online?

Jonathan Moyer is currently on the facultyof the Oberlin Conservatory and is organist ofthe Church of the Covenant in Cleveland,Ohio.

GATENS

Organ in Southern ItalyFrescobaldi, Pasquini, Zipoli, others

10 organists—Digressione 87—71 minutes

By the numbers: 1 organ, 9 composers, 10organists (5 men and 5 women), and 14 pieces.The occasion: to celebrate the organ playingheritage in the Puglia region of Italy by record-ing performances by alumni and studentsfrom the organ school at the ConservatorioNino Rota in Monopoli. Monopoli is on theAdriatic Sea in southern Italy, at the top of theheel of Italy’s boot.

The organ is in the Church of SanFrancesco in Monopoli. Installed in 1710 andmade by an unknown builder, the instrumentwas restored for its 300th anniversary in 2010by Francesco Zanin with the goal of returningit to its historic origins. Since the sound, size,and design of Italian organs changed relativelylittle from the 16th to the early 19th Centuriesthis instrument is a very good match for all thepieces here.

The program is arranged in chronologicalorder, starting with Girolamo Cavazzoni (c1525-after 1577) and ending with GiovanniBattista Ignazio Grazioli (1746-1820). Most ofthe pieces are from the 17th Century andinclude well known compositions by GirolamoFrescobaldi, Giovanni Mario Trabaci, andBernardo Pasquini. The pieces are all finequality and well played.

One adjective that is often used to describethe sound of Italian organs is “singing” andthat aesthetic was also prized in all types ofinstrumental music in 16th- and 17th-CenturyItaly. One way this sound is achieved is

through low wind pressure, which means thatthere’s a gentler, more “human voice” flow ofair into pipes. We hear many of the most char-acteristic organ forms here, from dance-stepclarity of two or three stops together and chro-matic melodies often on just one stop (madeall the more astringent and expressive by themeantone temperament) such as in the Fres-cobaldi elevation toccata—named for thedevotionally intense elevation of the Host dur-ing Mass—and Trabaci’s `Canzona FranzesaCromatica Settima’ to cradle-rocking pastoralmovements by Pasquini and Grazioli andsparkling joy of the well-named “ripieno” (fullstops) registration.

The recorded sound captures the organwell, but it’s a shame that when the recordingwas edited the full resonance is cut off toosoon at the end of each piece. It’s importantthat the sound be allowed to bloom fully, andit doesn’t seem as if the church is so vast thatthe reverberation muddies and obscures thesound. But that’s a small quibble about an oth-erwise very good program that celebrates thefine organ tradition in this part of Italy.

Notes are in Italian. There are photos ofthe organ and a stop list.

C MOORE

Badia Fiorentina OrganG Gabrieli, Frescobaldi, Pasquini, Byrd, Farnaby,Sweelinck, Scheidemann, Correa de Arauxo

Giovanna RiboliBrilliant 95957—61 minutes

The Badia Fiorentina is an abbey church inFlorence that is currently home to the Monas-tic Fraternities of Jerusalem, an order foundedin France in 1975. It is also home to one of thefinest surviving Italian Renaissance organs,completed in 1558 by the Tuscan builderOnofrio Zeffirini da Cortona. The most recentrestoration took place in 1978. Typical of itstime, the organ’s specification consists essen-tially of a principal chorus whose componentscan be drawn separately. There is also onehigh-pitched flute stop that is heard to goodeffect on this recording. The single keyboardhas 54 notes with a pull-down pedalboard of20 notes.

In the 16th and early 17th Centuries, mostkeyboard music was not specifically designat-ed for the organ or a stringed keyboard instru-ment. Chamber organs were common, andcompositions based on secular popular songswere often played on them. This program con-tains no explicitly liturgical organ music such


as organ Masses, hymns, or Magnificat verses.Even so, much of the music here, like the toc-catas of Giovanni Gabrieli (1557-1612) andGirolamo Frescobaldi (1583-1643) or the tien-to of Francisco Correa de Arauxo (1584-1654),might have been played in the context of aliturgy. In reference to the present day, Gio-vanna Riboli, who is the titular organist of theBadia Fiorentina, observes that “in the monas-tic liturgies of the Fraternities of Jerusalem theorgan participates mainly as a solo instrument,connecting different parts of the service”.

The program contains works by three Ital-ian composers and five non-Italians. The Fan-tasia in A minor by William Byrd (1543-1623)and the keyboard elaboration of the popularsong `Mal Sims’ by Giles Farnaby (1560-1640)both appear in the Fitzwilliam Virginal Bookand illustrate how the same repertory mightfind a home at the organ or harpsichord. Asorganist of the Calvinist Oude Kerk in Amster-dam, Jan Pieterszoon Sweelinck (1562-1621)did not play for worship services, but gave reg-ular organ performances that might haveincluded the expansive fantasia and his takeon Dowland’s `Pavana Lachrimae’ heard here.Heinrich Scheidemann (1595-1663) was animportant figure in the development of theNorth German school. Many of his workswould not be playable on the Badia Fiorentinaorgan, but he is represented here with varia-tions on the popular tune `Englische Mascara-da oder Judentanz’.

Giovanna Riboli gives performances thatare assured and shapely, but I would stopshort of calling them exciting, even in caseswhere considerable virtuosity is required, as inFrescobaldi’s Ninth Toccata from his SecondBook of Toccatas. Sometimes, as in Sweel-inck’s `Pavana Lachrimae’, I wished for a morepersuasive musical flow.

The organ itself has a somewhat breathybut pleasing tone that is well suited to thedelineation of contrapuntal lines. I suspectthat the recording will appeal chiefly to listen-ers with a special interest in this repertory andwho will relish this aural document of animportant historic instrument.

GATENS

Agnelle BundervoetLiszt, Brahms, Schumann


I must confess that despite my years thispianist was totally unfamiliar to me. Part ofthat could be that her total recorded classical

output was on just five monaural LPs datingfrom 1954 to 1957. Despite her longevity(1922-2015) this French prodigy probablyneeded all that to squeeze in her activities as acoloratura soprano, chorus director, organist,teacher, composer, and (of course) pianist.

Her Liszt is incredible. Even in this day ofvirtuosic surplus it is refreshing to encounter anew name that deserves to enter the pantheonof Liszt naturals and knows exactly what to dowith the Rhapsodie Espagnole, MephistoValse, and various etudes. The pedalling isminimal, and the instrument sounds forthwith the clarity of sparkling champagne. Idoubt if it will matter to many that these aremonaural recordings, because the sound isnear the highest quality.

The Brahms grouping consists of all threeRhapsodies and the Handel Variations. TheRhapsodies show a forceful attack and contin-ue to demonstrate her spare use of pedal andmaintenance of forward motion without muchdistracting rubato. Of special note is herrefreshingly light touch in the central sectionof Op. 79:2. The Handel Variations is like amonster tamed, but not shorn of its structuralintegrity or power. It’s an exciting reading thatrefuses to dawdle, but is never lacking forexpression. Bundervoet maintains clarity ineven the most forced passages, including thefinal fugue. Only the test of time might preventme from claiming this as my favorite recordedperformance (but I doubt that).

Schumann’s Intermezzos, Op. 4, is not acycle that is often heard these days. It is goodto have them in these sensitive readings. Theyare somewhat quixotic pieces, with shiftingrhythms and imaginative phrasing. The Fanta-sy Pieces, on the other hand, is one of thecomposer’s better known works. Each of theseven pieces is characterized well, and theplaying includes some beautiful rubato. TheToccata is a tour-de-force of relentless motionbut allows for contrast when needed.

From the drawing of the artist that appearson the cover one would hardly expect suchvivid and technically overwhelming sounds tohave emerged from such a delicate creature.Sometimes she reminds me of Simon Barere.It’s too bad that some collectors paid a smallfortune for some of her much sought-afterFrench Decca recordings. This reissue, at bar-gain price, now makes them available for allwho value great pianism.

BECKER


Albert Ferber 1945-51Decca Eloquence 4829390—77 minutes

Despite the early recording dates, these mostlyunpublished recordings are in perfectlyacceptable monaural sound. Few of our read-ers will cringe while listening.

Swiss pianist Ferber (1911-87) had a careerthat spanned four decades. If he failed to reachthe realm of the greats, he was still an artistrespected by his colleagues and appreciatedby his audiences. Rarely given to outward dis-play, he kept to sane tempos and emotionalreserve. Outward display was not in his unpre-tentious psyche. His career led to the world ofteaching, and his creative impulses even led todoing some film composing.

Schumann’s Kinderszenen fits in well withFerber’s tasteful, quiet style. The music is wellcharacterized but not set forth in bold relief. Aselection of Mendelssohn’s Songs withoutWords is pleasant, though there are a lot ofvery good readings out there.

Beethoven’s Sonata 26 is somewhat under-characterized, but Schubert’s little Sonata in A,D 664 is a gem of gentle beauty. The notes aredecent enough, and help to complete thebelated discovery of this almost forgottenpianist.

BECKER

Andor Foldes: DG RecordingsDecca 484 1256 [19CD] 21:19

Andor Foldes (1913-92)—actually Földes, buthe himself dropped the dots later—was a Hun-garian pianist of distinction who became anAmerican citizen and later lived in Switzer-land. As the magnitude of this compilationshows, he was a house pianist of DG in the1950s and early 1960s, when these recordingswere made. I had encountered some of themover the years but never kept any in my collec-tion. Foldes struck me as a meticulous techni-cian who played with great clarity and tastebut little individuality or emotion. Thisimpression was amply confirmed not only bythese 19 discs but also by the excellent bookletessay of Stephen Siek, which gives a sympa-thetic account of the pianist’s early careerwhile also making room for critical observa-tions. Even the photographs in the booklet aretelling. Look at Foldes’s typically impassiveface and how he sits still and observes hishands at the keyboard. He played with hisagile fingers and mind, but kept his body outof it. His interpretations are admirable because

of their lucidity, accuracy, and intelligence;but they are never moving.

The first two discs are from 1949-1951, pre-dating his affiliation with DG. Disc 1 (“FrenchPolydor Recordings”) has Prokofieff’s Concer-to 1 (with Jean Martinon conducting), Tales ofthe Old Grandmother, and Four Pieces (Op.32), as well as Bartok’s Sonata and Concerto 2(with Eugène Bigot). CD 2 (“The MercuryRecordings”) contains Schumann’s AbeggVariations, Papillons, Impromptus on aTheme by Clara Wieck, and Toccata, as well asa rarity—the complete Norwegian PeasantDances of Grieg. Discs 3-5 are filled withmusic by Bartok, including excerpts from ForChildren and Microcosmos, the Sonata again,the Sonatina, and Out of Doors. Disc 6 hasmusic by Kodaly, including Foldes’s own tran-scription of three pieces from Hary Janos. Disc7 includes Barber’s Excursions, the sonatas ofCopland and Stravinsky, and short pieces byThomson and Albeniz.

CDs 8 and 9 have Mozart’s Concertos 10(with Carl Seemann as the other pianist), 15,17, 21, and 25, and Beethoven’s ChoralFantasy. CDs 10-14 are all Beethoven. Here areConcertos 1 and 5 (with Ferdinand Leitner),Sonatas 8, 9, 15, 17, 19, 21, 23-26, 28, 30, and31, the 32 Variations, and a number of shorterpieces. Disc 15 carries three variation works byBrahms—on themes by Schumann, Brahmshimself, and Paganini. CD 16 includes Schu-mann’s Carnaval and Fantasy. 17 has theSonata and several shorter pieces by Liszt. OnDisc 18 are the two Liszt Concertos and Rach-maninoff’s Second (all with Leopold Ludwig),which were also in a DG collection I reviewedtwo years ago (J/F 2019). On CD 19 (“Klavier-abend”) are Bach’s Chromatic Fantasy andFugue, Beethoven’s Sonata 6, and short piecesby Brahms, Falla, Poulenc, Debussy, Chopin,and Liszt.

I may be forgiven for not listening to every-thing in this large collection. Foldes’s style ofplaying is very consistent. The performances Ipicked were all very fine stylistically and tech-nically, and also musically satisfying becausejust rendering the text faithfully and lucidlygoes a long way. They were never insensitiveor mannered, just cerebral and hard of touch.How strongly I felt there was something miss-ing depended on the work and was not alwayspredictable. For example, I did not expect himto do so well with Schumann’s Carnaval. Onlyhis `Chiarina’ (Schumann’s portrayal of youngClara Wieck) is exceptionally fast and loud,suggesting a teenage dragon. Schumann’s


Impromptus, one of the early Mercury record-ings, seemed a bit rigid. Brahms’s SchumannVariations are very good, with only Variation14 too literal. The Liszt Sonata is solid but lackspoetry sometimes. Foldes holds the initial twonotes and the final note, which are commonlyplayed short, with the pedal. This is the onlytime I noticed some technical slips, but theyare very minor. The shorter Liszt pieces are abit stiff and prosaic, with `Au lac de Wallen-stadt’ especially fast and etude-like. But thetwo Soirées Musicales based on SchubertWaltzes are nice. I wonder how Foldes wouldhave handled Schubert sonatas and impromp-tus.

In the only Mozart Concerto I listened to,No. 21, Foldes plays with the expected clarityand rhythmic precision but with hard touch,narrow dynamic range, and rigid timing, mostnotably in his own cadenzas. His Beethoven isreally very fine, judging from Sonatas 6, 15,and 30, the 32 Variations, and the Choral Fan-tasy. I skipped Bartok as I am not a fan of thecomposer—I am sure Foldes played thosepieces very well—and the American music,but I did listen to Kodaly’s Dances of Maros-szek, an effective virtuosic work (orchestratedonly later) that should be played more often.Here Foldes is hard and clangorous, and I pre-fer the recording by his fellow HungarianAnnie Fischer (BBC 4166). I thought the lastCD would contain some concert recordings,but they turned out to be studio recordings,too, with the Bach Chromatic Fantasy ratheretude-like and the Fugue rigid rather thanmajestic.

The sound quality of all but the earliestrecordings is very good, and some are instereo. A few appear here on CD for the firsttime. (We have not reviewed any of the previ-ous reissues.) The presentation is excellent.Detailed information is supplied about eachrecording, the booklet contains a splendidessay with photographs, there are no carelesserrors, and each disc comes in a cardboardsleeve that reproduces the cover of an originalLP. The contents listed on those covers do notcorrespond exactly to what is on the disc, butthe real contents are found on the back togeth-er with smaller reproductions of the covers ofother LPs from which pieces were taken—anice and visually appealing idea. This is a valu-able release, though it will be of interest main-ly to comprehensive collectors and admirers ofthe pianist.

REPP

IdyllsSofia Gülbadamova, p

Hänssler 20047—78 minutes

I hesitate to say anything critical about thisrecording. The pianist, in her liner notes,explains that the program consists of gentlepieces close to her heart and that she wishes tobring comfort to music lovers in this difficulttime, when musicians especially are hit hardby the pandemic. She plays everything withfine expression and gorgeous touch on aBösendorfer. In my review of her most recentalbum (M/J 2020) I already noted her finemusicianship as well as a tendency towardsslow tempos, occasional bombast, and a pen-chant for transcriptions, all again evident here.

There is a danger of monotony in a pro-gram consisting entirely of idyllic pieces, butthis reservation can be put aside in the presentcase. Moreover, there are a few fairly livelypieces among the 19 here. But I do not intendto keep it in my collection, because the pieces,some of which I heard for the first time, seemof variable quality to me, and none of themcomes even close in musical interest to thesingle great masterpiece that the pianist choseto include—Chopin’s Barcarolle. Liszt’s tran-scription of Schubert’s song `Du Bist die Ruh’is fine despite some bombast, as is an adapta-tion of Grieg’s song `Jeg Elsker dig’. Elgar’sIdyll, Op. 4:1, is charming. Glazounov’s Idyll,Op. 103, is a weak piece and much too long.Moszkowski’s Idyll, Op. 94:3, is short but evenless substantial; this is not a great composer.Prokofieff’s Adagio from Cinderella strikes meas uninspired and awkward, though thepianist is especially fond of it. (I am a greatadmirer of Prokofieff’s better works.) The tran-scription of Elgar’s Serenade for Strings is noteffective; it is unpianistic and boring. Six ofHahn’s pieces from his large collection LeRossignol Eperdu are delicate but shallow;they might have worked better as song accom-paniments. Only the last one (`Matinée Parisi-enne’) held my interest. Gülbadamova takesnearly 5 minutes longer for these pieces thanYoonie Han in her recent complete recording(S/O 2019), but if anything this shouldincrease the illusion of substance.

Finally, there are three of Earl Wild’sEtudes based on Gershwin songs. I much pre-fer Gershwin’s own straightforward pianoarrangements to these showy abominations.The swirling notes Wild added are just somuch fluff, and without his glib facility and


nonchalance they get in the way of the lovelymelodies.

Still, this will make a fine gift for uncriticallisteners ready to be comforted.

REPP

Nordic Master ComposersGRIEG: Ballade Variations; SIBELIUS: 6Impromptus; STENHAMMAR: 3 Fantasies;NIELSEN: Theme & Variations

Maria Kihlgren, pSterling 1842—70 minutes

It is nice to see an album devoted to Nordiccomposers. Not only is the playing solid, butthe program makes sure to show not onlymore familiar romantic era composers such asGrieg or Sibelius, but also from the 20th Cen-tury with Carl Nielsen. The Ballade is a lesserknown Grieg work, though it is one of his mostsignificant ones; it is 14 variations based onpeasant folk songs. It was also a work thatGrieg found taxing and emotional, owing tohis depression and marital problems at thetime of its writing. He himself rarely per-formed it in public. Kihlgren’s performance isclean, well articulated, and brings weight tothe composition. Stenhammar’s 3 Fantasiesare wild pieces, almost Brahmsian in texture,with rich Nordic harmonies. Kihlgren navi-gates the thick textures well, with good bal-ance. Nielsen’s Theme with Variations offers20th Century harmonies.

KANG

Euntaek KimPROKOFIEFF: Piano Sonata 2; SCRIABIN:

Sonata 8; RACHMANINOFF: Sonata 1MSR 1745—70 minutes

The Center for Musical Excellence is an organ-ization, under pianist and Director Min Kwon’sleadership, dedicated to finding and develop-ing a roster of international young artiststhrough mentorship, training, professionaldevelopment, and financial support. EuntaekKim is one of the strong young pianists whohas benefitted from the support of this organi-zation through grant in 2017. This debutalbum is one result.

One of Kim’s strengths is taking the tangleof passages, rhythms, and harmonies and sim-plifying them effortlessly. The clarity of hisplaying is clear in the dense Rachmaninoff, ashe makes all the orchestral and piano ele-ments legible. That is no easy feat. There aresome interpretive choices. The Prokofieff

sonata is powerful, but there are some uneventones in the Vivace movement. I have alsoheard it faster, which I prefer. The voicing oftenneeds some work. With the Scriabin sonata,there is good playing, but there is somethingclinical about the way he delivers the work. Itshould be more sweeping and lush, with moreforgiving pedaling. Overall, a good recording!

KANG

Israeli PianoStutschewsky, Natra, Avni, Partos, Seter

Kolja Lessing—CPO 555294—71 minutes

Joachim Stutschewsky (1891-1982), Tzvi Avni(b. 1927), and Odeon Partos (1907-77) allimmigrated to Palestine from 1935 to 1938;Sergiu Natra went in 1961. Mordecai Seter(1916-94) went in 1926 with his family; hestudied in France but returned to Palestine in1937. All the works draw on both folk and reli-gious music, and they are often arid and rhap-sodic, thoroughly in the lineage of theMediterranean School founded by Paul Ben-Haim (1897-1984) and others.

Stutschewsky’s seven Palestinian Sketches(1931) are short and a lot like Bartok. I wouldlike to hear them arranged for winds or strings;there are many places where the lines couldswell and float, based on singing as they are.Three Pieces, from a decade later, are moredissonant and pungent; Stutschewsky’s stylecan be crabbed and sour. Partos’s Prelude isfull of barely tonal flourishes and musings.Natra’s Variations are from 1945, the same yearhe won the Enesco Composition Prize in hisnative Romania. The main theme is so slither-ingly chromatic that it almost makes the pianoseem tuned in quarter-tones. The theme-and-variations structure usually ends up soundingcontrived to me, and this piece comes acrosslike a string of unconvincing speeches. Thespiky, free-form Sonatina comes from 1987,but it is a reworking of a harp piece from 1961.It works well on piano, and Lessing brings outa lot of color.

Avni’s short Capriccio is harmonically bit-ing but playful; the calls, responses, and turn-on-a-dime tempo shifts are exhilarating to fol-low. In Spite of All That depicts the violencethat has marked the region, especially theGaza Strip, but Lessing doesn’t quite put thatacross. Seter’s Triptyque II begins icy andgrumbling and slowly slides into a quiet, omi-nous, pointillistic void.

Though some of the writing sounds trickyfor the fingers, rarely is it virtuosic. I’ve fol-


lowed Ben-Haim for several years nowbecause the Mediterranean School’s stylespeaks to me even when the music isn’t themost inspired. Even so, nothing here particu-larly moved me as Ben-Haim’s Sonatina orsymphonies do, for instance. This release ismore for the specialist, and it is better to listento a piece or two at a time.

ESTEP

Viv McLeanSCHUBERT: Piano Sonata in B-flat; BRAHMS:

Rhapsodies; BACH: Prelude & Fugue in E-flatminor; MEDTNER: Fairy Tale, op 8:2; LISZT:

MazeppaStone 81014—75 minutes

This release is titled “ Viv McLean: LiveRecordings”. The British pianist, who must bein his 40s, came to my attention last yearthrough a fine Chopin recording (J/A 2020).But what led him now to come forth with per-formances recorded in recitals given manyyears ago? I presume it was his wish to honorHamish Milne, his one-time teacher and arenowned champion of the music of NikolaiMedtner, who passed away in February of lastyear. The recording is dedicated to Milne’smemory and contains a piece by Medtner, butwhy not make a new studio recording? What isso special about these old performances? Per-haps McLean studied these pieces with Milne?The booklet does not say.

The major work—the Schubert Sonata—and the two Brahms Rhapsodies come from a2008 recital at Wigmore Hall and are playedvery well. The sonata is given a conventionalbut sensitive interpretation, without the repeatin I. Compared to the magisterial traversal byGilbert Schuchter, whose comprehensiveSchubert recording (J/F 2018) has become afirm benchmark for me, McLean has a lightertouch, takes I a little slower, II a little faster, IIIa lot faster than Schuchter (less charming andmechanical in the trio), and in IV he alwaystakes the theme a bit slower than what fol-lows—a nice individual touch. A few stifledcoughs reveal an audience, and the pianist,quite accurate so far, hits a wrong note in thefinal chord! Such are the dangers of concertrecording. The Brahms is also good, thoughnot as clearly articulated as in Peter Rösel’sexcellent recording (Berlin 90322), which wasmy direct comparison here.

The other three pieces are from a 2000recital in Hamamatsu, Japan, when McLeanmust have been in his 20s, and are less satisfy-

ing. The Bach fugue is too fast, and the voicesare not well differentiated; it is boring. By com-parison, Friedrich Gulda (Philips 446 545),though severe and hard of touch, builds animpressive slow crescendo and always bringsout the theme in the different voices. TheMedtner Fairy Tale, one of the many pieceswith this title that Milne recorded so splendid-ly (and I have played some myself), was new tome. It is unusually virtuosic, and McLean’srelentlessly loud traversal somehow seemsinappropriate for Medtner, whose music usu-ally has a more gentle and refined character,even when it is very intricate. In Liszt’s Mazep-pa, the hair-raisingly difficult fourth of hisTranscendental Etudes, McLean is justified inletting loose, but the textures are muddy; andwhen, near the end, there is a brief respite inthe turmoil, he misses the expressive signifi-cance of it, which Daniil Trifonov conveys verywell in his splendid complete recording of theetudes (DG).

So, I am afraid this recording will appealmainly to friends and admirers of the pianist.The liner notes, by the way, are by JessicaDuchen, author of a series of engaging novelswith musical themes.

REPP

NoxSCHUMANN: Nachtstucke; ZUIDAM: Nox;RAVEL: Gaspard de la Nuit; JANACEK: On anOvergrown Path

Hannes Minnaar, p—Challenge 72853—72 min

This recording is themed around Nox, theLatin word for “Night”, ranging from Schu-mann to Zuidam’s contemporary work.Though I did want Mr Minnaar’s playing to bea bit faster, it is rich and solid, as he bringspower and passion to Schumann’s Nacht-stucke. Gaspard de la Nuit is crystalline andsweeping. `Ondine’ has many gorgeousmoments, though I do wish he could havepicked up the pace a bit—sometimes themelody feels a little disconnected. `Le Gibet’ ishaunting. Zuidam’s Nox is a large-scale workfor solo piano, inspired by a night owl. It hasgorgeous melodies that weave in and out ofeach other in `Nightfall’. `Insomnia’ createswonderful contrasts, with restless figures inboth hands.

There is one bonus track, from On anOvergrown Path. It is a delightful conclusion,with a simple melody that Minnaar allows toemerge and shine. The pacing is gorgeous.

KANG


French AlbumDebussy, Rameau, Ravel, Chabrier, Fauré

Jorge Federico Osorio, pCedille 197—75 minutes

I gravitate primarily toward orchestral music.So it was striking for me to have been sweptaway by this piano album that opens and clos-es with piano originals that today are far betterknown in the composers’ own orchestral tran-scriptions.

It took a second hearing for me to appreci-ate Fauré’s Pavane minus the sumptuous graceof Thomas Beecham (EMI). Fauré makes spar-ing use of the piano’s left hand below middleC, and when he does, he puts the bass accenton the third beat of the 4/4 measure, not thefirst, where one would expect it. Jorge FedericoOsorio, 69, the elegant Mexican pianist andlong-time resident of Chicago, uses this sparepiece to introduce us to an unforced, transpar-ent, floating, bell-like style where every note isclear yet integrated and where the lyrical lineflows freely and musically—a foretaste ofwhat’s to come.

There follow eight selections fromDebussy’s Preludes and `Clair de Lune’. In`The Hills of Anacapri’, if another pianist ped-aled like Osorio, the sound would becomecluttered, but not here. He phrases the musicby holding down the pedals for measures at atime, yet the texture and leading motifs comethrough, leading the ear. All notes are clear,none are buried, and yet Osorio never soundspedantic. Everything fits naturally as the musicripples and skips along. Then `The TerraceWhere the Moonlight Holds Audience’ is justthe opposite. In lesser hands it could be a blurof modulating chords. Here Osorio terracesthe details and lets the very flow give life towhat otherwise could be a miasma of tech-niques.

And so goes the album, a series of con-trasts that seem to flow into one another with-out jarring. In a relaxed, unrushed `Clair deLune’ the music is phrased by the resonancefrom the pedaling. Touches of rubato andretard create a five-minute integral master-piece as gorgeous as I’ve ever heard it. `Whatthe West Wind Saw’, arpeggios and trills andchords galore rendered into a musical whole,is followed by `Voiles’ (Sails or Veils—either islegitimate) with melody and harmony gentlyfused in a transparent whole-tone scale. Thelast two, `Fireworks’ (which makes one listencarefully in the quiet intervals) and `DeadLeaves’, are a perfect pair as Debussy makes

the listener linger in transparency, like a prel-ude to the dazzling clarity of a nighttime dis-play, followed by a meditative resolution.

Osorio then shifts gears to three shortworks from Rameau’s third collection of harp-sichord pieces. Rameau, born in 1683, was acontemporary of Bach, Handel, and Scarlatti,all born in 1685. `Le Tricotet’, two Minuets, and`L’Egyptienne’ fit with the world of Scarlatti’ssonatas, music that cleanses the air withsteady rhythms under playful tunes (tricotetmeans knitting, here integrating the right andleft hands like a knitting machine). Osorio isthe farthest thing possible from a sewingmachine; instead these three pieces in 7 min-utes are a midway refresher in how to makeimpeccable technique sound musical.

From this point to the end I became espe-cially conscious of how carefully and beauti-fully Osorio planned this album. The keywhere one piece ends fits naturally into the keythe next one begins with. Sometimes it’s thesame; sometimes a mediant key fits easily withthe following tonic key. In other words, notonly do moods contrast (as in the Debussyworks) and the air clears (Rameau), but thewhole program is tonally integrated too.

Chabrier’s `Habanera’ is simplicity itself,so it seems: a touch of Viennese waltz with ahabanera beat, a melody with chords, ren-dered perfectly with an inimitable gait andflow. Debussy’s `Puerto del Vino’ (one of thegates to Granada’s Alhambra) continues thesyncopated beat, here flamenco rather thanhabanera. After a dramatic modulation themusic wants to relax but can’t. Which leads toÀn Evening in Granada’ from Estampes,which I once played imperfectly but have firmideas about its musicality. Here Osorio is puregenius. He captures all of the many nuanceswhile conveying a feeling of spontaneity ratherthan that super-professional feeling of havingplayed it so many times that one has stoppedfinding anything new in it. As the Corn Flakesad used to encourage, “Taste èm again for thefirst time”, and Osorio does.

There follows one of classical music’s mostimpossibly difficult pieces to perform, whetherin the piano original or Ravel’s orchestration:Àlborada del Gracioso’ from Miroirs. Idescribe Fritz Reiner’s performance of it withthe Chicago Symphony (the JVC XRCD2 press-ing is astounding) as “how to get a hugeorchestra to dance on the head of a pin”. Well,that’s Osorio at the piano. He makes me awareof the scores of countless technical challenges,piled on top of one another, that he had to


have rehearsed ad nauseum. Yet here themusic flows, counter-rhythms and all, just likeit does with Reiner: never bombastic, crystalclear, with impossibly clear castanet-like artic-ulations, floating, and with solid punch the fewtimes it’s needed. One integrated whole. Howcan a human being do it!

And what a stroke of genius to end thealbum with `Alborada’s opposite: Ravel’sPavane for a Dead Princess (or a princess longago), echoing Fauré’s Pavane 68 minutes earli-er: simple, clear, flowing but with melancholy,the end of a sublime journey through Frenchpiano music.

FRENCH

3 of 6TAILLEFERRE: Pastorale; Partita; Impromptu;Romance; AURIC: Sonatine; Nocturne; 3 Pas-torales; DUREY: Romance sans Paroles; Noc-turne; 3 PreludesBiliana Tzinlikova, p—Paladino 103—55 minutes

Les Six was a name originated by Henri Colletin 1920 and influenced by the Russian group ofcomposers called the Mighty Five. The Frenchgroup included Poulenc (1899-1963), Milhaud(1892-1974), Honegger (1892-1955), Auric(1899-1983), Durey (1888-1979) and Tailleferre(1892-1983) and was seen as a response to themusic of Wagner and the Impressionism ofDebussy and Ravel. Milhaud wrote that Collet“chose six names absolutely arbitrarily...sim-ply because we knew each other and we werepals and appeared on the same musical pro-grammes, no matter if our temperaments andpersonalities weren’t at all the same! Auric andPoulenc followed ideas of Cocteau, Honeggerfollowed German romanticism, and myself,Mediterranean lyricism!”

Bulgarian pianist Biliana Tzinlikova haschosen the three lesser-known composers ofLes Six for an enlightening program of musicthat certainly is not well known. Recently Pas-cal and Ami Rogé had a release devoted to LesSix and Satie (Onyx 4219, July/Aug 2020), andthere are only two duplications with this newone. Groups of three dominate this collectionof pieces: Tailleferre’s Partita, Auric’s Sonatineand Pastorales, and Durey’s Preludes are allthree pieces or movements.

I cannot imagine any of these works get-ting a better performance. Every phrase is builtwith great attention to detail that never hidesthe main musical message. While there is noshortage of recordings of music by the otherthree composers who were part of Les Six, we

are indebted to Tzinlikova for giving us theopportunity to hear music not readily availableand worth getting to know.

HARRINGTON

Journey with Piano 4 HandsLISZT: Scenes from Lenau’s Faust; DVORAK: 3Slavonic Dances; GOUNOD: Love Duet & Waltzfrom Faust; GODARD: Berceuse; BIZET: Car-men Overture; MILHAUD: Le Boeuf sur le Toit

Zeynep Ucbasaran & Sergio GalloDivine Art 25208—65 minutes

Piano duets, 4 hands at one piano, haveattracted great composers since Mozart andBeethoven. Schubert brought the genre toanother level with a vast quantity of greatmusic. As the romantic era progressed, it fell toLiszt, Brahms, and Dvorak to add significantworks to the repertoire. All along, there weretons of lesser composers writing originalmusic and transcribing vast amounts oforchestral repertoire for piano duet. Frenchcomposers enlarged the repertoire towards theend of the 1800s and into the early 1900s. Bythe mid 1900s and the proliferation of record-ed music, the arrangements that were almostrequired to disseminate the music to a wideraudience began to fade, although there aregreat arrangements of some Gershwin, Cop-land and Shostakovich for duet. The 2-pianoidiom took over at that point for concert musicby notable composers.

Here we get a well designed, enjoyableprogram that touches on most of what wasmentioned above. Ucbasaran and Gallo havebeen an active duo for 15 years and have anaffinity for this repertoire. Their ensemble andbalance are spot-on, as is Divine Art’s record-ed piano sound. They begin with Liszt’s duetarrangements of two of his early tone poems:Der Nächtliche Zug and Der Tanz in der Dorf-schenke. While these titles may not be wellknown and the first is not often heard, the sec-ond also had a solo piano arrangement doneby Liszt where the title became MephistoWaltz. That has been a staple of many virtu-oso’s repertoire for well over 150 years. The dif-ferences between the solo version familiar toall and this duet version are not great, but arenoticeable and interesting.

Three of Dvorak’s Slavonic Dances follow.They are influenced by the quality and popu-larity of the Brahms Hungarian Dances. Theremainder of the program is by French com-posers, both original music and orchestralarrangements. Milhaud’s Boeuf sur le Toit is


the big final work here and one of his bestknown. It was inspired by Brazilian popularmusic (compare with Gershwin’s Cuban Over-ture, arranged by the composer for pianoduet). It became both a ballet and the name ofa trendy Paris nightclub where the group ofcomposers known as Les Six often gathered. Iwill return to this often.

HARRINGTON

The 3-Piano ProjectACIM: Fikir Hucreleri; ZAMPRONHA: S’io escaVivo; SAYGUN: Poem; ZARATE: Petit NocturneNoir; INCE: Requiem for Mehmet; DALLAPIC-

COLA: Music for 3 pianosZeynep Ucbasaran, Miguel Ortega Chavaldas,Sergio Gallo—Divine Art 25207—54 minutes

Ucbasaran and Gallo, piano duo from the pre-vious review, are here joined by an old friend,Chavaldas for a most unusual program.Together they were preparing to make theworld premiere recording of Ahmet AdnanSaygun’s Poem when the 3-piano project grewinto reality. It is an interesting collection ofmusic composed in Brazil, Spain, Italy, andTurkey. This is music that, except Brazil, worksits way around the Mediterranean. ThoughDallapiccola was noted for his 12-tone writing,this early (1935) work is firmly rooted in tonali-ty, as are the others here. With influencesranging from Orlando di Lasso and Turkishfolk music to the extraverted and popularqualities of American music, this will enticeyou with unheard pieces, performed excep-tionally well with dedication and conviction.The booklet essay is quite detailed and therecorded sound first class.

HARRINGTON

The Romantic CornetBrandt, Bohme, Bizet, Hahn, Damare, BellstedtFrank Anepool; Vaughan Schlepp, p

Challenge 5276—50 minutes

A very pleasant program of tuneful worksplayed on a sweet-toned instrument. As men-tioned in the notes, the cornet was the firstbrass instrument to embrace the new-fangledvalve in the 1830s, well before the trumpet did.So the first brass virtuosos were cornet players,and these are some of the works that werewritten for them.

The album opens with Concertpiece 2, byWilly Brandt (1869-1923); Concertpiece 1 isalso included. There are two works by OscarBohme (1870-1938): `Liebeslied’ and `Russian

Dance’. Hermann Bellstedt (1858-1926) is rep-resented by his ever-popular `Napoli’ and`Carmen Fantasy’. `A Chloris’ (Reynaldo Hahn,1874-1947) and `Pandora’ (Eugene Damare,1840-1919) round out the program.

Frank Anepool plays a modern cornet fit-ted with a 19th-Century mouthpiece. He hasthe technical skills and sports a bright and col-orful tone with a pleasant vibrato. VaughanSchlepp plays an Erato grand piano from 1846.

KILPATRICK

Message in a TubaLovelock, Dring, Cheetham, Mariano, Ellerby,Leidzen, Turrin, Payne, Reizenstein

Kent Eshelmanm; In-Ja Eshelman, pSoundset 1118—79 minutes

I was quite impressed by the first album byBaylor University tuba professor Kent Eshel-man and his wife In-Ja (March/April 2014:210). How does this one compare? Quite favor-ably, with its mix of original and transcribedworks for tuba and piano, and with the duo’sskillful and heartfelt playing.

The transcriptions begin with two works byWilliam Lovelock. A cheery Vivo, from theSonatina (1960) for oboe and piano, has bothmusicians playing fast, lyrical, and contrapun-tal lines. A more serious Two Pieces (1928) forclarinet and piano has a Romance with thesame intricate counterpoint as the Vivo but ata slower pace. Eshelman’s very long last note isquite beautiful. A Waltz is a wistful look at asimpler time.

There are several little works by MadeleineDring (1923-77), all for oboe and piano. `Ital-ian Dance’ (1960) is something of a moto per-petuo. `Polka’ (1962) is wry, `Danza Gaya’(1964) graceful and witty. The 12-minuteThree Piece Suite (1984), originally for har-monica but transcribed for oboe, has a fastand raucous `Showpiece’, pensive `Romance’,jaunty Finale. Also for oboe and piano is theHumoresque by Franz Reizenstein.

John Cheetham’s `Homage’ is his ownarrangement for tuba and piano of an emo-tional movement from his 2015 tube-euphoni-um quartet. `Curumim’ is Eshelman’s tran-scription of a piano piece by Cesar CamargoMariano. As heard here, it is a thoroughly cap-tivating work, full of energy, subtlety, and sur-prise. In his notes, Eshelman praises his wifeIn-Ja for her remarkable ability to play so flu-ently in Brazilian style.

The program includes two works originallyfor tenor horn (a small-bore relative of the


euphonium): a poignant Elegy from MartinEllerby’s Tenor Horn Concerto (1998), and EricLeidzen’s `Old Rustic Bridge’ (1955), a nostal-gic, old-fashioned showoff piece. Then Eshel-man finally dips into original tuba literature.

The big piece is Joseph Turrin’s 14-minuteKronos, which began life as a tuba-band Con-certino (1976), was revised and renamed(2016), and was reduced for piano by Eshel-man. It is a serious work, tightly organizedaround the first, seemingly abstract phrases.The harmonies are dissonant, though notatonal. There is intensity in the fast scalar linesand dauntingly high notes. The work seems tobe in search of something, which I imagine itfinally finds on the final, staccato major triad.

Having included Frank Lynn Payne’s TubaSonata (1977) on his first recording, Eshelmanwas sent the three-movement, eight-minuteShort Sonata (2014) heard here. As with Tur-rin’s piece, the harmonic language is disso-nant, but there are a few more moments oftonal clarity. Also by Payne is the technicallychallenging Six Bagatelles (2016) for solo tuba.

Wonderful album.KILPATRICK

StudyCharlier, Britten, Mantia, Rachmaninoff,Reynolds, Bach, HaydenMatt Tropman, eu, tu; Elena Miraztchiyska, JuneOkada, p—Mark 54633—64 minutes

A beautiful euphonium and tuba album byUniversity of Arizona professor Matt Tropmanand pianists Elena Miraztchiyska and JuneOkada. The title, Study, refers to the etudesinstrumental students spend much of theirtime practicing, their teachers much lessontime teaching. For the teachers, who mightteach certain etudes for decades, the best ofthem never grow tiresome. That includesthese.

On euphonium, Tropman begins with avery expressive reading of what many wouldregard as the best trumpet etude of all: `DuStyle’, by Theo Charlier, from his 36 EtudesTranscendantes (1926). Next come six morefrom that book, the last being the virtuosic 34,`Fantaisie Rhythmique’. All of these have pianoaccompaniments that were composed in the1980s by Jean-Marie Cottet. They are so good,so flavorful, that it is hard to believe theyweren’t part of the original work.

I am familiar with `The Last Rose of Sum-mer’ in its traditional, sentimental form. Thisis my introduction to the very dark setting by

Benjamin Britten. I also did not know that theoriginal poem is by Thomas Moore, who alsowrote `Believe Me, If all those EndearingYoung Charms’. So it is a good idea by Trop-man to play both here—Britten’s gloomy `LastRose’ followed by Simone Mantia’s famouseuphonium setting of `Believe Me’. Tropman’sreading is quite dazzling.

The euphonium portion of the programends with Victor Venglovsky’s arrangement ofRachmaninoff ’s anguished Elegy in E-flatminor (1892), not heard here since thedecades-old account by the great trombonistJoe Alessi (Jan/Feb 1993: 186). Tropman’s isjust as good.

The tuba part begins with two solo hornetudes by Verne Reynolds (1926-2011). Eachspeaks a modern language while concentrat-ing on a single interval: the somber 6 on aminor third, the whimsical 16 on a major sixth.Next comes Bach’s Sonata in E, S 1035, origi-nally for flute and keyboard. If a flute piece ontuba seems far-fetched to you, this readingmight change your mind. Tropman’s beautifultone is on display in the opening Adagio, hissuperb technical skills in the lively II. He does-n’t say why he omitted III, but his reading of IVis superb.

The album ends with Paul Hayden’s eight-minute Chaconne (2000), where Tropmanshows off remarkable technique and range onF tuba.

This is a wonderful album. The pianists areexcellent—Elena Miraztchiyska in the eupho-nium pieces, June Okada in the tuba one.

KILPATRICK

Music for One HornGomez, Carter, Barboteu, Karaivanov, Ramey,Piazzolla, Koechlin, Proust, Kogan, Raum,Yenque—Howard Wall—Affetto 2006—71 min

Almost all of these somber, contemplativeworks are recycled. Most were on a recentalbum, Horn Monologues (Sept/0ct 2020:134). The big piece, Philip Ramey’s 8-minuteGargoyles, was presented on a collection ofRamey’s horn works in a performance I erro-neously attributed to Philip Myers, who playedmost of the music on that album. My com-ments about that reading (Jan/Feb 2018: 142)are similar to what I wrote about Monologues:Howard Wall, a member of the New York Phil-harmonic since 1994, is a fine player, but weare uncomfortably close to him.

KILPATRICK


SoloBACH: Partita 2; YSAYE: Solo Sonata 3;PAGANINI: Caprices 1, 2, 9, 14, 17, 20, 24

Andrey Baranov, v—Muso 39—61 minutes

Andrey Baranov was born in St Petersburg in1986 to a family of musicians. He studied atconservatories in St Petersburg and Lausanne,and his most important teacher was PierreAmoyal. He has won prizes at numerous com-petitions, including the Queen Elizabeth Com-petition in 2012. Aside from performing as asoloist, he plays first violin in the David Ois-trakh String Quartet.

Baranov does a good, academic job play-ing the Bach, though he does have a tendencyto pomposity, as in the closing bars of the Alle-manda. Others have given much more person-al and cohesive accounts (Lara St John;Jan/Feb 2008).

The rest of the program is devoted to morevirtuosic music, and Baranov seems to enjoythis much more, really letting his hair down.His problem is he lets it down too far. Theimpression he gives is that he enjoys playingthe violin almost more as a physical exercisethan as a means of musical expression. He cer-tainly has an impressive technique, but theseperformances would have been more effectiveif had he placed it more at the service of themusic rather than vice versa.

Baranov plays a violin made by GiovanniBattista Guadagnini in Cremona in 1758.

MAGIL

Crimson DuoRENIE: Andante Religioso; Scherzo-Fantasy;SCHOCKER: Still/Nervous; DA SILVA: 3 Violin& Harp Pieces; SORIANO BROBERG: Flutter;ROTA: Flute (Violin) & Harp Sonata

MSR 1607—47 minutes

The Renie is magical cinematic music, conjur-ing a tale of wonder and mystery, perhapsinfluenced by the Aquarium scene from Saint-Saens’s Carnival of the Animals written a dec-ade before. But this performance is bland andlacking in imagination, especially the violinist.Harry Potter would never get off the groundwith his broom if this were in the background.

Brooding leads to a sudden explosion ofchaos in the Schocker. Gentle undertones andrepetition precede rapid, punctuated musicwritten in the unbalanced and uneasy quintu-ple meter. Minimalist layering and eclecticismcharacterizes the Da Silva. Each of the threepieces includes different inspirations: jazz and

blues, atonality, and folk traditions. It isinstantly forgettable.

The Broberg is built on a series of repeatedrifts and syncopations. The composer appearswell versed in the art of unpredictable chords.I of Rota is simplistic and hymnal; II is barrenand unimaginative; III is pleasant and folklike.Unremarkable performances from the harpand violin.

KELLENBERGER

Northern LightsAULIN: Akvareller; GRIEG: Violin Sonata 1;SIBELIUS: 4 Violin Pieces; arr. FROSCHHAM-

MER: Folk Suite, Drowsy MaggieDuo Froschhammer—Solo Musica 314—61 min

The Aulin consists of four movements writtenin a late-romantic style. I is warm, peaceful,with no hint of conflict or trouble in the world.Therefore it has a sacred purity, because onlyfaith or fantasy could produce such optimism,so far removed from the realities of an oppres-sive and unjust world. I wondered, as tearsformed behind my eyes, if such music is toooptimistic to be composed today, but I sup-pose the tears confirmed this sobering reality.Music now is usually obsessed withunearthing the baser elements of struggle andconflict. Modern “classical” music resides indystopian movies: barren, percussive, bleakscores to accompany post-apocalyptic worlds,where every hero is an “anti-hero”, more badthan good, more tainted than pure, and moreproud than meek. II is a precursor to Copland,with lively off-beats in the piano, a playfuldance with simple ABA structure. The B sec-tion is lyrical, a sobering reflection in darkertones, a striking juxtaposition with the A mate-rial. III is tender and filled with ineffable love.Such deep and yearning love can only beexpressed through wordless simplicity. Here itis lightly colored with sadness and regret—immense beauty that never fully blossomed.The true story is buried in the middle of themovement, where bleak winter suppressesvibrant signs of life. The purity of the openingtheme is nostalgic of a brief Elysian momentlong ago, swallowed in tragedy. IV is a tradi-tional Swedish dance, shallow and trite, musicthat must not be enjoyed but tolerated.

Grieg continues the spirit of optimism. Theyounger Grieg was full of playful mischief,where even sorrow is tinged with joy and zestfor life. The performers manage to draw poetryout of the music. The piano displays a keensense for rubato in unaccompanied moments.


The violin sounds good in the section playedon the G-string; perhaps his instrument is bet-ter suited for the lower range. II is obligatory,not a mature or well written movement. IIIcontains heart-string moments. Melodiessometimes sound forced, and musical timingis not always effective. The performance neverrises to a spectacular level, but it manages topromote the music at a professional level.

The Sibelius is weak. I is played in the rightstyle. They are not the right performers for II,titled `Romance’; it never feels romantic,falling flat in the most important way—in thetransmission of emotion. III misses a personalconnection to faith; this religioso is playedwith too much conflict; in their interpretationpeople are not looking at God but at eachother. Eventually the protagonist loses track ofwho God is and also who he or she is. I do notlike IV, and I do not see the connection of themovement to the others.

Drowsie Maggie sounds too classical andpolite, but it is pleasant. Lots of minor-sound-ing modes characterize III in the folk suite. II isgrave, sparse, and languid. Death has struck,and everybody is gathered together in thehouse of mourning. I is mostly simple embell-ishments over low-bass drones in the piano. Itis lovely.

The folk contributions are easy to listen to;The Grieg and Sibelius are unremarkablewhen stacked against other performances; theperformance of the Aulin lacks personality,but the music itself deeply touched me.

KELLENBERGER

Amihai Grosz, violaPARTOS: Yizkor; SCHUBERT: ArpeggioneSonata; SHOSTAKOVICH: Viola Sonata

Sunwook Kim, p—Alpha 634—70 minutes

Amihai Grosz—founding violist of theJerusalem Quartet and principal violist of theBerlin Philharmonic—has put together here aprogram seemingly on the basis of the impres-sive darkness and depth of his sound. Even inthe Arpeggione he accordingly keeps the high-register material to an absolute minimum, in away I have not heard before. There is no way tokeep altogether off the A string in the firstmovement, but he comes as near to it as I haveseen anyone do, doubling back down theoctave twice in the space of a bar, or droppingan extra octave after the inevitable dizzy runup to the top near the end of the recapitula-tion. That this has nothing to do with technicaldifficulty is evident, not only because of his

surpassing mastery of everything he does, butbecause when he is genuinely called to go upthere he does it without apparent effort. Themain point, though, does seem to be hisexceptional sound in the low register, where itis fluid, silky, dark, and melancholy.

The two pieces setting off the Schubert oneither side emphasize the point. Odeon Par-tos’s Yizkor (In Memoriam), written in 1947while he was principal violist of the PalestineOrchestra established in 1936 by BronislawHuberman, shows us the Budapest-born com-poser taking up a people’s grief and making itsing for them. It begins and ends in somberand dignified mourning, but rises in betweento heights of impassioned anguish. It’s a piecenew to me, and one I won’t soon forget.

Dmitri Shostakovich’s 1975 Viola Sonata isone I have seemingly known forever, and mychances of forgetting that have always beennil. It’s the composer’s last work, completedwhile Shostakovich was dying of cancer; andin common with other works of those lastyears, it seems to set about a sort of summa-tion of his previous achievements. Hence theusual (by now) welter of self-quotations in thefinale. He had done this much earlier, famous-ly, all through the Eighth Quartet, but by nowthe self- (and other-) quotations are if any-thing both more numerous and more obscure.The last quartets all seemingly track eachother; the finale of Symphony 15 begins with abunch of Wagner quotations, and its firstmovement refers repeatedly to, of all things,Rossini’s William Tell Overture; and so forth.Here the big reference is to the first movementof Beethoven’s Moonlight Sonata in the finale,but I’ve often wondered whether the open-strings pizzicatos that open the piece mightnot be a sort of reference to the open stringsthat open the Berg Violin Concerto, and thereis certainly a fragment of the opening of Shos-takovich’s own death-obsessed Symphony 14in the far bass of the piano just before theviola’s cadenza in the finale. It’s as though thehead of the dying man were teeming withvying musical allusions, all clamoring to be setout on paper.

Grosz doesn’t glamorize this, just sets itout, compassionately and with melting tone. Avery fine recording.

Grosz, incidentally, bucks the trend of vio-lists using brand-new and apparently immac-ulate instruments; his is a Gasparo da Salo,1570 (!), on loan, naturally, from “a private col-lector”. It looks to have been considerably cutdown—instruments those days were huge—


but you’d scarcely know that from the sound,which is deep and rich.

THOMSON

SequenzaBIBER: Passacaglia; SCIARRINO: Capricci 2+5;BERIO: Sequenza VIII; SCHUMANN: ViolinSonataFranziska Holscher, v; Severin von Eckardstein, p

Avi 8553446—65 minutes

The Schumann is aesthetically dense, dark,and turbulent. Yet as troubled and hectic as itsounds, its craftsmanship and formal con-struction is perfectly ordered and stable; voic-es and themes interact ensuring every idea tiesto another idea, in and even across move-ments. The piece unravels as if carefullypulling a piece of thread from a spool, unre-lenting, each transition seamless and unsus-pected. Schumann is obsessive with his accen-tuation markings; he uses five different accentnotations. The performers interpret eachmarking literally. But Schumann is a little toodetailed, a composer who can micromanage inan impossible quest to control a performance’saesthetics. Every accent should be approacheddifferently according to the tenor of the music,not as literally as Schumann writes or theseperformers play. This performance is aboveaverage, its strength in its exceptional atten-tion to the score.

The Passacaglia is not too bad. Attacks area little aggressive on chords; runs are tooheavy-handed and clubby. The playingbecomes prosaic because of a lack of imagina-tion in playing in and around around the bassline. A hint of bow vibrato interested me.

The Berio and Sciarrino I can scarcelycomment on. They are dreadful to listen to.Screeches and shrieks, whining and warbling—how can this justly be called music? Thiscritic aligns with Mozart, who believed musicshould remain music, no matter what horrorone wishes to depict. I wonder how I couldjudge if one screech is slightly more screechyand thus more effective than another? This iswhat happens when we remove beauty fromart; music loses its ability to be constructive.

KELLENBERGER

Ellen JewettSAYGUN: Violin Partita; TURKMEN: Beautifuland Unowned; CETIZ: Soliloquy


Three Turkish pieces. An advertised novelty on

the back cover is that this was recorded in a“hand-carved Cappadocian cavern” with“unique acoustics”. At first glance this seems toadd credibility and authenticity to the per-formance. This performer surely must haveimmersed herself in Turkish culture to haveperformed in such a space, must really under-stand the music. Yet to me it feels suspiciouslylike tokenism. What does “unique acoustics”mean? Every performance space has uniquecharacteristics. Was this music specificallycomposed to be performed in this space? Ifnot, why the fuss?

I do not like this music. The Saygun is fullof chromaticism, dissonant intervals, andmodal influence. The acoustics partly hidedreadful slapping sounds particularly in IVand short, clipped staccato. The Turkmen isunapologetically crass and crunchy, repletewith ghastly glissandos, disjunctive leaps, andall sorts of dreadful sounds that a pranksterchild beginner would think were humorous.But I am not amused. The Cetiz is similar,sounding more like a construction site, withsawing, drilling, and hammering. Noise music.We can bang pots, punch walls, scratch chalk-boards, and rub styrofoam together. I supposethere is something clever about joining thisjoyous cacophony of sound on a preciousinstrument steeped in hundreds of years ofrich tradition—something novel aboutexpressing anger, frustration, and desperationand simultaneously engaging in cultural dese-cration. Some say it is an expressive evolution,a natural outpouring of freedom, of testinglimits, sounds, and aural possibilities; compo-sition has entered the laboratory; hallelujah. Ivery politely call it devolution. No, thank you.

KELLENBERGER

Randolph Kelly, violaHINDEMITH: Sonata op 11:4; SCHUBERT:

Arpeggione Sonata; GLINKA: SonataJohn Novacek, p

IBS 122020—60 minutes

Three of Viola’s Greatest Hits, though I don’tthink I have seen them programmed togetherlike this before. Or in this order, which seemsunsatisfactory, ending as it does with the slowsecond movement of the unfinished Glinka. Itwould have gone better in reverse order, withthe Hindemith last and ending with a very def-inite “bang”.

Randolph Kelly has had a long and exem-plary career as soloist, section-leader, andchamber musician, and it’s interesting to hear


him for (I think) the first time. His sound isrich and even across all the strings, and hisbowing deft. I could wish for more derring-do,especially in the Hindemith, which herecomes across as timid. This might be spun ashis desire to emphasize the Debussian-Straussian aspects of the score rather than the“forward-looking” aspects, but on the whole Ithink not, because even in the music’s mostluxuriant passages he doesn’t indulge himself.It’s all neat, a little hesitant, and rather tightlycontrolled, even in the hilarious frenzy of thelast page (well, the last several pages, for thepianist), where the ordinary player tends to getby on luck and a hefty dose of prayer.

Someday I will put together a list of whoputs what things in what octave in the firstmovement of the Arpeggione. The instrumentitself was an oddity when Schubert wrote for it,and by the time his sonata was actually pub-lished, nearly 50 years later, it was effectivelyextinct. Kelly’s choices are mostly common-place, but he does take one bit up the octave—just before the recapitulation—that I’ve notheard that done to before. It’s a nice perform-ance, warm and mellow in the slow move-ment, not obviously overtaxed elsewhere, andwith an air of ease that brushes aside all thoseregistral hurdles.

The Glinka is another late-born, long-posthumously-published work; it languishedfor more than a century between when itscomposer set it aside in 1825—presumablyintending to pick it up again later—and 1932,when the violist Vadim Borisovsky piecedtogether the two extant movements and pre-miered it. The first movement has the early-19th Century viola vibe just right—moody,melancholy, sometimes snappish. II is morestraightforwardly lyrical, though it neverseems to stick around long in my memory.

In all this Kelly is ably partnered by JohnNovacek (more than ably in the Hindemith,which throws fistfuls of notes at the pianistwhenever it gets a chance). If you want thethree works together, this is it ; but for eachthere are better options: Kashkashian orSchotten in the Hindemith, Imai in the Glinka,any numner of people in the Schubert.

THOMSON

What’s Next Vivaldi?VIVALDI: Violin Concertos; Lazzo Parlante;CATTANEO: Estroso; FRANCESCONI: Spicca-to Il Volo; MOVIO: Incanto XIX; STROPPA:

Dilanio Avvinto; SOLLIMA: Moghul; BARTOK:

The BagpipePatricia Kopatchinskaja, v; Giardino Armonico/Giovanni Antononi


Patricia Kopatchinskaya has described herselfas like a rose, beautiful but also thorny. I cer-tainly agree with the latter half of her self-esti-mation. Her recordings tend to be exercises inexhibitionism designed to shock the bour-geoisie. The use of the noises in the first move-ment of `The Sea Tempest’ Violin Concertothat opens the program spoils it. I know thatVivaldi liked vivid program music, which thisis, but this cacophony is ridiculous. She isinventive and much better in the other twomovements, though she still provokes the lis-tener. Whether or not you enjoy what she doesdepends on how much provocation you cantolerate. I will admit that she is spontaneousand never sounds stuffy. I doubt, though, thatVivaldi intended his `Lazzo Parlante’ to soundlike the frightening noise emanating from alunatic asylum as it does here.

The Joke is followed without a break byAurelio Cattaneo’s Estroso (Whimsical). It ismore noise, sounding very aleatoric, though Ican’t say for sure as I haven’t seen the score.

Vivaldi’s Violin Concerto in G minor isplayed in a more conservative manner, and Ienjoyed it. When they are trying to serve themusic, Kopatchinskaya and Il GiardinoArmonico can be very effective if still a bit overthe top.

The concerto leads directly into LucaFrancesconi’s Spiccato il Volo (Took Off),which is jarring. The piece is played largelywith a bouncing bow (hence Took Off). It isavant-garde like the Catteneo, and grated onmy nerves like his piece did. I find this kind ofavant-garde noisemaking empty and tedious.

The rest of the program continues in thesame vein, with a Vivaldi violin concerto fol-lowed by another pretentious avant-gardework. I don’t hate the avant-garde. I was great-ly affected by Penderecki’s Threnody for theVictims of Hiroshima, and Gyorgy Ligeti’ssoundscapes from the 1960s still strike me asremarkable achievements. For music to beworthwhile, though, it must do more than justshock.

The program closes with one of Bartok’s 44


From USA Today:“The body lied in state.....”

This proves that they hire people to write whocan’t even speak correctly. It also proves that if

they have editors, they are just as stupid.

violin duos, `Bagpipes’, arranged for violin(Kopatchinskaya) and recorder (GiovanniAntonini). I love this duo and have played itmyself, so I can honestly say that these musi-cians butcher it. Disgusting.

Kopatchinskaja’s violin was made by Ferdi-nando Gagliano in Naples around 1780.

MAGIL

Violin Plus OneDVORAK: Romance; TCHAIKOVSKY: Sere-nade Melancolique; CHAUSSON: Poeme;SVENDSEN: Romance; MASSENET: Medita-tion from Thais; BLOCH: Nigun from BaalShem; SAINT-SAENS: Introduction & RondoCapriccioso

Piet Koornhof; Albie van Schalkwyk, pDelos 3577—67 minutes

A listener shuts his heart until he trusts theperformers. An impressive biography is oftensufficient to generate trust in a casual listener;as a critic, I do not put much stock in biogra-phies; I have heard too many dreadful per-formances from people with the most distin-guished and pristine hagiographies. Yet untilthis trust is established, a listener remainsslightly detached, waiting, hoping, and want-ing to be impressed. This detachment passesoff as objectivity, but its true roots lie closer todark forces of cynicism and snobbery. Theonly cure for cynicism is falling in love, and inthe music world, the only way to fall in love isthrough good playing.

The piano introduction of the Romanceaugers a good performance; the violin enterswith favorable sound, and we begin to feel atease. But clumsy artistry soon surfaces in thepokey staccato in the piano in the Dvorak. Theviolinist’s sound does not react to the vicissi-tudes of the music; in subtle places the tone istoo rich; in crescendos he reacts linearly, notwith organic swelling. A maudlin and aggres-sive vibrato sometimes plagues intonation andsound.

The recording quality is rotten. One gath-ers the impression this would be a good violin-ist in person, but he is trapped in a box, hissound distant, dead, and indefinite, disparateand disconnected from the piano. I have wres-tled as much with this release as any I haveever reviewed. Normally I listen to a disc twoor three times in the process of creating areview. This one I listened to 10 times, and I sodespise the engineering and technical aspectsof the recording that even after so manyattempts, I still cannot recommend it, with

apologies to the performers, who give com-pelling performances. But they exist in such astrange fog.

Pianistic interludes justify purchasing therecording. It is very rare to hear bouts of play-ing this good in a tutti role. The violinist isenthusiastic and fearless, but the uneven toneand lapses in musical judgement, such as astuck quality in the bow at the end of the Saint-Saens, hold him under his counterpart. Iappreciate their finer moments, but I nevertrusted them.

KELLENBERGER

Liv MigdalBACH: Violin Sonata 3; BEN-HAIM: Sonata;BARTOK: Sonata

Genuin 19656—67 minutes

Migdal chose fiendishly difficult repertoire. I ofBach reveals rare attention to sound and infec-tious connection to music. She opts for limitedvibrato, a dangerous choice, but manages tonot sound as dry as many who attempt it. II,the longest of the three fugues Bach wrote forunaccompanied violin, may be even moredemanding than the infamous Chaconne. Herrendition is too slow and careful, clocking 12minutes; Gil Shaham takes 8—the truth liessomewhere between. Predictable agogicaccents are slightly overdone; she could findmore areas of emphasis besides downbeats todrive the music forward. Episodes requirecolor and dynamics and should not be treatedas breaks. Her impeccable sound quality miti-gates some of these sins, and I mostly like hertaste.

The Ben-Haim is a pleasant discovery. Iexhibits modal characteristics, an ode to hisJewish roots. The piece is tonal but withinstances of parallel fifths and other temporarydestabilizing gestures. I ends with a romp. II isslow, an elegy for the dead in hushed and rev-erent tones. III is full of perpetual motion,showing grand technique of chords andoctaves and high G-string playing. I wouldappreciate more exposure to this work and thiscomposer.

The Bartok is comparable to the bestrecordings. I opens well, displaying her soundquality, building to rousing achievement bythe end. Beautiful colors surface in III. Defi-ance bleeds through the rhythm in IV. Finally arecording where this devilish invention doesnot seem that challenging! Migdal I did notknow, but she is a marvelous player. Bravo!

KELLENBERGER


Mystical ViolinRoberto Noferini; Andrea Toschi, org

Tactus 870002—78 minutes

This is a most unusual enterprise. Il ViolinoMistico, to give it its Italian title, is a collectionof short pieces for violin and organ or harmo-nium (12 and 6 pieces), presumably for eccle-siastical use, written in Italy between the late19th and the mid-20th centuries. Almost all ofthe composers are obscure, and seven of the16 here don’t even have birth or death dates.The three works by Lino Liviabella (1902-64)are unpublished and were supplied to theannotator by the composer’s family.

So: a small but detailed snapshot, essen-tially, of a genre I didn’t even know existed. Asyou might expect, the prevailing mood is tran-quil and beatific, though not always withoutincident ; Guglielmo Zuelli’s 1922 Passa ilNatale, the opener and much the longest workhere at ten minutes, has some harrowingmoments. The latest work, the 1958 AugurioNuziale by Ildebrando Pizzetti (the only com-poser of the lot that I have encounteredbefore) is a sort of back-composition. Writtenfor the composer’s son’s wedding, it was laterorchestrated, the orchestral part “summa-rized” for piano, and the organ part laterreconstructed by Roberto Becheri and record-ed here for the first time. I rather expect thatmost of these are first recordings.

The performances I would characterize asgood rather than great. Despite sterling equip-ment (a Scarampella violin, a Dodd bow),Roberto Noferini seldom sounds entirely atease. Partly this might be the acoustic of theChiesa Parrocchiale della Madonna delCarmine in Cremolino, where the recordingswith full organ were made. (The ones with har-monium were done at the Chiesa di SantaMaria delle Misericordia in Bologna.) Nor iseither keyboard instrument perfectly in tune.Exhaustive details of organ and harmoniumare supplied in the booklet for organists, thecurious, or both.

THOMSON

Benjamin SchmidPAGANINI: Le Streghe; La Campanella;Caprices 13+20; Cantabile; Sonata 12; Non PiuMesta; MILSTEIN: Paganiana; MULLEN-

BACH: Capriccio; TARTINI: Devil’s Trill SonataLisa Smirnov, Ariane Haering, p

Oehms 1893—66 minutes

Avoid this offensive recording. Spare yourself

from scratchy and percussive sounds andcrude musical tastes. There are a smattering ofpleasant moments, but they are few and quick-ly ruined by rough playing. A lot of the prob-lem is the ricochet and staccato, strokes thatought to be lithe, graceful, quixotic, whimsical,impish, and many other antonyms to the play-ing we hear.

KELLENBERGER

JS Bach’s PrecursorsBALTZER: Praeludium in G; WESTHOFF:

Suite in A; BIBER: Passacaglia; BACH: Partita 2Annegret Siedel, v

Musicaphon 56984—57 minutes

This is music for baroque violin, starting withsmaller and shorter predecessors and workingits way up to (naturally) Bach’s Second Partita.But the execution is off. Kudos to AnnegretSiedel for beginning with Thomas Baltzar’squirky Praeludium in G, one of a handful of hisworks found in the 17th Century English col-lection The Division Violin. This one, as thenotes point out, has some rudimentary poly-phonic characteristics that most of the con-tents of the book—”divisions”, which is to sayvariation sets—don’t.

Johann Paul Westhoff was first violinist atWeimar when Bach arrived there in 1703, andhad been for some years. This “Suite pour leviolon sans basse” is believed to have been theone Westhoff had played before King LouisXIV in 1682. It was then published in the “Mer-cure Galant”. It’s in the standard four Frenchdance-suite movements plus Prelude, allextremely brief, and is polyphonic practicallyeverywhere, openly (via double-stopping) andimplied. Before Bach it and the same compos-er’s Six Partitas for solo violin (1696) wereprobably the high point of solo-violin polypho-ny, although Hans Ignaz Franz Biber’s well-known Passacaglia, the companion piece tohis 15 Sonatas on the Rosary, runs them close.The Biber’s theme is far simpler than Bach’s—just a four-note descending line—but itbecomes ever more increasingly and inten-sively elaborated as the piece progresses.

So the Bach is, as it were, Westhoff plusBiber, a dance suite followed by a great cha-conne, only quite a bit longer and an order ofmagnitude or so more complex. So the pro-gram’s trajectory makes perfect sense. ButSiedel is not at all the violinist I would choosefor such a project. Even in the smaller worksshe is rough and tentative; when it comes tothe Biber and especially the Bach, she


becomes almost terminally cautious. The fastmovements of the Bach—the Corrente andGiga—are as slow as I have ever heard them,and the Ciaccona has no grandeur, no greatarch. This is not in the least a matter of herusing a baroque instrument (here, a JacobStainer, fully restored, with a modern bow aftera 17th Century original). We have had greatand stylish “period” recordings of the Bach fordecades now, what with Rachel Podger (myown favorite) and Monica Huggett and Lucyvan Dael and Elizabeth Wallfisch and GiulianoCarmignola. Andrew Manze’s account of theBiber (one of several excellent ones) blowsSiedel’s out of the water. She’s not in the leastperverse or ill-intentioned or even inept; she’sjust out of her league.

Musicaphon’s packaging, incidentally, isexcellent: a slim cardboard package, a plasticinsert gently gripping the disc without eithertrapping it or dropping it, and a matchingpocket for the booklet.

THOMSON

University Bands

TributeOquin, Perrine, Curnow, Giroux, Stamp, David

Vince Kenney, eu; Drake University Wind Sym-phony/ Robert Meunier

Mark 55597—55 minutes

American SymphonyJager, Hall, Jenkins

University of Texas-El Paso Wind Symphony/Bradley Genevro; Messiah College Wind Ensem-ble/ Bradley Jenevro


BALMAGES: Metal; Shrine of the Fallen; Indus-trial Loops; Trust in Angels; Within the CastleWalls; Spontaneous Beings; Rippling Watercol-ors; Primal DancesSteven Marx, tpt; Sunderman Conservatory WindSymphony/ Russell McCutcheon


Here are three albums by university or conser-vatory concert bands. The first time I heard theDrake University Wind Symphony, I was sur-prised and impressed that such a small school(3500 students) could produce such a finerecording (May/June 2014: 224). Two lateralbums also impressed me (Jan/Feb 2016: 209,May/June 2017: 105), so this time I’m not sur-prised, just impressed again. As before, Inotice that director Robert Meunier holds hisyoung players to moderate dynamic levels

much of the time, resulting in warmth andblend and making big moments quite effec-tive.

The program offers two big pieces. Basedon James Weldon’s poem of the same name,and on BF White’s hymn `Beach Spring’, thetwo-movement, 15-minute Ghosts of the OldYear (2016) is James David’s attempt to portraythe South’s natural beauty that masks the bru-tality of racial violence. I am happy to makethe acquaintance of the very tuneful, 16-minute Euphonium Concerto (1997) by JamesCurnow. The three movements are playedwithout pause between, cadenzas serving astransitions. It is a work with modest technicaldemands on the soloist, except for some veryhigh notes and fast scales here and there.Drake’s professor of low brass and assistantdirector of bands Mark Kinney is the finesoloist whose expressiveness, consistently fulltone, strong high register, and solid technicalskill contribute to a terrific performance. Alsoincluded are Wayne Oquin’s lively opener`Flashback’ (2016), Aaron Perrine’s depictionof Lake Superior in `Pale Blue on Deep’ (2011),Julie Giroux’s sad paean `Hymn for the Inno-cent’ (2016), and Jack Stamp’s sound-the-alarm `Tocsin’ (2018).

In “American Symphony”, conductor Brad-ley Genevro presents his two bands in threebig pieces. The University of Texas-El PasoWind Symphony offers Robert Jager’s 4-move-ment, 22-minute Symphony 3 (The Glory ofGod), which takes as inspiration the words ofIrish poet and priest Gerard Manley Hopkins. Iis bombastic, II mysterious, III very slow andquiet, IV inexorable until the final exultantmoments. Morton Gould’s 2-movement, 20-minute Symphony 4, West Point, is a well-known work with a dignified passacaglia in I(`Epitaphs’), liveliness in II (`Marches’). TheUTEP band sounds very good; any weaknessesare minor. The Messiah College Wind Ensem-ble gives a spirited reading of Joseph WillcoxJenkins’s three-movement, 27-minute Sym-phony 5 (1979). The composer, best known tome for his `American Overture for Band’, slylyquotes various fifth symphonies and includessynthesized sounds. The Messiah musicianssound best in their tuttis; a few solo momentssound youthful.

Gettysburg College is the home of Sunder-man Conservatory, where Russell McCutch-eon is director of bands. The group offers eightworks by Brian Balmages, a member of theTowson University music faculty. The center-piece is the nine-minute Trust in Angels, with


faculty trumpeter Steven Marx as soloist.Much of the work is contemplative, but it hassome soaring moments. Marx plays very well,handling high, forceful passages with aplomb.It seems a pity that there is not more ambiencefrom the room, though. The group soundsgood in it, but it makes the soloist sound a bitplain in quiet moments.

The rest of the program is pleasant andwell played—not surprising, since the pieceswere composed for middle school, highschool, and community bands. `Metal’ is theenergetic little program opener. Shrine of theFallen memorializes protesters lost to a brutalpolice response in Kiev, Ukraine, in 2014.`Industrial Loops’ is rollicking. Within the Cas-tle Walls was given its first performance by ajunior high school honor band. `SpontaneousBeings’ was commissioned by music teachersat a summer workshop. `Rippling Watercolors’and `Primal Dances’ were both written formiddle school bands.

KILPATRICK

Monet QuintetDubugnon, Francaix, Holst, Taffanel

Avi 8553008—70 minutes

Anissa Baniahmad is Principal Flute of theMannheim National Theater, Johanna Stier isPrincipal Oboe of the NDR Philharmonic,Nemorino Scheliga just finished as PrincipalClarinet of the Stuttgart Opera, Theo Plath isPrincipal Bassoon of the Frankfurt Radio Sym-phony, and Marc Gruber is Principal Horn ofthe Frankfurt Radio Symphony. A decade ago,they played together in the German NationalYouth Orchestra; and in 2014, while studyingat different German universities, they formedthe Monet Quintet.

This debut album balances the romanticcharacter of the 19th Century with the mod-ernist flavor of the 20th. The program beginswith the lively and clever Frenglish Suite(1997) of contemporary Swiss composerRichard Dubugnon (b. 1968); and afterward, itretreats to the Paris salon of flutist-composerPaul Taffanel (1844-1908) and his Wind Quin-tet in G minor (1876). A youthful work by Gus-tav Holst (1874-1934) follows: the sonorous yetrarely played Wind Quintet in A-flat (1903).The recital concludes with Jean Francaix’scheeky and virtuosic Wind Quintet 1 (1948).

The Monet Quintet treats the listener tomarvelously clear timbres, perfectly balancedcolors, outstanding technique, honed phras-ing, and superb blend, rhythm, and intona-

tion. Serious fans of the medium may find thereadings a little conservative—lyrical mo-ments and heated passages need more con-trasts—but overall, these are fine representa-tions of this important repertoire.

HANUDEL

Greek Orthodox Chant

Music of ByzantiumCappella Romana/ Alexander Lingas

Cappella Romana 14—64:24

The Fall of ConstantinopleCappella Romana/ Alexander Lingas

Cappella Romana 402—72:22

These two releases by Cappella Romana servetwo different purposes. The first is actually a“greatest hits” sampler that was compiled inconjunction with a 2004 exhibit at the Metro-politan Museum of Art in New York, “Byzan-tium: Faith and Power”. The selection includesexamples of different genres and styles. TheGreek Orthodox chants range from a 6th Cen-tury kontakion by Romanos the Melodist to anumber of later chants by John Plousiadenos(c.1429-1500). Other selections are unusual,including a version of the Latin `Kyrie Cunc-tipotens genitor’ that was transcribed intoByzantine notation and the juxtaposition oftwo laments for the fall of Constantinople in1453, an Orthodox chant by Manuel Chrys-aphes (15th Century) followed by GuillaumeDufay’s `Lamentatio Sanctae Matris EcclesiaeConstantinopolitanae’. The overall quality ofthe performances is consistent and up to thestandards found in the ensemble’s otherrecordings; but the sound is perhaps more dis-tant, and the extraneous sounds sometimesinterrupt the beauty of the music. The bookletincludes a short essay by Lingas and Englishtranslations. Rather than recordings from con-certs, many of these same selections, takenfrom recording sessions, were included on adifferent compilation for London’s RoyalAcademy of Art’s 2008 exhibit, “Byzantium:330-1453”.

Seven of these “greatest hits” on the METrelease were later included on the secondrecording reviewed here (not a concert). Com-pared with some of the compilations that havebeen released in the past to evoke particularartists or events (think of Jordi Savall’s multi-cultural extravaganzas, such as “Joan of Arc”,Nov/Dec 2012: 255, or “Erasmus”, July/Aug2013: 193), this recording is a very effectivemusical evocation of the events surrounding


the capture of Constantinople in 1453. Alexan-der Lingas has created an evocative musicaldialog between the Latin west and Greek eastat this period, beginning with the liturgicalentrance rite as it would have been celebratedin Hagia Sophia in the reign of Emperor Con-stantine XI Paleologos (1449-53) and musicfrom the Council of Florence which sought tobridge the “Great Schism” between the Ortho-dox and Catholic traditions (including twocanons by Plousiadenos and Dufay’s motet,Ècclesiae militantis’). Also included areexamples of polyphonic Byzantine chant“according to the Latins”, in the style ofmedieval parallel organum, and two othermotets by Dufay (`Vasilissa ergo gaude’ andÀpostolo glorioso’). Lingas’s booklet essay is arich, concise resource about the political andmusical aspects of this period; and there arecomplete texts (in Greek and Latin) and trans-lations. The performances on this recording,both of the chant and the a cappella motets,match the musicality evident on the ensem-ble’s other recordings (Nov/Dec 2008: 215,Jan/Feb 2013: 206, May/June 2015: 203,May/June 2016: 186). In sum, this recording isan evocative sonic mirror of this complexmoment in history.

BREWER

Hispanic Sacred MusicThe Queen’s Six—Signum 626—66:23

Titled “Journeys to the New World”, this is ananthology of Hispanic polyphonic motets fromthe mid-1600s until about 1700. Four of thecomposers never crossed the ocean: Cristobalde Morales, Francisco Guerrero, Tomas Luisde Victoria, and Alonso Lobo. Their music did,and it was used in churches, cathedrals,monasteries, and convents. The other fourcomposers—Hernando Franco, FranciscoLopez Capillas, Juan Gutierrez de Padilla, andMiguel Mateo de Dallo y Lana—all worked inthese new institutions in New Spain, especiallyMexico City and Puebla de los Angeles.

The Queen’s Six is formed from half of theLay Clerks of St George’s Chapel at WindsorCastle. Their approach to singing late Renais-sance polyphony emphasizes clarity and bal-ance but with little change of texture ordynamics. I note the excellent diction from thecountertenors, especially important to thecomprehension of the texts.

Some of this same repertoire was recordedby the four voices of the Hilliard Ensemble(Nov/Dec 1992: 252), and compositions from

the New World can be found in other collec-tions (Mar/Apr 1991: 164, Jan/Feb 2004: 228).This new release helps to demonstrate thatmusic had an important role in the sonic colo-nization of the New World. Bruno Turneroffers an informative note and descriptions ofthe pieces and also includes full texts andtranslations.

BREWER

English Ballads and Country DancesLes Musiciens de Saint-Julien/ François Lazare-vitch—Alpha 636—68:20

This collection of 17th Century English balladsand country dances, most derived from themany editions of John Playford’s “EnglishDancing Master”, is a delightful romp. Thoughthe tune `The Queen’s Delight’ is not included,some of selections will be familiar from otherearly music collections, such as the ballad`When Daphne from Fair Phoebus did Fly’. Theensemble has also adapted other composi-tions that may have had folk origins, such asHenry Purcell’s `Sefauchi’s Farewell’ and amedley of variations on `John come kiss menow’ by Thomas Baltzar, Christopher Simp-son, Davis Mell, and Solomon Eccles. Thetrack titled Àn Italian Ayre’ is not actually byHenry Lawes, but an anonymous tune, `LaMantovana’, that became known as the countrydanse, Àn Italian Rant’.

This new release compares favorably withearlier collections from the Musicians ofSwanne Alley (Mar/Apr 1990: 144), the Balti-more Consort (May/June 1992: 171), and theDufay Collective (Nov/Dec 1996: 262), and isalso a useful recording to “Drive the Cold Win-ter Away” (also included on this recording).Texts with French translations are included inthe booklet; this is only a problem for Àn Ital-ian Ayre’, which has an Italian text.

BREWER

La BergereMarie Magistry, s, Sylvain Bergeron, archlute

ATMA 2801—64:39

The title for this collection is taken from themost modern work, Michel Pignolet de Monte-clair’s 1706 cantata La Bergère (The Shep-herdess). The pastoral themes of this cantatawere also the major conceit of the 17th Centu-ry French airs de cour (court airs) found onthis release, including selections by PierreGuedron (2), Gabriel Bataille (1), Joseph Cha-banceau de la Barre (3), Marc-Antoine Charp-


entier (1), and Jean-Baptiste Lully’s `Recit de labeauté’ from Molière’s comedie-ballet LeMariage Forcé.

The best represented composer is MichelLambert (5 examples), a dancer, singer, andthe most fertile composer of airs de cour inthis period. Three of Lambert’s airs on thisrecording could be considered “greatest hits”(`Le repos, l’ombre et le silence’, `Ma bergèreest tendre et fidèle’ and `Vos mepris chaquejour’). They were also recorded by Les ArtsFlorissants (Sept/Oct 1992) and Musica Favola(May/June 2011), who also included `Dansnos bois, Tircis aperçut’, likewise found on thisrelease.

Marie Magistry has an agile and exquisitevoice, clear diction, elegant phrasing, and easi-ly handles the intricate style of French orna-mentation. She is adroitly accompanied bySylvain Bergeron, archlute, and for Lambert’sairs and others from the later 17th Century bya small group of flute, two violins, and viola dagamba. The booklet is informative but the textsare given only in French. This is a importantaddition to the earlier releases of airs de couron Linn (Nov/Dec 1999: 271) and Glissando(Mar/Apr 2001: 223).

BREWER

Sacred Treasures from the Duben CollUppsala Academy Chamber Choir ; CologneRadio Choir; Uppsala Consort/ Stefan Parkman

Footprint 113—64 minutes

This program of Latin church music emanatesfrom St Mary’s Church in Lübeck, as Kerala J.Snyder notes. It includes music by the mostfamous composers associated with the institu-tion, namely Franz Tunder and Dietrich Buxte-hude, whose works are preserved in theDüben Collection, compiled by the SwedishHofkapellmeister Gustav Düben for the royalcourt of Sweden in the 1640s, 1650s, and1710s. Since the 18th Century, the collectionhas been housed at the University of Uppsala.

The works by Heinrich Schütz, Orlando diLasso, Paolo Quagliati, and Simone Vesi arefound in part books in the library of St Mary’schurch. Music by Vesi and Quagliati arerecorded here for the first time. Quagliati’smotet `Jesu ex Penetrali Cordis’ strikes me asbelonging to the stile antico of Palestrina.Vesi’s `Salve Regina’ and `Magnificat’ reflectthe taste for vocal virtuosity, dance-likerhythms, and harmonic expression associatedwith the stile moderno of Monteverdi, Buxte-hude, and Schütz. The style is well represented

here in Schütz’s sacred concerto `Saul, Saul,Was Verfolgst du Mich?’. Texts and notes are inEnglish.

LOEWEN

LamentoDamien Guillon, ct; Cafe Zimmermann


This is not the first time I have reviewed arecording titled Lamento. In 2015 I reviewed adelightful recording of Italian laments by Mon-teverdi, Luigi Rossi, and Barbara Strozzi sungby mezzo soprano Romina Basso (Naive 5390;Jan/Feb 2015). The Lament was an importantcategory of vocal music in 17th-Century Italy,related to the aria and cantata. This programexplores the genre among German masters ofthe same period.

Over roughly the past 20 years, Àch wieSehnlich Wart Ich der Zeit’ has become stan-dard fare for counter-tenors. Michael Chance(Chandos 675; Nov/Dec 2001), Franz Vitzthum(Christophorus 77305, July/Aug 2009), RylandAngel (Deux-Elles 1147; Sept/Oct 2013), andReginald Mobley (VGO 1027; Sept/Oct 2018)have all recorded it. Gerard Lesne (Astrée8873; Sept/Oct 2002) also recorded it alongwith Johann Michael Bach’s Àch, Dass IchWassers Gnug Hätte’. Guillon’s tempo is slowerthan the others; otherwise his performance isa wonderful contribution to the canon.

Laments by Biber and Christoph Bernhardare also gorgeous examples of the genre.Biber’s Ò Dulcis’ is a substantial virtuosiccomposition for solo voice and violin (PabloValetti). They sometimes perform together, butmainly alternate, as though they were eachgiving voice to the feelings and meaning oflament. Schmelzer’s `Lamento Sopra la MorteFerdinandi III’ is a multi-sectional sonata forstring ensemble. In fact, its sonorous openinghas a similar character to the short sonatasthat open the arias by JM and JC Bach. Bern-hard’s `Was Betrübst du Dich’ is another lovelylament, very similar in style to the two Bacharias. The program concludes with the Pas-sacaglia from Biber’s Rosary Sonatas. Textsand notes are in English.

LOEWEN

Leopold ISagrifizio D’Abramo; Miserere

Weser-Renaissance/ Manfred CordesCPO 555113—76 minutes

As always, Manfred Cordes and Weser-Renais-


sance turn in a polished performance, here ofsome rare works by an unexpected talent—theHapsburg Emperor Leopold I (1640-1705).After Leopold’s step-mother Eleanor of Gonza-ga introduced the Italian tradition of the sepol-cro to the Viennese court in 1651, composersbecame accustomed to staging oratorios onthe subject of Christ’s Passion on the Thurs-days of Lent and on Good Friday. Leopold’soratorio Il Sagrifizio D’Abramo fits into thistradition. In fact, it is his first oratorio. Alsoremarkable is the fact that its librettist, ConteCaldana, uses the opportunity to present Abra-ham’s sacrifice of Isaac in Part I (for the firsttime in Vienna) as a springboard for New Tes-tament exegesis in Part II. The composition iswell wrought, showing stylistic facility, andinspiring music for soloists, chorus, andorchestra.

Miserere per la Settimana Santa is a motetfor four voices, strings, and continuo. Leopoldgives clear direction that his setting of the pen-itential psalm (Ps. 51) is to be sung withoutorgan accompaniment. The work is organizedas a series of arias, recitatives, and choruses,giving it essentially the same quality as his ora-torio. Both are delightful works and beautifullyperformed. Texts and notes are in English.

LOEWEN

Venice & BeyondWind Concertos & Sonatas

Lotti, Caldara, Vivaldi, othersAffinita/ Elisabeth Baumer

Arcana 119—67 minutes

The historical connection between Vienna andNorthern Italy (especially Venice) is one of thereasons why oboist Elisabeth Baumer foundedAffinita in 2012. The Austro-Italian ensemblespecializes in chamber music for woodwinds,and this program illustrates numerous waysthat 18th-Century composers used windinstruments in sonatas and concertos.

The 8 players in Affinita are adept at a widerange of expressive effects: from trumpet-likefanfares (oboe) and high decorative passages(recorder) in Antonio Caldara’s theatricalscene-setting sinfonia for his alto cantata`Clori, Mia Bell Clori’ to the oboe’s dulcet free-form adagio in Giovanni Battista Ferrandini’sOpus 2:2 Sonata and rippling figures like agentle game of tag in Giuseppe Antonio Bres-cianello’s B-flat Concerto for oboe, bassoon,and basso continuo.

Singing style abounds, which is not easy toachieve in a wind ensemble. The sweet-toned

bassoon is the ideal bass partner for recorderand oboe in Vivaldi’s R 103 Concerto. And arich continuo trio (violone, archlute, harpsi-chord) joins forces with transverse flute andoboe in Baldassare Galuppi’s Sonata a 3,where it’s like hearing a group of instru-ments—and their players—happily relishingeach other’s company.

C MOORE

London circa 1720La Reveuse/ Florence Bolton, Benjamin Perrot

Harmonia Mundi 905322—61 minutes

Subtitled “Corelli’s Legacy”, this is a pleasura-ble collection of compositions by composersin England who either had direct connectionswith Arcangelo Corelli or fell under his influ-ence. In the first category is Sonata IV (Opus 1,1716 edition) by his student, Francesco Gem-iniani, and two works by a colleague in Italy,George Frideric Handel (Sonata “per la violada gamba” and a “Concerto a quattro”, alsoattributed to Telemann). The English love ofthe recorder is represented through JohannChristian Schickhardt’s arrangement of move-ments from Corelli’s Opus 6 concerti grossi asa trio sonata, his own Concerto II for fourflutes and continuo (here performed by tworecorders and two baroque flutes), andWilliam Babell’s chirpy Concerto II from Opus3 for “sixth flute” (a soprano recorder in D)with its nightingale imitations (though the rip-ieno violin parts are missing on this record-ing).

The musicianship of this ensemble can beheard in every selection, from the stylish orna-ments added by Stephan Dudermel (violin) inthe Geminiani, to the agility and blend of thetwo recorders (Sebastien Marq and MarineSablonnière) in the Schickhardt Corelliarrangement. The leaders of the ensemble,Florence Bolton (viola da gamba, also a won-derful soloist in the Handel sonata) and Ben-jamin Perrot (theorbo) supply supportive andinventive accompaniments.

BREWER

Old & New WorldsArs Veritas/ Jakob Patriksson; Schola Cantorum/Jeremy D Jones—Centaur 3790—59 minutes

A meeting between the directors of the twomen’s choirs, Ars Veritas (Sweden) and ScholaCantorum (USA), led to a joint program ofmusic from the Old World and New. The old-world music consists of movements from Ock-


eghem’s Missa Pro Defunctis, and the anony-mous Messe de Tournai. The Mass, Orbis Fac-tor is arranged by Patriksson, and he offersanother arrangement of the familiar Christmassong `Gaudete’. Per Gunnar Petersson is thearranger of the goliard song `Tempus AdestFloridum’. Other contemporary works are`Creator Alme Siderum’ by Richard Burchard,and `Verbum Caro Factum Est’ by DominickDiOrio. The music is well performed and spir-ited, and much of the contemporary music isrecorded here for the first time. Texts andnotes are in English.

LOEWEN

For All the SaintsBYRD: Justorum Animae; MOORE: He That IsDown; PHILLIPS: Peace Is My Last Gift; Breatheon Me, Breath of God; Psalm 103; Agnus Dei;TAVENER: Song for Athene; BULLOCK: GiveUs the Wings of Faith; PART: The Beatitudes;FURNIVALL (arr.): Amazing Grace; O’REGAN:

We Remember Them; SHEPHARD: The Secretof Christ; ELGAR: The Spirit of the Lord;VAUGHAN WILLIAMS: For All the SaintsJason Klein-Mendoza, org; Choir of All Saints’Church, Beverly Hills/ Craig Phillips

Gothic 49325—69 minutes

This choir has produced six earlier recordingson the Gothic label, but this is the first on thetheme of their feast of title, All Saints’ Day.Some of the selections are more appropriatefor All Souls’ Day (November 2), and othersare somewhat loosely associated with theseoccasions.

Craig Phillips is the director of the choirand has been honored and commissioned as acomposer by the American Guild of Organists.Four of his pieces are recorded here for thefirst time. They are characterized by quietdeclamation and lush harmony. Two of thecomposers here—Arvo Pärt and John Taven-er—are reputed as minimalists, though thatmay be a too simplistic categorization. Taven-er’s `Song for Athene’ (1993) suddenly becamepart of the standard repertory after it was sungat the funeral of Princess Diana in Westmin-ster Abbey in 1997. Pärt’s `Beatitudes’ sets thetext that is the traditional Gospel reading forAll Saints’ Day. I would describe the setting asmore contemplative than expressive. Theinfluence of these composers, as well as fig-ures such as Morten Lauridsen and EricWhitacre, is evident in the works by TarikO’Regan (b 1978) and Phillips himself.

`Give Us the Wings of Faith’ by Ernest Bul-

lock (1890-1979) is an example of what I callthe Anglican tug-on-the-heartstrings idiom.This recording of it is disappointing largelybecause the choir and organ sound too distantand feeble, robbing the music of its emotionaleffect. `The Spirit of the Lord’ is the openingchorus of Elgar’s oratorio The Apostles (1903),and as such was conceived for a large chorusand orchestra. I have yet to hear it sound effec-tive performed by a church choir with organaccompaniment.

The choir of All Saints’ Church consists of12 professional staff singers and 25 auditionedvolunteers. As heard here, they have good butfar from flawless ensemble and intonation.The organ was built by Casavant and since1978 modified several times. I find that theorgan pedals sound disproportionately promi-nent in this recording. Whether that is intrinsicto the instrument or just the way it was record-ed here, I cannot say.

GATENS

Banquet for VoicesGUERERRO: Duo Seraphim; ALLEGRI: Mis-erere; CALDARA: Crucifixus; SCHEIDT: Sur-rexit Pastor Bonus; TALLIS: Spem in Alium;PHILIPS: Ave Regina; BRAHMS: Fest undGedenkspruche; MENDELSSOHN: Mitten wirim Leben Sind; Heilig; BACH: Singet dem Herrn

Cambridge Singers/ John RutterCollegium 525—72 minutes

This anthology of polychoral fare was firstreleased by Rutter & Co in 1994. It has beenrefurbished sonically and sounds just fine. Iwas most taken with the works by FranciscoGuerrero (3 choirs), Antonio Caldara (16parts), Samuel Scheidt (double choir) andPeter Philips (also double choir), which arenot only wonderful but seldom performed.Also special is this account of Gregorio Alle-gri’s Greatest Hit (5 parts, 4 solo voices) which,for once, sounds so beautiful in toto that youaren’t just waiting around to sail off on thehigh-Cs. It’s never been done better. Rutter’sBach adds rhythmic snap and some appealingweight to the elegance we would expect, andthe 19th Century double-choir stuff is prettygood, too. John Rutter has become such a phe-nomenon as a composer and champion of hisown works that it’s easy to forget his gifts as aconductor of other people’s music.

GREENFIELD


The gifts of God are there to be delighted in.To fall short of joy would be ingratitude.

—ELLIS PETERS

Here I StandESENVALDS: Only in Sleep; GJEILO: Ave Gen-erosa; ELDER: In Your Light; 365; SCHOEN-

BERG,ADAM: Never Shall I Forget;CHILCOTT: Like a Singing Bird; QUARTEL:

Bird’s Lullaby; DEBUSSY: Salut Printemps; LIN-

FORD: Here I Stand; RAMSEY: Grow LittleTree; PINKZEBRA: SingAnny Cheng, Anna Khaydarova, p; iSing SiliconValley/ Jenna Delp Somers, Shane Troll

Innova 58—49 minutes

ISing Silicon Valley is billed as “the premieregirl’s choral education organization” in Cali-fornia’s Bay Area, and they’ll get no argumentfrom me on that score. Hundreds participatein the programs they offer, and this ensembleculled from their ranks is obviously the varsitygroup. The voices are attractive, expressive,and quite nicely recorded. Note that this is notone of those “Folk Songs from Around theWorld” programs that are often the purview ofchildren’s choirs. They’re singing what the “bigkids” sing (Esenvalds, Gjeilo, Chilcott,Debussy) and bringing honor to all of it. Thegirls are also very good in the works they’vecommissioned, some of which call for stringsand percussion. This is only the 7th year iSinghas been around, which makes their variousprizes, awards, and gigs all the more impres-sive. There is a handsome booklet with notesand texts.

GREENFIELD

The Singing GuitarESMAIL: When the Guitar; MUHLY: How LittleYou Are; SMITH: The Dawn’s Early Light;JOHNSON: The Song That I Came to SingEsteli Gomez, s; Douglas Harvey, vc; Los Angeles,Texas, Austin Guitar Quartets; Conspirare/ CraigHella Johnson—Delos 3595—72 minutes

41 minutes of Conspirare’s Singing Guitar pro-gram is devoted to Nico Muhly’s How LittleYou Are, a set of six songs crafted for choir andthree guitar quartets. In an interview, conduc-tor Craig Hella Johnson likens the composer’suse of choirs of guitars to the antiphonaleffects achieved at St Mark’s in Venice half amillennium ago by Giovanni Gabrieli and hispeers. But the maestro is quick to point outthat Muhly’s extended meditation on the writ-ings of pioneer women from 19th CenturyAmerica is not a piece that “cries out for atten-tion”. Instead, he continues, the image-ladentexts testifying to the immanence of God,nature, and death are meant to be communi-

cated subtly and gently, and listened to “per-haps repeatedly in quiet, private spaces”. Theguitars, then, are on hand to caress the peace-ful flow of the music, not ping across theantiphonal soundstage in the dazzling mannerof a Gabrieli Canzon.

Despite some lovely moments, I have tosay that the set in its entirety doesn’t comeacross. I find it repetitious and just too soporif-ic to grab me for extended periods of time. Ilove the burbling arpeggios of Ìnterlude:Springtime’, but that’s 3 minutes out of 41.

Better for me was Kile Smith’s Dawn’sEarly Light, settings of six texts by Sarah Win-nemuca, the first Native-American woman topublish an autobiographical narrative in Eng-lish. There are serene musical moments there,too, but the songs exude some ethnic person-ality. `My Grandfather Jumped Up’ and `ThePaiutes Are Not Fond of Going to War’ are pro-pelled with authority by the cello and therhythmic strumming of the Los Angeles GuitarQuartet. I also like Reena Esmail’s 6-minute`When the Guitar’, which links East and Westwith exotic melodies redolent of the Indiansubcontinent. In sum, this is a musical donutwith fine singing, handsome guitar playing,and a hole in the middle.

GREENFIELD

Pembroke College, CambridgeANDREW: All Things Are Quite Silent; POS-

TON: Water of Tyne; Jesus Christ the Apple Tree;LAPWOOD: O Nata Lux; BEAMISH: In the Still-ness; DOVE: Into Thy Hands; BRIGGS: MediaVita; SHAW: And the Swallow; MARTIN: Justo-rum Animae; BEACH: Peace I Leave With You;DALEY: Grandmother Moon; Upon Your Heart;HOLST, I: Agnus Dei; TAVENER: Mother ofGod; RHEINBERGER: Abendlied; MVULA:

Sing to the MoonPembroke College Choir & Girl’s Choir/ AnnaLapwood—Signum 642—57 minutes

You’d expect a program strewn with titles likeÀll Things are Quite Silent’, Ìn the Stillness’,and `Peace I Leave You’ to be a mellow affair,and in this case you’d be right. The selectionsare hushed, lyrical and, often, spirituallycharged. Most are by female composers, andmost have contributions by the PembrokeGirl’s Choir, an ensemble of 18 singers aged11-18. So, don’t expect propulsive rhythms,dramatic changes of volume, or much in theway of emotional intensity. But the singing isbeautiful, and there are many songs to admire.Elizabeth Poston’s `Water of Tyne’, Imogen


Holst’s Àgnus Dei’, Amy Beach’s `Peace’, JohnTavener’s `Mother of God’, and Joseph Rhein-berger’s exquisite Èvening Song’ are the onesthat stand out. So, let Pembroke’s co-ed choirtake a place among Cambridge University’sprime choral attractions, and let’s be on thelookout for more releases by the young womenand girls performing under the college’s aus-pices.

GREENFIELD

PilgrimageHOWELLS: Requiem; HANSON: Prayer of theMiddle Ages; PALESTRINA: Sicut Cervus;PAULUS: Pilgrim’s Hymn; arr LADZINSKY:

Down to the River to Pray; arr CARACCIOLO:

Wayfaring StrangerTara Cowherd, Lauren Morrisey, s ; JaneenJensen, Kaitlin Pearson, Allison Matson, a; JosephO’Connor, t ; Tom Lesniak, bar; Resonance/ ABarron Breland—MSR 1657—36 minutes

Resonance is a choir of some 40 voices basedin Nebraska. Since 2017 they have been per-forming outside their home territory, and theyhave dubbed this release Pilgrimage inacknowledgement of the musical journey theyhave undertaken. Their program is short induration but long on lovely singing. Theensemble creates a rounded, intimate choralpersona that fits this music nicely. They’ve alsobeen blessed with warm and flattering soundby the MSR engineers. (Some of the otherchoirs I’ve reviewed lately would have giventheir eye teeth to have been recorded thiswell.) The repertoire is not sharply dissonantor all that complicated in design. Resonancewent after music they could cuddle and, withMSR’s technical help, that’s exactly what theydid.

GREENFIELD

Longing for Home: American HymnsSt Peter’s Episcopal Church, St Louis/ David Sin-den, org—Regent 509—62 minutes

17 hymns with either words or tune—oftenboth—by Americans. The composers includeGerre Hancock, Alan Hovhaness, CalvinHampton, and Robert Lowry. Many arearrangements, but many are also simple anddirect. I am a lover of hymns, but I don’t likethem over-arranged. Robert Lowry’s `Shall WeGather at the River’ is extremely beautifulhere, slow and pure (6 minutes). `Jesus Paid ItAll’ is wonderful—and quite unexpected froma well-trained Episcopal choir who also sing

much more complex music even here. Theorgan parts are glorious. Naturally, the pro-gram includes Àmazing Grace’ and `HowFirm a Foundation’. The Negro spiritual, `StealAway to Jesus’ is matched by the white spiritu-al, `Wondrous Love’. The program ends with ahymn sung in every kind of church, `ComeThou Fount of Every Blessing’.

This is much less difficult music than whatyou hear from the English cathedral choirs—and much warmer. It is American piety at itsbest—and very appealing music. So many ofthe best English and American choirs seem toavoid the 19th Century—too emotional in oursevere time—but this does not, though there isplenty from the 20th Century, too.

VROON

Truth & FableELDER: Absalom; RAVEL: 3 Chansons; HOW-

ELLS: Take Him, Earth, for Cherishing; VAUGH-

AN WILLIAMS: Valiant-for-Truth; CASALS: OVos Omnes; TOMKINS: When David Heard;BEACH: Pax Nobiscum; PAULUS: The RoadHome

Raffi Kasparian, p; The 13/ Matthew RobertsonAcis 95579—64 minutes

The 29-minute Absalom of Daniel Elder (b1986) is the cornerstone of this program, and ariveting work it is. Described as a “protest-inspired oratorio”, it starts with King Davidmourning his son but forges ahead to explorethe theme of violence and responsibility, withPilate, Henry VIII, soldiers of the AmericanCivil War, and modern day enablers of gun vio-lence all taking turns under the musical micro-scope. The static harmonies of David’s griefsoon give way to neo-romantic writing for thepiano, cathartic whacks from the bass drum,and the declamatory `We the People’ interludewith its haunting “365” mantra that has madeit into the repertory on its own. (The iSingGirls of Silicon Valley perform that same hyp-notic excerpt on their release reviewed above.)The complete Absalom may take a little whileto grab hold, but when it does you feel it. It issung brilliantly by The Thirteen. They shine injust about everything they touch, includingthis first-ever recording of Amy Beach’s `PaxNobiscum’, written near the end of the com-poser’s remarkable life. The ensemble may bethree singers smaller than Harry Christopher’s16, but they loom plenty large in this reper-toire.

GREENFIELD


Walking on WavesMANTUA: O Vos Omnes; KNAGGS: O VosOmnes; JONES: 5 Irish Folk Songs; WILBERG:

The Dying Soldier; BOWMAN: Words by theWater; Now Touch the Air Softly; CAMPBELL:

High from the Earth; 3 Scottish Folk Songs; PIC-

COLO: Jesus Walking on the Waves; BRACK-

ETT: To be Free; BARBER: Sure on this ShiningNight; FERKO: 4 American Folk Songs; RUT-

TER: SkylarkCalvin Bowman, p; Trinity College Melbourne/Christopher Watson—Acis 10178—67 minutes

A program of sacred and secular pieces cen-tered around a theme of remembrance, com-fort, fear of the unknown, and dislocation ofplace. This excellent choir is composed of stu-dents and recent graduates of the University ofMelbourne, Australia. They sing weekly servic-es as well as numerous other events during theschool year. Of particular interest are thearrangements of folk songs from Scotland, Ire-land, America, and Australia, especially onesby Peter Campbell and Frank Ferko. Most ofthese are under 5 minutes save for the mean-dering and uninteresting title piece by Antho-ny Piccolo. The choir sings with beautifulblend, secure intonation, and expressive musi-cality. Notes on the music with texts.

DELCAMP

AuroraLAVOY: Song of a Dream; In the Forest; Tran-sience; Last Letter; I Shall Not Live in Vain;SCHEIBE: O Magnum Mysterium; WHIT-

BOURN: Beatus Vir; Sanctitude; RHEINBERG-

ER: Kyrie; JORDAN & POWELL: Interpola-tions on Sicut CervusJeremy Powell, sax; Veronique Shafter, v; GregStout, p; Isabella Burns, Krystal Dib, s; ReneMiville, bar; Westminster Williamson Voices/James Whitbourn, James Jordan

GIA 1056—64 minutes

I have admired Westminster Williamsonbefore and am happy to do so again here. Theyare singers with ties to the Westminster ChoirCollege who have become the resident ensem-ble of the Choral Institute at Oxford, which—inflat defiance of its name—is based at RiderUniversity in New Jersey. They sound justsplendid in this program, which was recordedat Philadelphia’s Basilica of Sts Peter and Paul.

I confess, though, that not all the repertoireis to my taste. Sanctitude (which goes on for afull 13 minutes) and a bizarre 6-minute rein-carnation of Palestrina’s `Sicut Cervus’ bothemploy a soprano sax squealing away atop

static, gooey New Age harmonies. The Palestri-na has just enough of the original in it to showhow beautiful it would have been had they justleft it alone.

But I do like the works by Thomas LaVoy,especially his setting of the heartbreaking let-ter penned by a Union soldier named SullivanBallou just before he was killed in the earlydays of the Civil War. You might recall that itwas written to his wife Sarah, and recited togreat effect in the stunning documentary onthe conflict crafted by Ken Burns. LaVoy sets itfor a solo baritone accompanied by a violinobbligato redolent of the `Ashokan Farewell’,the plaintive melody that haunted us repeat-edly in the film and has become the musicalvoice of our greatest national tragedy. SamScheibe’s `O Magnum’ and the RheinbergerKyrie are my other two favorites on the pro-gram. While I didn’t love all the music, you willfind things to admire, and the singing is wor-thy of the Westminster name.

GREENFIELD

Always About LoveAmaryllis Dieltiens, s; Brisk Recorder QuartetAmsterdam—Globe 5275—64 minutes

This is an interesting program of mostly 14thCentury love songs played by the recorderquartet. Some are also sung by Amaryllis Diel-tiens. There are also some pieces from the 20thCentury that have been arranged for recorderquartet. The song texts are about longing, hap-piness, restless hearts, a bride’s dream of herwedding night, sadness, heavenly love andearthly love, and saying farewell. The songs aresimilar in content to 19th Century Salon lovesongs but greatly simplified and played onvery basic instruments. Some of the lyrics aresincere and others sexually suggestive. Themusic is a mix of bright and cheerful melodies,slow introspective themes, and some unusualvocal arrangements that are only emphasizedby the recorder accompaniment.

The vocals are performed in their originallanguage, and the texts supplied only occa-sionally include line-for-line English transla-tions. Often the English translations are sum-marized in a paragraph. Although the record-ing is very clear, Ms Dieltiens is placed in thecenter of the recorders and the lyrics are diffi-cult to understand. Other songs are only per-formed by the recorder quartet in sometimescomplex arrangements. I did not care for anyof the 20th Century songs, which seem to haveno melodic line and are rather abstract.


Do you like recorders? Fortunately, there issome variety in the music. Although I likedmany of the songs and the playing is verygood, a little of this goes a long way.

FISCH

Anima Rarafrom Madama Butterfly, Iris, La Wally, Lodoletta,La Traviata, Sapho, othersErmonela Jaho, s; Valencia Orchestra/ AndreaBattistoni—Opera Rara 253—70 minutes

Rosina Storchio is probably best known as thesoprano who created the title role in Puccini’sMadama Butterfly, but she also created anumber of other roles in operas by Leoncaval-lo (La Boheme, Zaza), Giordano (Siberia), andMascagni (Lodoletta). She had an eclecticrepertoire, appearing in operas as different asLa Traviata, La Sonnambula, Euryanthe,Hansel and Gretel, The Marriage of Figaro,and Andrea Chenier even as she made theheroines of verismo operas her own. She leftbehind fewer recordings than most of uswould like, valuable souvenirs that only partlysupport her reputation. I would love to haveseen her onstage.

Ermonela Jaho, the Albanian soprano,gives us a worthy tribute to Storchio in her firstsolo disc. I have praised Jaho before for herexquisite Butterfly video (M/J 2019); and, morerecently, Opus Arte has given us her excellentVioletta from the Covent Garden production(Opus Arte 7260). This is another feather inher cap. Many of the selections will be familiar,but there are some rarer pieces. One doesn’thear Massenet’s Sapho or Giordano’s Siberiavery often (both have had a few recordings, butthey are deleted or hard to find). It is fittingthat Jaho opens and closes the program witharias from Madama Butterfly, a thrice-familiaropera that had a disastrous premiere at LaScala in 1904. It was a terrible night for every-one, but especially the composer and thesoprano, who was openly mocked because ofher relationship with Toscanini (she was preg-nant with his child at the time). Jaho singsthese scenes very beautifully, with all the pas-sion one could wish for. She sings the revisedversion of the death scene rather than the ver-sion Storchio sang the fateful night of the pre-miere. Jaho also sings contrasting arias ofMusetta and Mimi from Leoncavallo’sBoheme, Iris’s Ùn di (ero piccina)’, the finalscene from Lodoletta, and a chunk of thefinale to Massenet’s Sapho. Her accounts ofthese scenes are very persuasive. More famil-

iar fare includes Manon’s `Notre petite table’,Violetta’s Àddio del passato’ Margarita’s Àltranotte in fondo al mare’, and Wally’s Èbben? Neandro lontana’. Jaho differentiates all thesepassionate women with precision and skill,just as Storchio did.

Andrea Battistoni is a most sympatheticcollaborator and he leads his orchestra with apassion that matches Jaho’s. I wish they hadincluded Butterfly’s entrance music: Pucciniwrote the higher option with Storchio’s voicein mind, and Jaho has a beautiful high D-flat.Maybe that will be on another disc (it alsowould have required a female chorus).

The sound is more than adequate, captur-ing the glow on Jaho’s tone. Ditlev Rindomsupplies informative notes on Storchio as wellas helpful assessments of the different ariasand scenes. Texts and translations.

REYNOLDS

Amy JohnsonMAV Symphony/ Steven Mercurio


Amy Johnson is a soprano of Wagnerian pro-portion whose career has included interna-tional opera, musical theater, and academia.For this program she has selected music ofRichard Wagner, Stephen Schwartz, LeosJanacek, Richard Strauss, Thea Musgrave, JulesMassenet, Anton Coppola, and Robert Liv-ingston Aldrich. As the liner notes mention,“this album shows the many facets of sopranoAmy Johnson, an artist not easily defined andwho has chosen a less-traveled path”. The pro-gram offers a good survey of the kind of rolesshe has sung so well.

John Fiore, former chief conductor ofDeutsche Oper am Rhein and Artistic Directorof the Norwegian Opera, suggested puttingtogether this album as a way of showing John-son’s versatility and range. Together theyselected a program from 9 operas of the morethan 30 in her repertoire: Die Walküre, KatyaKabanova, Seance on a Wet Afternoon, Saccoand Vanzetti, Arabella, Simon Bolivar, Thais,Salome, and Elmer Gantry. She sounds athome singing in six languages.

The vocal gifts and dramatic versatilityheard here are impressive, from the lyricallines of Myra in Seance or Sharon in ElmerGantry to heavy demands of Wagner andStrauss. Johnson sings with great power andauthority; she can really belt it out. Her laser-like high D at the end of the `Dis-moi que JeSuis Belle’ from Thais is stunning. As a cham-


pion of new music, she created the role ofManuela in Musgrave’s Simon Bolivar, whichshe sings with fiery determination.

If you want volume, she’ll give it to you,but her voice is also lustrous and she can reinit in tenderly, as she does in the scene fromElmer Gantry. Judging from this reading of thefinal scene of Salome she would be electric onstage in her ability to cut through a massiveorchestra while still conveying the lurid seduc-tiveness of a sexually depraved teenager. Alto-gether this is a gripping album.

Steven Mercurio leads the MAV Symphonyof Budapest securely but with enough flexibili-ty to accompany a powerful singer in a wide-ranging program. Three other singers takesmaller parts in the program: Vernon Handley,Emily Langford Johnson, and Melissa Primav-era. An unnamed chorus is heard in the Cop-pola and Aldridge scenes.

The program was recorded in 2009 inBudapest and evidently not released untilnow. She is currently an Associate Professor atthe College-Conservatory of Music in Cincin-nati.

Notes about the singer and texts in Englishwith English translation only of texts in Ger-man, Czech, Spanish, Italian, and French.

R MOORE

Buried AliveHonegger, Schoeck, Mitropoulos

Michael Nagy, bar ; Bard Festival Chorale;Orchestra Now/ Leon Botstein

Bridge 9540—79 minutes

The three orchestral compositions of this pro-gram were written in the years 1926 to 1928:Arthur Honegger’s wildly colorful Rugby; Oth-mar Schoeck’s Lebendig Begraben (BuriedAlive), a gripping song cycle for baritone andwordless chorus; and Dimitri Mitropoulos’srarely heard Concerto Grosso.

Honegger’s Rugby is the most familiar ofthese works, having been recorded more thana dozen times, probably most famously byLeonard Bernstein and the New York Philhar-monic. The composer reported that his intentwas to express “the rhythm and color of a[Rugby] match at the Colombes Stadium” withthe two teams represented by conflicting timesignatures intensifying to the point where therhythm changes almost every measure. It’s arousing piece, even if here it doesn’t capturethe rambunctiousness of the game as dramati-cally as Bernstein did.

The most surprising and innovative pro-

gramming touch is Concerto Grosso com-posed in 1928 by Dimitri Mitropoulos, who isremembered as conductor of the MinneapolisSymphony and the New York Philharmonic. Itis less known that he was an accomplishedcomposer in his younger years, having studiedcomposition with Ferrucio Busoni until hegave that up in the 1930s to concentrate onconducting. This composition, one of the lasthe completed, incorporates Baroque elements(e.g. French overture, fugal writing, canon,chorale). Each of the four movements uses adifferent instrumentation. The performance isvivid and snappy.

The major work of the program isSchoeck’s song cycle Lebendig Begraben(Buried Alive), which the liner notes describeas “a bold expressionistic depiction of a horri-ble nightmare”. The cycle of 14 settings ofpoems by Gottfried Geller is through-com-posed and designed for performance withoutany break between the texts. Critic Paul Grif-fiths described it as less a song cycle than amonodrama by a man who discovers that hehas been buried alive. From his grave the manhears sounds of the outside world as memo-ries of his life come to mind until at the end hecomes to accept the inevitability of his death.As the work nears its end and the man haspassed through the stages of death and dying,a wordless chorus sings, perhaps as voicesfrom beyond this world. The cycle ends withthe man’s ecstatic vision of eternity, and heproclaims his spiritual triumph over death.

Dietrich Fischer-Dieskau’s 1962 recordingof Lebendig Begraben has been the bench-mark for later recordings. In this one Germanbaritone Michael Nagy gives a powerfulaccount of the work; the brawny grit of hisvoice serves the music well.

The program was recorded in November2019 at the Fisher Center for the PerformingArts of Bard College. The Orchestra Now(TON) is composed of young musicians fromaround the world selected from leading con-servatories. Leon Botstein is president of BardCollege and music director of TON. In hisrenowned career as a conductor and educatorhe has been music director of the AmericanSymphony and Jerusalem Symphony andartistic co-director of the Bard Music Festivaland Bard SummerScape.

The ingenious programming of this albumalone makes it well worth hearing. The vibrantand compelling performances make hearing itrewarding.


Informative notes by Peter Laki. Texts inGerman and English.

R MOORE

Nikola Nikolov: AriasBoheme, Butterfly, Otello, Aida, Pagliacci, others

various orchestras & conductorsGega 414—65 minutes

I had heard of Nikola Nikolov, yet reviews ofhis two Met performances in 1960 were notencouraging, suggesting that debut nerves gotthe better of him and that the voice itself wasnot impressive.

So much for critics. The voice heard here issplendid. The tone is warm and steady, the topringing with a squillo that makes the musicalclimaxes that much more exciting. He doesn’thave the musical imagination of some of hisbetter known colleagues, but his singing isconsistently enjoyable. It may be that he wasindisposed at his Met debut or had entered acultural climate in New York circa 1960 thatwasn’t amenable to his gifts. At any rate, hisreputation in Europe is fully justified by thesinging on these tracks.

15 of the 17 arias are standard Italian operatenor fare; a few French items are thrown in forgood measure. The last two items are from lessfamiliar works by Lyubomir Pipov (his operaMomchil) and Dobri Hristov (song `LukovitMaidens’). They are so attractive they makeme want to hear more from these composers.Nikolov is joined by his wife, the fine sopranoLilyana Vassileva in several selections. As withprevious Gega compilations, selections aren’talways identified clearly. Track 11 is listed as“La Boheme: Scene and duet of Mimi andRodolfo”. Most of us would think this refers toÒ soave fanciulla’ from Act I, but it is actually`Sono andati’ from the last act.

The sound is very good. Good, if syco-phantic, background notes on the singer. Notexts.

REYNOLDS

American Composers at PlayBolcom, Gordon, Laitman, Musto

Stephen Powell, bar; Charles Neidich, cl; JasonVieaux, g; Attacca Quartet—Acis 689—75 minutes

For his first solo album, Stephen Powell hasproduced a magnificent program of songs withtexts by American writers set by four of Ameri-ca’s best composers. Trenchant and poignantsongs are side-by-side with whimsical ones.All of them in some way show the composers

“at play”—having fun with texts. It would behard to find a better album of contemporaryAmerican songs than this.

The program gets off to a poignant startwith an aria from Lori Laitman’s operaLudlow, which tells the story of the LudlowMassacre in the 1913-14 coal-mining wars ofsouthern Colorado when more than a dozeninnocent people, mostly women and children,were killed when the Colorado National Guardburned down the tent colony of strikersprotesting brutal conditions. Later we hear herset of four off-beat songs, Men with SmallHeads; a lovely setting of Emily Dickinson’stouching Ìf I’ with piano and clarinet accom-paniment; and the humorous song, `Money’,about its ubiquitous power. I’ve reviewed hersongs before (M/A 2007, S/O 2009, S/O 2011)and find them exceptionally fine.

Five stand-alone songs of Ricky Ian Gor-don and six of William Bolcom are woven intothe tapestry of this album. Gordon has a stronggift for memorable melodies in his setting ofvivid texts, each a poignant look at life: Edna StVincent Millay’s `Souvenir’; “lives of quiet des-peration” in `Bus Stop’; a heart-breaking con-fessional `Father’s Song’; `The Good Death’, alament over ignominious Civil War deathsfrom typhoid; and À Horse with Wings’, his“anthem for connectedness, for gratitude, forcelebrating my newly found humanity”.

Four of Bolcom’s songs are from hisCabaret Songs: `Waitin’, `Can’t Sleep’, `Satisfac-tion’, and `Song of Black Max’—perhaps theshow-stopper of the whole program. The othertwo are of an entirely different nature; `Billy inthe Darbies’ from Melville’s Billy Budd withstring quartet accompaniment and `LadyDeath’ by A.D. Winans, both of which addressthe affront of death.

Two sets of songs by John Musto completethe program. Enough Rope is a set of threeshort songs on pithy texts of Dorothy Parker.The Brief Light with guitar accompaniment issettings of six texts by James Laughlin on loveand lust.

This is one of the best collections of Ameri-can songs by current composers you’ll findanywhere. The performances are everythingyou could hope for. Stephen Powell had theadvantage of rehearsing and recording thesongs with the composers to ask about inter-pretive details—though Bolcom only told himcircumspectly, “Just do what I wrote.”

Powell’s performance is splendid. He com-mands a wide range of expressive detail fromtender singing to shouting to make these com-


pelling songs irresistible. Texts are included,but they are hardly necessary with Powell’slucent diction. Notes are included by Powellabout producing this album and the com-posers about their songs, but I wish moreinformation had been supplied about the finecompositions.

R MOORE

Opera of the Sun KingKatherine Watson, s; Les Ambassadeurs/ AlexisKossenko—Aparte 209—73 minutes

This is a collection of 24 17th and 18th Centuryopera arias written during the reign of theFrench “Sun Kings”. The arias were selected todemonstrate the “art d’attendire”, the art ofinspiring tender emotion. They were writtenby a variety of composers for “tender andpathetic” heroines that were a fixture of periodFrench operas. These were primarily leadingparts for women in love where they could dis-play fidelity, courage, sincerity, and fragilitythat pre-disposed them to be tear-filled vic-tims. The French audiences enjoyed a goodcry, and these characters ensured that tearsflowed on-stage and off. This was furthered by18th Century composers who used the key of Emajor to imply hope rather than regret forthese doomed characters.

Familiar roles (and plots) include Dido,Armida, Eurydice, and Galatea; all of them arerepresented in various operas over the twocenturies. The 24 selections were writtenbetween 1670 and 1716. The composersinclude Jean-Baptiste Lully, Louis de Lully(Lully’s son), Andre Campra, Marin Marais,Michel Monteclair, Henri Demarest, and Jean-Baptist Stuck. The music is at a minimumpleasant and sometimes quite beautiful. Muchof it is from the same time period and style, somany of the selections sound fairly similar.

This is soprano Katherine Watson’s debutalbum. She embodies the vocal talents of theseheroines and then some. She has a pleasantand youthful voice along with a sensitive andsmooth delivery. Her singing has the requisiteinvolvement and pathos to make the charac-ters convincing.

The orchestra plays with proper attentionto the style, and the sound is excellent. TheEnglish and French booklet includes librettosinformative discussions of the period, com-posers and their operas, and the backgroundof the “art d’attendire” aria. The recording issponsored by the Versailles Center for Music.

FISCH

HAAS: Hertevig Studies; THORESEN: Landof Your Love; RATKJE: A Dismantled Ode tothe Moral Value of Art

Nordic VoicesAurora 5106—65 minutes

This album from six-part vocal ensembleNordic Voices is titled “Everything Is Gonna BeAlright” and is adorned with gilded flowersand a butterfly on the cover. This does nothingto prepare the listener for its stark, boundary-pushing contents. Though each work has itsown particular identity, all three can be con-sidered fully avant-garde. They all havenumerous extended vocal effects, as well as afluid approach to pitch and harmony. Further-more, the text is often minimally importantcompared to the music (no texts are included,which doesn’t bother me). At 24 minutes andin a single movement, Georg Friedrich Haas’sHertevig Studies is easily the most formidableof the three works. He explores the mystical,sinister, and otherworldly works of the Norwe-gian painter Lars Hertervig. Dissonant Ligetianclusters of sound and texture abound, pushingthe musicians to their limits as vocalists and asan ensemble. It is a fascinating, eerie piece—but one that requires incredible patience.Lasse Thoresen contributes Land of YourLove—settings of 19th Century poetry by Nor-wegian Henrik Wergeland and Iranian Tahirih,who was stoned for her outspoken beliefs ongender. The text, though, takes a backseat toThoresen’s explorations of non-temperedIranian and Norwegian modes and hisattempts to create polyphony in their styles.I’m not entirely convinced it works: the con-cepts of Western harmony don’t naturallytranslate to the Iranian maqam system. But hisnon-tempered harmonies are fascinating andleave an impression. Maja SK Ratkje’s Disman-tled Ode to the Moral Value of Art is a post-modern meditation on the famous `Ode to Joy’and its place in our world, considering the var-ious uses of it across history in the name ofhuman rights and fascist might alike. A solobaritone closes the piece with a heartfelt, yetlonely rendition of Neil Young’s `Everything IsGonna Be Alright’—hence the album title. It isa timely and provocative statement for ourworld’s uncertain future and recognizes theunassailable hope in Beethoven’s famoustune. This album is not for everyone; if you are


The Newest Music I FARO

put off by avant-garde music, stay far away. Butpatient and open-minded listeners who enjoya challenge will be rewarded with thought-provoking music.

KORVITS: You Are Light and MorningEstonian Philharmonic Chamber Choir; TallinnChamber Orchestra/ Risto Joost


This choral music is far more accessible. It is amarvelous, large-scale song cycle for choir andstrings by Estonian composer Tonu Korvits,setting poetry by 20th Century Italian authorCesare Pavese. Mahler is one of Korvits’sfavorite composers; like Mahler, he is drawn tothe mysterious, liminal connection betweenthe transience of nature and the human psy-che. In the poetry of You Are Light and Morn-ing, Pavese’s yearnings for past love, distantmemories, and forsaken dreams are expressedin imagery of flowing wind, water, and time.He illustrates these with evocative, fluid figuresin the choir and strings. Small chromatic turnsin melody against a rich harmonic backdropimbue his lyricism with darkness and mystery.Combined, these elements form an expressiveworld of emotion that feels intimate yet justout of reach. A framing mechanism by way of aB-flat minor `Fade in’ and `Fade out’ enhancesthis transient, otherworldly feeling; it remindsme of the similar method Richard Strauss usesin the Alpine Symphony, which opens with thesame mysterious chord. I will definitely returnto this enchanting music.

LEFANU: The Hidden Landscape; ColumbiaFalls; Threnody; The Crimson BirdRachel Nicholls, s; BBC Symphony/ Norman DelMar, Ilan Volkov ; RTE Symphony/ ColmanPearce, Gavin Maloney

NMC 255—76 minutes

This is an album of orchestral music spanningthe career of Nicola Lefanu. Her mother wasneoclassicist composer Elizabeth Maconchy—but Lefanu’s music is different from the Bar-tokian, small-cell approach of her mother. Shewrites with a keen sense of space and perspec-tive, often creating an expansive soundscapewhere musical ideas take root, develop, andinteract with each other. The early works, TheHidden Landscape from 1973 and ColumbiaFalls from 1975, are largely atonal and stark intexture—timbres are often juxtaposed like acollage rather than blended together. Hermusical language reminds me of late Messi-aen; The Hidden Landscape reminded me

quite a bit of his Canyons of Stars. In fact,Lefanu’s work premiered a year before Messi-aen’s! The later works are the short `Threnody’from 2014 and the song cycle The CrimsonBird from 2017; both are inspired by Euripi-des’s Trojan Woman. In these works, hermusic is lusher and more linear, with a greaterattention to harmony; though still predomi-nantly atonal, it is easier to follow. She fullycaptures the dramatic emotion and horror ofthe narrative—a woman’s tragic murder of herson lest he grow to participate in the senselessviolence of the world. This is a great album ifyou are interested in contemporary Britishcomposers.

FINBURY: Lay Me Down; Final Days of July;Black Tea; Winter Waltz; Fantasma; HalfwayThere; Waltz for Patty; Storybook Ending; I’llPray For You; My HometownTim Ray, John Finbury, p; Eugene Friesen, vc;Roberto Cassan, Vitor Goncalves, acc; RoniEytan, harmonica; Peter Eldridge, vocals

Green Flash 0—43 minutes

John Finbury is a Grammy and Latin Grammy-nominated composer, working primarily in thegenre of Latin jazz. This album, titled “Ameri-can Nocturnes”, is a departure for him. Percus-sion is nowhere to be found; instead, a cham-ber duo of piano and cello anchors the music,with harmonica, guitar, and accordion joiningin various combinations, all played by con-summate professionals. The sweet, straightfor-ward lyricism is refreshing—it often calls tomind American folk music. He elevates thiswith jazz harmonies and a subtly flexibleapproach to rhythm. This is a warm and invit-ing album that will put a smile on your face.

RAN: Grand Rounds; CHEUNG: Double Alle-gories; DZUBAY: PHO; KO: Simple Fuel;METTENS: Stain, Bloom, Moon, RainGrossman Ensemble/ Ben Bolter, MichaelLewanski, Jerry Hou, David Dzubay

CCCC 20182020—70 minutes

This is the first album from the Chicago—based Grossman Ensemble. Created by Augus-ta Read Thomas, the new music supergrouphas a fixed lineup of 13 musicians, with rotat-ing composers and conductors offering a vari-ety of music. Of the composers on this album,for example, Shulamit Ran and David Dzubaybrought works that were mostly complete forrehearsal; comparatively, Tonia Ko and DavidMettens took an improvisatory, sandbox


approach, building up their works duringrehearsals. Perhaps this is what gives theirworks a freer, more spontaneous sound. Ko’sSimple Fuel, Mettens’s Stain, Bloom, Moon,Rain, and ensemble co-director Anthony Che-ung’s Double Allegories are all driven by sen-sory explorations of timbre and texture. Themoment of sensation is at the center of DoubleAllegories; for example, in I, `touch/heat’, thevisceral, tactile response of the movement titleis heard in melting bent pitches and sparks ofsound. Stain, Bloom, Moon, Rain is infusedwith the idea of transformation, whether thruthe distortion of an instrument’s timbre from afamiliar to a strange sound, or thru the trans-formative potential of the image at play (like I,`stain’ or II, `bloom’). I enjoyed the color inTonia Ko’s choral work `From Ivory Depths’(S/O 2019, new) and am pleased to hear herinstrumental music. Her Simple Fuel drawsinspiration from the manipulation of move-ment, as in the image of a fast-moving freighttrain appearing slow from a distance. Stutters,hesitations, and bursts of frenetic energyabound in this vibrant work. Compared tothese timbral soundscapes, Shulamit Ran andDavid Dzubay’s works are much more melod-ic, giving the album a welcoming balancebetween concepts of new music. Ran’s GrandRounds was written for the ensemble’s inaugu-ral concert and thus has a festive, upbeat ener-gy. Ideas circulate continuously, evolving byeach later appearance. Dzubay demonstrateshis skill of writing for large chamber ensem-bles with the devilish PHO, which stands forPotentially Hazardous Objects. It is an intenseand energetic piece that gleefully threatens torun off the rails, with a performance instruc-tion that reads “dangerously fast; transient andstrange”. The musicians respond to thedemands of this and the other pieces with sen-sitivity and technical mastery. This album is anexcellent debut for the Grossman Ensemble; Ilook forward to hearing more from them.

ALDERETE: Dancing With Bows; JORDAN:

Alzheimer; GARCIA AGUILERA: Deep—Sea; RODRIGUEZ: Spiral; CARDENAS:

Influence; DELGADO: No QuestionsAuxi Belmonte, s; Camerata Gala/ AlejandroMunoz—IBS 112020—53 minutes

This collection of Spanish and Latin Americanmusic for string orchestra also seeks to showvarious aspects of new music; it covers a rangeof styles with mixed results. Igmar Alderete’s`Dancing with Bows’ and Monica Cardena’s

Ìnfluence’ both evoke Spanish and Latindance. `Dancing with Bows’ is a fantasticpiece, by far my favorite on the album. It cap-tures the excitement of its dances with flashesof crunchy dissonance and energetic rhythms.Ìnfluence’ felt more like a transcription of folkmaterial. It is episodic and lacks the originalitythat makes `Dancing with Bows’ so com-pelling. Two of the pieces have inspirationalprograms: Ruben Jordan’s Àlzheimer’ forstrings and soprano evokes the plight of peo-ple living with Alzheimer’s disease, and JoseJavier Delgado’s `No Questions’ is inspired bythe communicative “gap between electronicscreens and the world”. Both pieces are influ-enced by today’s popular film music.Àlzheimer’ lacks depth and switches betweensentimentality and nightmarish music alongthe lines of Danny Elfman. At least the musicitself holds interest; `No Questions’ is rife withpredictable sentimentality and boring osti-natos. Juan de Dios Garcia Aguilera’s `Deep—Sea’ is an excellent atmospheric work thatsimultaneously captures the fullness andemptiness of the deep ocean, stressing “theprimacy of the whole over the part”. It usesdrones, pitch bending, and timbral effects, giv-ing it a modern sound that feels out of place onthis album. Raquel Rodriguez’s `Spiral’ soundsBrucknerian, from its particular chromaticharmony (especially at arrival points), its slow-building majesty, and the gentle contrastingsections of pastoral diatonicism. Even if it feelstoo much like an imitation, it is enjoyable anddone well. This would be a better album if theperformances were stronger. At best, they areadequate; there are many moments where theensemble is not quite together or where theplayers have wobbly intonation.

NODARI: Romantic Double Concerto;BAREILLES: Secrets of Buenos Aires; PIAZ-

ZOLLA: Homage to LiegeDuo Mateux; Pugliese Philharmonic/ GiovanniMinafra—Stradivarius 37158—53 minutes

These are double concertos performed by DuoMateux—Giovanna Buccarella on cello andFrancesco Diodovich on guitar. The first, byMarco Nodari, has two subtitles: `Romantic’and `Possible Balance’, the latter referring to itssupposed balance between tradition andmodernity. It is far more on the side of tradi-tional; any alleged modernity here would beconsidered dated in the 1920s. It is an enjoy-able piece, though—its best quality is its rhyth-mic interplay between soloists and orchestra.


The remaining two works—one establishedand one new—are influenced by the tango.Homage to Liege is one of Piazzolla’s mostpopular works; the bandoneon part is oftentranscribed for cello, as it is here by Buccarella.His work endures in the way Gershwin’s does:he lets the classical elements of his style ele-vate, rather than smother the tango. MiguelBareilles risks that in Secrets of Buenos Aires;it is the most modern-sounding of the threeconcertos, which doesn’t always work. Howev-er interesting the sound may be sometimes,the tango element is overwhelmed by brashmusic, capped with a violent, dissonant smashof chords to end the piece like a nail in the cof-fin. Perhaps this is the intentional effect, butit’s not convincing when presented alongsidethe Piazzolla. With the exception of Diodovich,the performances here are rough. Often theorchestra does not play together or in tune.Buccarella also has intonation problems and issometimes out of step with her partner. Every-one fared better in the Piazzolla, but still couldnot deliver an admirable or competitive per-formance.

BOLLON: Your Voice Out of the Lamb; 4Lessons of Darkness; Dogmatic PleasuresJohannes Moser, Michaela Fukacova, vc; MichalaPetri, rec; Per Salo, keyboard; Odense Symphony/Christoph Poppen; German Radio Philharmonic/Nicholas Milton; Freiburg Philharmonic/ JaderBignamini


Fabrice Bollon has been praised in our pagesas a conductor of both operas and symphonicmusic. Ralph Locke enjoyed his recording ofKorngold’s Wunder der Heliane (Naxos660410, M/A 2019) and Roger Hecht found hisaccounts of Magnard’s first two symphoniesamong the best available (Naxos 574083, M/J2020). Here he shows a different—utterly dif-ferent—side of himself with his own composi-tions. His approach is decidedly postmodern.All three works have elements from non-clas-sical styles, including pop, rock, bebop, andelectronica. Your Voice Out of the Lamb is awildly virtuosic recorder concerto that incor-porates various effects and looping pedals. Heeschews the sweet, lyrical persona often asso-ciated with the recorder in favor of feats of ath-leticism and mysterious ambience. FourLessons of Darkness is a concerto for electriccello, using the instrument’s sonic versatility tocreate alien, yet viscerally emotional music. Itis not a concerto for electrified cello; rather, he

approaches the electric cello and its expansivecapabilities as a completely different instru-ment. It is a highly sensory work, combiningpsychedelic and symbolist elements in itsdark, almost apocalyptic imagery. DogmaticPleasures is a set of three short, virtuosicorchestral pieces. Though they differ from theother works in their ironic humor, they stillretain some dark, dissonant color. In the linernotes, Bollon writes that he does not see hiswork as a fusion of genres. Neither is it pas-tiche—apart from a few referential moments,there are no sections of music that actuallydenote a particular genre. Rather, he seesthese non-classical elements without the pre-conceptions of genre, as tools for creatingsomething original rather than merely novel.This is high-octane eclecticism with excellent,committed performances all around.

TARKIAINEN: The Earth, Spring’s Daughter; Saivo

Virpi Raisanen, mz; Jukka Perko, sax; LaplandChamber Orchestra/ John Storgards


Outi Tarkiainen is a composer who hails fromthe Finnish Laplands, the northernmost partof the country and the home of the indigenousSami people. She finds continuous inspirationin that region’s natural landscape and atmos-phere, as well as the lives and culture of itspeople. Like Magnus Lindberg and Kaija Saari-aho, she embraces modernism and can traceher artistic lineage to Paavo Heininen. But it ismodernism that is often in a readily intelligibleand accessible framework. She has alsoworked extensively as a jazz composer, includ-ing a song cycle with jazz orchestra. These aretwo of her largest classical works to date: theorchestral song cycle The Earth, Spring’sDaughter and the concerto for soprano saxo-phone Saivo. The excellent song cycle con-cerns the relationship between humanity andnature. It shows the threat of climate changeon the natural environment, as well as on theindigenous Sami who rely on it. The speakervaries between an omniscient storyteller, vari-ous generations of the Sami people, and eventhe Earth itself. Tarkiainen’s music here isappropriately expressionist and dramatic—I’mreminded of Berg, his operas more than hissong cycles. Mezzo-soprano Virpi Raisanen isstunning, and the orchestra is vibrant and col-orful. Saivo is spectacular. It is a formidableand substantial concerto of the highest quality.To the Sami, `Saivo’ refers to a sacred place,


usually a lake, where the spirit world connectsto our reality. The solo soprano saxophoneexpresses this duality between worlds—it actsas our guide to this otherworldly plane of reali-ty. While certainly displaying the soloist’s vir-tuosity—bravo Jukka Perko!—the work oftendisconnects the saxophone from its identity,allowing it to sound utterly new and unfamil-iar to the ear. This piece—and this album—leftme in awe. I can’t recommend it highlyenough.

HAMBURGER: Piano ConcertoAssaff Weisman; Montreal Metropolitan Orches-tra/ Vincent de Kort—Leaf 238—22 minutes

This is the first release from Canadian-Dutchcomposer Jaap Nico Hamburger. The pianoconcerto is short and flashy, composed in athree-movement arch form of slow-fast-slow.He seems to run the gamut of styles at play inthe 1920s. The slow outer movements aredarkly lyrical and romantic with patches ofatonality. The kinetic energy of the fast centralmovement evokes some of the hard-edgedneoclassicism of the era—Prokofieff came tomind. In the climactic center of the move-ment, Hamburger brushes with Varese withwailing sirens and forceful bass drums. Hismusic is exciting, imbued with the drama andmystery of early modernism. But the concertofeels too short for his ideas, and the soloistdoesn’t have nearly enough material. His ideasare promising, but he doesn’t do much withthem once presented. They could easily beexpanded to form a longer, more effective con-certo, with a far more satisfying solo part. Nev-ertheless, I still enjoy it and am glad to have it.I look forward to a further release of his cham-ber symphonies in a few months.

CROSSMAN: Icarus; Quartet 2; FrequentFlyer; Coastal Ghost; Earth March; Arriving atLoch LomondCharles Meinen, va; Laurie Altman, p; Trio Foss;Morency Quartet ; San Francisco ComposersChamber Orchestra/ Mark Alburger, JohnKendall Bailey—Centaur 3794—54 minutes

This a survey of instrumental works by AllanCrossman, with forces ranging from duo tochamber orchestra. A former student ofGeorge Rochberg, he writes in a similar neoro-mantic vein—it is tonal, but flexibly so. Therigors of serialism are still close at hand in hissecond quartet from 1978. It is a more seriouswork than his later pieces; they feel morerelaxed, with relations to flight, the environ-

ment, and the sea. I liked Frequent Flyer, alight but substantial trio of characteristicpieces for viola and piano. I also liked `CoastalGhost’, an imaginative chamber orchestrapiece with wonderfully demented seashanties. Icarus, scored for piano trio, is a nar-rative work following the same myth. The writ-ing is illustrative, but too episodic. It felt toomuch like a straightforward retelling of themyth and didn’t hold my interest. Neither didthe brash `Earth March’ or the charming butslight `Arrival at Loch Lomond’. In all, this is amediocre album, with some pieces I would lis-ten to again.

SHAHOV: MakedonissimoSimon Trpceski, p; Hidan Mamudov, cl, sax; Alek-sandar Krapovski, v; Alexander Somov, vc; VlatkoNushev, perc—Linn 636—83 minutes

Makedonissimo—meaning “very Macedon-ian”—is an ambitious folk music project led bypianist Simon Trpceski. The folk music of hisnative Macedonia is brimming with rhythmicvitality and modal beauty. For Trpceski andmany other Macedonians, it is part of everydaylife and has been so since childhood. ForMakedonissimo , he grouped songs anddances together by meter into six plaits, or folkmedleys. Some of these meters even get intorare 13, 18, and 22-beat patterns. Fellow Mace-donian Pande Shahov then transcribed themfor Trpceski and the rest of the Makedonissi-mo Quintet, made up of professional classicaland folk musicians. They toured international-ly with the project starting in 2017, leading tothis album. And what an album! It isn’t youraverage take on folk music; Shahov is not aim-ing for ethnomusicological authenticity, butrather for a truly original and personal tran-scription that retains the essential spirit of themusic. His background in jazz can be sensedin the way he approaches writing for the quin-tet, making space for improvisations andembellishments. The music is challenging,written to match the high level of skill of themusicians. The group often trades betweenensemble sections and solos in a way that feelsjazzy, but also completely in line with folk tra-dition. Makedonissimo strikes a balancebetween tradition and originality. Whethergiven a haunting and poignant melody, a nos-talgic, lyrical ballad, or a whirlwind of vigor-ous, celebratory dancing, the musicians bringstrong feeling and unfettered joy to the music.I highly recommend this album to any musiclover.


SHAPIRO: ArcanaAdam Marks, p—Innova 41—80 minutes

This program starts with Spark, an effortlesslyflowing, vibrant work for piano. ComposerAlex Shapiro mentions in the program notesthat Spark “was inspired by the life, energy,and heart of Dale Mara Bershad, a gifted musi-cian who often used her talents to share thejoy of expression and wonder with young chil-dren”. Childlike wonder is certainly here inspades in this work that is sometimes jubilant,sometimes morose, and is always shockinglybeautiful. Shapiro shows her naturalistactivism profoundly in Arcana, the album’snamesake. Pianist Adam Marks gives thispiece a thoughtful, powerful performance.Arcana is eight movements and speaks to therelationship that humans have with the earth.Shapiro writes that this piece is mostly toldfrom the perspective of plant life, with “healingherbs as protagonists of a story that beginswith a dire warning, and ends with the faiththat wisdom and grace shall finally triumph”.Indeed, the dark and archaic sounds of thefirst movement, `Cradle these Roots’, gives wayto II. `Unfurl’ which begins in light, continu-ous eighth notes that unrelentingly cascadetowards a fervent climax. VI, `Touch It’, is just aminute and a half of catchy, spunky, absolutelydelightful syncopation—the type of music youcan’t help but move along to. The final move-ment, `From Earth to Sky’, mirrors the firstmovement in its use of range and large chordalmovement, yet in this case its music whispersof optimism and hope and trust. The PianoSonata is another favorite here. A pensive Iwhose harmonies are scrumptiously thick isbalanced by a II whose soliloquizing melodiesshine in colors both dark and bright. The finalmovement clocks in at less than two minutesand is a riotous romp. Marks’s musicianship isin glorious display here: not only is this motoperpetuo executed with utmost crispness, buteach layer of voicing can be clearly heard.

PINE: Times of DayKeren Schweitzer, fl; Jonathan Szin, cl; JasonLippman, vc; Jeffrey LaDeur, p; Dorian WindQuintet


One of my favorite things about this album is

the listing of the instruments and their makersin the booklet. What a lovely way to give creditand a bit of a spotlight to the instrument mak-ers when their handiwork is such an integralpart of the album’s music-making. I can’t findmuch about composer Luis Pine beyond ashort biography accompanying this disc, buthe was born in Lisbon in 1957 and attendedthe Lisbon Conservatory of Music. The five-movement Times of Day for wind quintet,while performed graciously and with poise bythe Dorian Wind Quintet, is saccharine andsuffers from a lack of imagination. Clever har-monics in the cello make lovely imitations ofbirds in Dawn for flute and piccolo and cello,performed with tenderness by KerenSchweitzer and Jason Lippman, but the flute’smelodies never seem to fully flesh out in per-sonality—never quite say what they appear tobe attempting to convey. Solar Midnight, forclarinet and piano, is moving and dark andcompelling; bravo to Jonathan Szin and JeffreyLaDeur for this performance!

From the Great LakesMorgan, Mutter, Wilding

Stacie Mickens, hn; Francois Fowler, g; DavidMorgan, db; Rex Benincasa, perc; Diane Yazvac,James Wilding, Carolin Oltmanns, D. Jack Cia-rniello, p


Horn player Stacie Mickens has achievedsomething tremendous here in this program ofworks by composers with whom she collabo-rated while living in northeast Ohio. Three ofthe four pieces were written for her, and itshows: there’s an intimacy here between themusic and the music makers, and I encouragehorn players to seek out these works for them-selves. Ages, written by horn player and com-poser Susan Mutter, tracks in musical form therelationship between a boy and the worldaround him as he grows up and encountersseveral pivotal life moments: from childhoodsummer doldrums to teenage angst to spend-ing time with his young daughter to his experi-ence as a grandfather and eventually, themoments surrounding his passing. This is amoving portrait painted in golden horn tonesand lush piano sonorities. Distill, by SouthAfrican composer James Wilding, blends ashimmering, gossamer fluidity in the pianowith strong and soaring melodies in the horn.When Penguins Fly, by David Morgan, issomething entirely different—jazzy and lyrical,it was written as a rhapsody for horn and wind


The Newest Music IIBOYD

ensemble (though arranged for a much small-er ensemble here) and depicts the horn in allits robust, gleaming glory. Morgan tell us thatthe work evokes the “stark beauty of Antarcti-ca” and a penguin protagonist. It’s hauntingand enjoyable. Bravo to the artists here!

The Big PictureMcDowall, Chilcott, Weir

Bristol Choral Society, Music Makers of London/Hilary Campbell

Delphian 34242—54 minutes

There are three pieces: A Time for All Seasonsby Cecilia McDowall, Songs and Cries of Lon-don Town by Bob Chilcott, and The Big Pic-ture by Judith Weir. McDowall’s work was writ-ten in 2016, setting a poem by Kevin Crossley-Holland, whose lines cajole heartstrings:“Before shoulders sag and stick legsbuckle/Before teeth rattle and eyes growmisty/Before heights become fearsome andjourneys troublesome and Before wordsfail/Before desire slackens/Before the alpha-bet scrambles.” It’s strong and persuasive andmoving. Songs and Cries of London Town usesfive texts, most from anonymous 17th and 18thCentury sources. Lines I loved include the firstmovement’s collection of street-seller cries,such as “Come buy my mint/my fine greenmint/Here’s fine lavender for yourcloaths/Here’s parsley and winter-savory”. Thetext in III gives space to bells and rhymes:“Two sticks and an apple/Ring the bells atWhitechapel/OldFather Bald Pate/Ring thebells at Aldgate”. Chilcott’s work is sometimesfrenetic and kinetic, sometimes melancholy. Itputs the audience on the London streets as wehear texts that recreate the calls of London’sstreet merchants selling their wares. Weir’sThe Big Picture separates its movements bycolor: a love poem attributed to King HenryVIII fills I with luscious images of greenery,Robert Frost’s “Nothing Gold Can Stay” makesup III. Each movement presents us with a newsound world, holding our attention in a stronggrasp. This album is a gripping combination ofmusic and musicians and music-making. Aspecial bravo goes to the pianists Ian Tindaleand Annabel Thwaite.

Gramercy Trio: World PremieresSchuller, Underhill, AucoinAlbany 1832—67 minutes

Matthew Aucoin’s Piano Trio is clever anddaunting; as the composer says, it’s “practical-

ly a symphony for piano trio”. You’ll find agalaxy of textures in its five movements, fondlyplayed here by the original commissioners. IIIis my favorite—insistent and emotional.There’s a lovely anecdote in the booklet aboutGunther Schuller’s output, which includesTrio 3. how Schuller enjoyed working with atone row so very much while composing hisfirst violin concerto in 1976 that he decided tokeep using that tone row. Every piece he wrotefor the next several decades used that row,including the juicy music in this piano trio. I isfickle; vacillating between frenetic spurts ofstaticky dyads in the violin and cello and mis-chievous, pointillistic spurts in the piano. III isdevilishly ferocious, with gorgeous momentsfor the strings where drama is on grand dis-play. II is impossibly high, impossibly soft,until it’s not: a grand climax grows and evapo-rates into thin air in the middle of the move-ment, reappearing with chromatic bitternessand sonic roughness back down to those softersotto voce, sul tasto colors. Nicholas Under-hill’s Trio is in two movements: the first isunsettling in its moods, all three instrumentsmaintaining textural independence except forbrief periods of intersection. II—theme andvariations—is a delightful 14 minutes of com-positional showcase: Underhill’s variationsnod to forms and composers and memories,which include walks along Lake Erie. It’s veryendearing and very enjoyable.

Tribute to Sir John ManduellStevens, Pehkonen, Bussey, Poole, Beamish, Ball,Horne, Matthews, Malone, Carpenter, Dickenson,Berkeley, Walker, Pike, Marshall, HakimLesley-Jane Rogers, s; John Turner, Laura Robin-son, rec; Richard Simpson, ob; Benedict Holland,v; Susie Meszaros, va; Nicholas Trygstad, vc;Keith Swallow, p; Richard Baker,

Divine Art 25210—73 minutes

Sir John Manduell was the founding principalof the Royal Northern College of Music. From1964 to 1968 he was in charge of the BBCMusic Programme, which went on to becomeBBC 3. Nearly everyone involved in this albumhad a personal connection with Manduell,who passed away in 2017. Most of the pieceswere composed for memorial concerts, andyou’ll find William Butler Yeats’s poetry allthrough this disc; he was Manduell’s favoritepoet. You’ll also hear an instrument you mightnot have heard since your last Baroque listen-ing binge: the recorder. This album is way uphigh on my list: its story is impossible not to


feel; its musical offerings are delicious and dif-ferent and intelligent. I especially enjoyedDavid Matthews’s `Lullaby’ from Two YeatsSongs, Lennox Berkeley’s Three Duets for tworecorders, and This Great Purple Butterfly byGary Carpenter, which is oh-so-haunting andluscious and verdant. John Turner’s recorderplaying is wistful and captivating. Robin Walk-er’s Four Nursery Rhymes is whimsical andpoignant: art that captivates all ages. I reallylike Richard Baker’s narration in these fourmovements (The Shipwrecked Sailor, LillyPickle, Staring Moon, Cat and Mouse). Con-gratulations to this lovely cast of artists on afine and beautiful job.

Palouse SongbookDoolittle, Frank, Stölzel, Dyskant-Miller, Rud-man, Ahn

Sophia Tegart, fl; Michael Seregow, pCentaur 3827—76 minutes

Composer Emily Doolittle brings to aural lifethe American Goldfinch, the Long-Eared Owl,and the Snow Bunting in three movements,one dedicated to each bird. These movementsfeel light and graceful, from the goldfinch’s tothe owl’s morose sighing, to the hesitantchirruping of the snow bunting. And eachmovement feels like an abstraction of amoment in the lives of these birds: a frame ortwo playing out over the duration of the work,moving in and out of focus. Doolittle has mademarvelous use of these two instruments: she’smerged the textures of piano and flute so wellthat sometimes it is quite difficult to remem-ber that we’re hearing a piano and a flute andnot in fact simply watching with wonder a sin-gle, small bird. Gabriela Lena Frank’s Sueñosde Chambi: Snapshots for an Andean Albumtakes its impetus from the work of Amerindianphotographer Martin Chambi. She choseseven photos to recreate in her own sonic lan-guage for this work, and the result is vibrantand exquisite, with turns of texture and tempoappearing quick and fluid and inevitable. Thiskaleidoscopic work is no small feat: Tegart andSeregow are at the top of their game in thisperformance. Ingrid Stölzel’s Leonardo Sawthe Spring is melodic and crystalline, withlines in the flute that soar and grow andbreathe. This four-movement work is down-right beautiful. Jessica Rudman’s Age M–r forsolo flute begins with a breathy niente andgrows into a somber, sighing soliloquy thatfloats high in a moody and devastating, liltingsong. Nadine Dyskant-Miller’s They Move

With No One Watching is dramatic and vivid,each movement its own short story, coloredwith its own palette of colors and emotions.Jean Ahn’s Toys begins and ends with a crankof a Fisher-Price toy (do you remember whatthose looked like?) playing `Farmer in the Dell’.Over its nearly 12 minutes, this ridiculouslycharming work is a game of “guess the tune” asfragments from the earliest melodies of ourchildhood are, well, toyed with. Flutists: thiswork will be a crowd-pleaser on your nextrecital. This album is a treasure trove of con-temporary music for flute and piano, and astunning set of performances by Tegart andSeregow. I give this album all the stars.

LI: World MapFour Corners Ensemble

Navona 6312—59 minutes

These are five “mini concertos”, each a littlemore than ten minutes long, each displayingthe talents of one of the Four Corners Ensem-ble members and the incredible span of Shuy-ing Li’s compositional tool box. Each piece isbuilt on a narrative seed, and they spin off intoparallel universes of atmosphere and reso-nance, one after the other. Joshua Anderson’sclarinet playing in American Variations hits allthe right spots in all the right ways. JeremyCrosmer’s cello playing in Matilda’s Dream isexhilarating and powerful and fiery. AnnieJeng is a full-on force in Canton Snowstorm;she sculpts these virtuosic piano lines withgrace and brilliance. The Peace House, whichincludes Christina Adams on violin, has thin-ner textures than the other four works, givingthe violin tremendous space for lines that areabout texture rather than melody: there’s ademanding set of techniques that Adams hascompellingly executed here! And Erika Boysendelivers beautifully on The Dryad’s ebullient,siren-like lines.

Threaded SkyThomas, Sheng, Mirzaee, Penderecki

Miller-Porfiris Duo—MilPo 4818—41 minutes

From the first measures of Augusta ReadThomas’s dazzling Rumi Settings the virtuosityof this duo is radically apparent. Usually Ispeak mostly about the works themselves (I’moften reviewing premiere recordings) but letme get truly poetic about the Miller-PorfirisDuo—they deserve it. Violinist Anton Miller’sdouble stops at the beginning of IV are fault-less and thick. And violist Rita Porfiris’s soulful


lines in Thomas’s Silent Moon are wholly per-fect : they’re weighty and are wrapped in avibrato that generates a warmth of resonanceyet never overpowers. Their performance ofPenderecki’s Ciaconna in Memoria GiovanniPaolo II is so perfectly in tune that the over-tones flesh out the sound in a way that feelslike we’re listening to much more than just twoinstruments. The duo makes the tricky har-monics in Bright Sheng’s Angel Fire I stand outlike the jewels I’m sure he wrote them to be,and the exciting, jagged rhythms in Angel FireII are executed without a hitch. Mani Mirzaee’sWight of Shadows is one of the most charmingand satisfying uses and performances of collegno battuto I’ve heard, and the hairpindynamic at the end of this tiny movement issuch an admirable moment of consummatemusicianship for this to end on. This disc is inthe top ten of all albums I’ve reviewed.

MAZZOLI: Proving UpOpera Omaha, International ContemporaryEnsemble/ Christopher Rountree

Pentatone 5186754—80 minutes

Proving Up is the grown-up version of LauraIngalls Wilder’s book series Little House on thePrairie. With a shrewd, poetic, and pithy libret-to by Royce Vavrek based on the short story byKaren Russell, it’s terrifying and sumptuouslybeautiful. This is a thriller of an opera about afictional family of 1860s homesteaders,attempting with every ounce of gumption theyhave to fulfill the requirements of the Home-stead Act. In the second scene, this familysings the list of these necessary tasks for us:“The Homestead Act of 1862/A house of sod,with dimensions quite particular/Acres ofgrain/five years of harvests/a window ofglass/The Homestead Act/all that’srequired/to prove up/at the inspector’s visit.”The 80-minute work traces an unsteady sinewave of optimism and fear (cue the eight har-monicas) as these characters realize that thelikelihood of their ever catching up to theAmerican Dream, of homesteading and prov-ing up, is contingent on unnerving sacrificesthat surely cannot be worth the prize. Fantasticperformances by the cast—Michael Slattery,John Moore, Talise Trevigne, Abigail Nims,Cree Carrico, and Andrew Harris—excellentdirection by Christopher Rountree, andimpeccable playing by the International Con-temporary Ensemble make this work a must-listen on all levels.

American GiftsThomas, Sessions, Fine, Brackett

Jack Van Geem, Nancy Zeltsman, marimbaBridge 9534—66 minutes

This is marvelous: Nancy Zeltzman and JackVan Geem have taken works we know, like Irv-ing Fine’s Music for Piano, Joseph Brackett’sSimple Gifts, and Piano Sonata 1 by Roger Ses-sions and given us these wildly entertaining,sonically stimulating, truly artful renditionscourtesy of two marimbas, four hands, andgoodness knows how many mallets! There’s adistinct thread of “Americanness” that weavesits way through this, tying Irving Fine’s neo-classical-infused work all the way to MichaelTilson Thomas’s Island Music, which wasinspired by a trip to Bali. If you’ve never hearda marimba duo, begin here: it’s a delight.

PACEK: Piano PiecesAntonija Pacek—Navona 6316—53 minutes

This woman lives in Vienna and writes musicabout her life and children. It is all pleasantbut shallow. This is the increasingly popular“sentimental piano” genre. You can’t hate it,but you can’t really feed on it either. It is sooth-ing but not nourishing. One of the things Ihave noted about this genre is the “notiness”of the music. The hands are always busy. If ithad the simplicity of, say, Chopin, it might bemore listenable.

McENCROE: Piano PiecesVan-Anh Nguyen—Navona 6307—72 minutes

Here’s another one. It’s slightly more mascu-line, less sentimental, less “notey”, more sub-dued, but no more nourishing. It is again easyto listen to. But there are dozens of these! Andyou will forget it right away.

Persian AutumnPieces by Hormoz Farhat & Amir Mahyar Tafre-shipour

Mary Dullea, p—Metier 28610—73 minutes

This is even less sentimental, more masculine,rougher to listen to sometimes (not all thetime). There are two sonatas and a toccata byFarhat—an attempt to give form to what mightotherwise sound improvised. The piano com-


The Newest Music IIIVROON

posers do, I swear, sit at the piano and noodlearound, then write it down. But in this case hegives it some form—though that doesn’t helpmuch. Tafreshipour is almost 50 years youngerthan Farhat, and you can hear it in the empti-ness of his music.

CARBON: Piano PiecesSteven Graff—Convivium 57—65 minutes

The big work here is Astro Dogs (2019), 12pieces based on the 12 signs of the zodiac.Each sign is also a variety of dog: Aquarius is abeagle, Libra a poodle, Cancer a Pekingese,etc. It’s an amusing juxtaposition of inspira-tions, and it keeps the music interesting. Thecomposer has owned most of the dogs pic-tured. This composer is better than the otherswe have just reviewed.

The two other sets of short pieces—Madeleines (2016) and Impromptus (2014)—sound like Poulenc sometimes. In the first set Iwas quite taken with the `Promenade’ (at thezoo in Versailles—maybe this composer isoften inspired by animals). But the impromp-tus bored me—doodling, as so often happenstoday in piano music. Composer John Carbon(born 1951) and the pianist (younger) are bothfrom Chicago.

FREEMAN: Piano PiecesElaine Freeman—Big Round 8962

The notes to this album tell us that “she does-n’t categorize her music by any particular styleor genre...she just sits down and plays”. That’swhat it sounds like. It is utterly unprepossess-ing, slightly minimalistic and repetitive doo-dling of no depth whatever but never ugly andalways tolerable (if shallow). It seems thatdozens of people are making records like this.This is the fifth in one month. Buy them asbackground music that doesn’t demand (orrepay) attention.

WISHART: Piano PiecesJeri-Mae G Astolfi

Ravello 8045

Here’s No. 6—another busy pianistic orgy—this time with appealing pieces like her`Shenandoah’ Variations and variations on`Oh Suzannah’ and some dreadful moments offist-banging in `Phantasmagoria’. There are 8preludes that are named after famous figures,from Amelia Earhart and Winston Churchill toJane Austen and Lewis and Clark. I can hearno real characterization to match the titles. It’s

rather boring, generic music. So are the 6 Illu-sions. I did like the rather jazzy `Blue’ (part ofanother group of pieces), but it only lasts aminute or so.

GAN-RU: Piano PiecesYiming Zhang

Grand Piano 835—73 minutes

The 12 Preludes that take up half of the pro-gram are utterly boring—nothing but pianisticcliches. Ancient Music is for prepared piano,so it sounds different. The piano is supposedto be imitating Chinese folk instruments,though there are oddities like what sounds likea tubular chime. Only the first two pieces aretolerable; the rest is garbage. The last twopieces on the program are for toy piano andsound like a child playing with one under theChristmas tree. There is moaning and groan-ing, too—the pianist’s voice, I assume. A friendremarked that he sounds like a chimpanzeethrown onto a hot frying pan. There is even abird. I like birds, but this is too much. Therecording engineers must have been laughinghysterically.

Yoko Hirota, piano13 composers—Navona 6294

This music is “new” in that it never sounds likereal music—but it is not all recent. The pro-gram opens with Schoenberg’s 6 Pieces (notinteresting at this late date), followed by 8 bor-ing pieces by Ernst Krenek. There are minia-tures by Berio, Ligeti, and Elliott Carter too.The rest of the composers are relativelyunknown, and some of the pieces are as recentas 2007; but they all sound pretty much likethe 1911 Schoenberg. I don’t think anybodycould rouse enough interest to listen to thiswhole program.

E Pluribus UnumLiza Stepanova, p

Navona 6300

This one alternates tinkling and banging, soit’s “modern music” with a vengeance. Thecomposers include Lera Auerbach (a horribleone-minute miniature), Kamran Ince (adreadful 13 minutes), and Anna Clyne, whosepiece is particularly obnoxious. As she puts itin her notes, “The piano part is supported by atape part, which comprises a range of record-ings from instrumental harp to voice.” Thevoice is Queen Elizabeth from one of herspeeches. It is all “spliced, manipulated, and


layered”. Yuck! The most tolerable music is a2017 suite by Badie Khaleghian called Tahirihthe Pure, but even that has annoying parts.Tahirih was a 19th-Century Persian womanwho fought for women’s rights and was exe-cuted. Maybe he depicts the execution?

Rückblick: inspired by BrahmsAnn DuHamel, p

Furious Artisans 6821—80 minutes

All of this music was written from 2016 to 2019.Edie Hill’s Rückblick is mostly rather blandand subdued, but with artificial jerks of loud-ness now and then. A friend described it as“introspective noodling”. There’s a lot of thataround. It’s starting to make me wonder how Ican listen to so much piano.

The next 8 pieces are by Joseph Danger-field (5) and Luke Dahn (3). One would write apiece, then the other responded with his ownpiece. Both are “interested in color and tex-ture”—meaning that most other elements ofwhat we usually think of as music are missing.These 8 pieces are a total waste.

Joseph Hagen’s Brahms Variations arebased on the theme in the Scherzo of Sympho-ny 3. It can hardly fail to capture the attentionat first, since Brahms wrote the melody. But iteventually gets split in two and inverted. Thecomposer thinks it’s all about anger, grief, anddepression. Listen to the symphony to see ifyou agree.

Brahms had heard ragtime, and that’s theexcuse for Dr Brahms’s Book of Rags (16 ofthem) composed by Marc Chan. It’s “What ifBrahms had written rags?” But he didn’t. Oneof these is supposedly based on the famousBrahms Waltz in A-flat (I don’t hear it). MarcChan was from Singapore but lives in Con-necticut. I never tire of ragtime—there isn’tthat much of it around—and it strikes me asthe only reason to own this record.

Jovica Ivanovic, accordionPIAZZOLLA: Aconsagua; GALLIANO: OpaleConcertowith Ukrainian Chamber Orchestra/ Vitaliv Pro-tasov—Navona 6317

The Piazzolla is (like most of his music)incredibly dull, despite a lively surface. Theconcerto by Richard Galliano is much better,with more varied moods and nicer melodies.But you have to like the accordion to botherwith this.

BEETHOVEN: Missa SolemnisJohanna Winkel, Sophie Harmsen, SebastianKohlhepp, Arttu Kataja ; Stuttgart/ FriederBernius—Naxos 2.110669—68 minutes

(with 60-minute documentary)

Frieder Bernius founded the Stuttgart Cham-ber Choir in 1968; this 2018 performance,filmed at Alpirsbach Abbey in Baden-Würt-temberg, helped celebrate their 50th anniver-sary. In its early years the chorus concentratedon a cappella repertory, but they grew, andaround 1985 Bernius became an advocate ofperiod performance and established theStuttgart Baroque Orchestra.

About half of this is a documentary aboutBernius. We see him in rehearsal with theorchestra, then with the chorus, and even withindividual singers, where he is a stickler aboutunifying vowel sounds. We also see snippetsthat show how he prepares by working at hispiano and marking scores. All of this is welland fine, but we also see some interviews withsingers who bubble over with so much praisethat the whole documentary begins to feel likea puff piece. In any case, fans of Bernius will beappreciative.

The performance itself is a little odd. It’sdone in a church setting—Alpirsbach Abbey—but the performers are all in street clothes. Iassumed then that this was a filming of arecording session. The whole back of thechurch is dark, and you can’t see any audi-ence. But then at the very end we hear scat-tered applause. In any case it does appear tobe one continuous take, not a recording ses-sion with numerous starts and stops.

The performance is certainly a good one;but, as I’ve said before, for this most monu-mental work I want heavyweights, not ban-tamweights, in the ring. The Stuttgart singersnumber about 50 and the orchestral strings are8-7-6-5-3. The faster sections (Gloria and sev-eral other sections) are full of excitement, butmeditative sections need more space andwarmth, and bombastic sections need moreweight. For me, then, the Kyrie and the end ofthe Credo (which faithful readers will remem-ber to be one of my absolute favorite spots inall music) are both too fast.

The soloists are all very good, though I wasmost taken by bass Arttu Kataja in the AgnusDei. I would also mention that mezzo Sophie


Videos

Harmsen bobs around in time to the musicand often conducts herself; that is very dis-tracting, but I couldn’t keep my eyes off her!Bernius gets the job done, but watching him,I’m not sure how. His technique is veryunclear—he doesn’t seem to help the per-formers at all. I was amazed that the tenorscame in at “Et resurrexit” because he doesn’tbreathe with his singers. And in moments ofhigh expression he basically looks angry andterrifying when you want him to look ecstatic.But somehow he gets the job done.

There are interesting things in the docu-mentary, and the filmed performance bringsdifferent dividends than audio CDs. I suspectthere are “video people” out there for whomthis would be a great enjoyment, but I guesstoo that “audio people” will find a lot of thisunnecessary and annoying. I prefer Klemper-er. The end of the Credo (from “Et vitam ven-turi” on) will make you a believer.

ALTHOUSE

D ONIZETTI: Don PasqualeOskar Czerwenka (Pasquale), Edita Gruberova(Norina), Luigi Alva (Ernesto), Hans Helm(Malatesta); Vienna Opera/ Hector Urbon

Naxos 2.110659—120 minutes

I reviewed a terrific performance of this operasung by Kurt Bohme, Fritz Wunderlich, andErika Koth (Profil 19075, J/A 2020). Hard onthe heels of that release comes this DVD of thesame opera again sung in German with anequally delectable cast. The production wasfilmed on tour at a small theater in Austria, yetthe simple set design and elaborate costumessupply a charming frame for a delightful per-formance. These singers all know their roleswell and are enjoying themselves tremendous-ly. Some of director Helge Thoma’s ideas are alittle curious (would Norina really strip to herbloomers in front of Dr Malatesta?), but hishandling of the chorus in their big number inAct III is inspired. The chorus is a small group(probably 20 or fewer—it’s a small stage). EditaGruberova (who has only just retired) is seenat the beginning of her long and varied career.At just 31, she is supple of voice and figure andis a delight. One can understand why she wassuch a favorite with the public. She ornamentstastefully, never venturing as high as F (whichshe certainly had); but she crowns the Act IIfinale with a great high D. Luigi Alva had justturned 50, but except for a few moments of lessthan steady sound, you’d never guess it. Helooks half his age and is handsome to boot.

Hans Helm’s career was centered in Europe,primarily the German-speaking countries. Heis heard in comprimario roles on a number ofstudio recordings. In this performance heshows what he can do when given the chance.His Malatesta is funny, charming, debonair,and extremely well sung. He has no difficultywith the coloratura, tossing it off as easily ashis prima donna. Oscar Czerwenka only had abrief Met career appearing as Ochs and Roccoin the 1959-60 season. He is a lovablePasquale. One really feels bad for him when hegets slapped by Norina in Act III. He too isnimble in the patter music; the big duet withMalatesta is one of the high points of the per-formance.

I was pleasantly surprised that the pictureand sound quality are more than adequate.There are subtitles in five languages. Be awarethat the English subtitles are translations of theoriginal Italian, not the German that is sunghere.

Lovers of this opera or fans of these singersshould acquire this as soon as possible!

REYNOLDS

DVORAK: RusalkaSally Matthews (Rusalka), Evan Leroy Johnson(Prince), Alexander Roslavets (Vodnik), PatriciaBardon (Jezibaba), Zoya Tsererina (ForeignPrincess); Glyndebourne/ Robin TicciatiOpus Arte 1302 [Blu-ray] 153 minutes; also DVD

This Opus Arte video preserves a 2019 per-formance of Melly Still’s celebrated staging ofDvorak’s Rusalka for Glyndebourne. Despitetaking some liberties, Still’s aim was “not tointerpret but to open doors to possible mean-ings and invite every individual to make thestory her or his own”. In the process, she creat-ed a visually stunning production (Rae Smith,designer) that cuts to the opera’s emotionalcore. The eerily beautiful depiction of Rusalkaand her sister mermaids even warrants a shortbonus feature, Rusalka—Flying ThroughWater, that explains the mechanics behindthis crowd-pleasing special effect.

The cast is strong, led by Sally Matthews inthe title role. She lacks the tonal voluptuous-ness of sopranos like Benackova or Fleming,and there is a bit of a matronly quality to thetone that doesn’t quite fit the character’s youthand innocence. But her technique is solid, hersinging flexible and free, occasionally callingto mind Rysanek in its expressive abandon.What’s more, she’s an inspired actress, as mes-merizing in her mute scenes as in the big vocal


moments. Evan Leroy Johnson, a tall andstrapping American, sings with a youthful,stentorian tenor and communicates the com-plexity of the Prince’s predicament. As Rusal-ka’s father, bass Alexander Roslavets fills outVodnik’s phrases with rich sound; his melliflu-ous reading of the beautiful Act 2 aria (`Celysvet neda ti, neda’) is a high point of the per-formance. Patricia Bardon is an appropriatelywild Jezibaba (the witch who aids Rusalka inher quest to live above the sea), and Russiansoprano Zoya Tsererina makes a strongimpression as Rusalka’s rival, the ForeignPrincess. Robin Ticciati, leading the LondonPhilharmonic, lets Dvorak’s melodies flowerwhile keeping the pace taut.

ALTMAN

GRIEG: Peer GyntJacob Feyerlik (Peer Gynt), Alice Firenze(Solveig), Eno Peci (Death), Franziska-Wallner-Hollinek (Ase); Vienna Opera Ballet/ SimonHewlett—C Major 755808—112 minutes

It’s hard to describe this ballet version of PeerGynt, because it’s not really Peer Gynt byEdvard Grieg or Peer Gynt by Henrik Ibsen.According to the blurb on the back of the DVDcover choreographer Edward Clug’s mergedGrieg and Ibsen “in a new ballet experience”.

Grieg wrote his Peer Gynt music to accom-pany scenes in Ibsen’s play and even whenused for that purpose it’s been difficult to pro-duce. Ibsen’s basic narrative is Peer Gynt’spassage through life to find meaning, encoun-tering people and problems that he often cre-ates, and eventually finding solace after hisdeath. If you don’t read the included synopsisyou won’t know what’s going on in this balletor who the characters are. Clug can’t seem tomake up his mind whether to stage modernballet sequences or more traditional balletmoves. These inconsistencies only add to theconfusion.

Clug has re-ordered scenes, used some ofGrieg’s music not written for Peer Gynt, andgenerally made an incomprehensible hash outof everything. He only skims the narrative andgives a “modern” spin to the plot. New charac-ters are added, including a rather strange deerfigure that roams about and an evil Death per-son who shows up occasionally to make PeerGynt’s life miserable. The Death figure appar-ently rules the Mountain People and later isthe head of an insane asylum where he tor-ments Peer.

The dancing is only occasionally interest-

ing. There are two beautiful pas de deux; oneusing Grieg’s Adagio from the Piano Concertoand the other using the Andante from the Hol-berg Suite. `Anitra’s Dance’, which seems soperfect for a ballet, is turned into a “kooch”dance for Middle-Eastern maidens. PeerGynt’s mother Ase is introduced on herdeathbed, dances her death dance, dies, and isburied—all in one Martha Graham-influencedscene disconnected from the narrative. Muchof Act 2 occurs in that insane asylum; it’s anightmare with some truly odd dancing, morestrange characters, drug injections, and shocktreatments. After a protracted death scene,Peer Gynt meets Solveig again, apparently inthe afterlife.

This was a very long 112 minutes—not an“experience” I want to see again. The standardDVD picture is fine and the 5.1 Dolby sound iseffective. The dancing despite the awful chore-ography is very good. Conductor Hewlett leadsa nicely paced performance. I was tempted toturn off the picture and just listen to the music,but there are long passages where there is nomusic.

FISCH

HENZE: Der Prinz von HomburgRobin Adams (Prince), Stefan Margita (Elector),Vera-Lotte Boecker (Natalie), Helene Schneider-man (Electress); Stuttgart Opera/ Cornelius Meis-ter—Naxos 115 [Blu-ray] 114 minutes; also DVD

In his well-considered assessment of the audiorelease of this performance (Capriccio 5405;N/D 2020), Mr Locke pronounces this opera“hard on the ear” and laments the set’sabsence of texts and translations. The videoedition remedies at least one of those griev-ances—it has subtitles in four languages. Andthe work’s celebration of individualism overthe submission inherent in militarism is pro-jected boldly in the visuals.

For director Stephan Kimmig, the opera isnot exclusively about the army or the way indi-viduals are forced to adapt to a system; “it isabout the way systems work per se”. Or don’t,as represented by a bare dance studio, withfluorescent lighting that sometimes flickersunsettlingly. But while military maneuversbecome ballet positions rehearsed at thebarre, Kimmig doesn’t get bogged down ingimmicks. He uses the tableaux to support thefinely delineated personalities of the principalactors in the drama. Foremost among them isthe title character, whom the librettist Inge-borg Bachmann calls “the first modern protag-


onist, alone with himself in a fragile world”,and whom Kimmig describes as “an outsiderbecause he is a dreamer”. The director explainsthat in the post-World War II era of the opera’sgenesis, “Bachmann and Henze dream of afreer form of existence—without humiliations,without destructive hierarchies.”

English baritone Robin Adams, singingwith clarity and tonal variety, is a sympatheticand ruggedly sexy Prince. As his love interest,Princess Natalie, Vera-Lotte Boecker is anexpressive actress with a free and bright sopra-no. The Elector and his wife (Stefan Margitaand Helene Schneiderman) are the epitome oftenuous power, and the supporting roles areall filled to perfection. Locke was unmoved byHenze’s “disjointed vocal lines”, but the sterlingcast renders them with a graceful ease thatextracts whatever essential beauty lies beneaththe thorny surface.

The video has another advantage. Duringthe exciting instrumental interludes, the cam-era cuts to conductor Cornelius Meister,whose apparent joy at leading the StuttgartOpera Orchestra through this presumablyarduous score is infectious.

ALTMAN

MAHLER: Romance, Death, and TriumphSymphony 1 & Wayfarer Songs

Thomas Hampson, bar; Estonian Symphony/Neeme Jarvi—VAI 4605—100 minutes

As I’ve gotten older I’ve become more awarethat Time is finite and one only has so muchtime to explore what one loves. As I am anOpera Nut I tend to spend my free time listen-ing to the umpteenth pirated Tosca or Ringcycle rather than exploring new fields ofmusic. That doesn’t mean I don’t like othermusic. On the contrary, I enjoy musical the-ater, operetta, lieder, ballet, chamber music,jazz, and symphonic music very much (I evenenjoy rock and country music!) Because of mylove of the human voice I’ve enjoyed Mahler’ssong cycles or symphonies with choral musicthe most. I know his other music is magnifi-cent, but one only has so many hours in a day.

I’ve written the above to explain why Ienjoyed this video so much. Jason Starr’s doc-umentary about the evolution and composi-tion of Mahler’s first symphony is what allexplications should be: revealing, moving, andinteresting. Using musicologists and actors aswell as an actual performance, Starr exploreswhy Mahler began his symphonic career, howthe melodic ideas germinated in him and how

those ideas evolved, what each of the move-ments is, and how the music mirrors the com-poser’s own life. The musicologists, led byPeter Franklin, explain the ins and outs ofMahler’s creativity without seeming stuffy orcondescending. We are shown how Symphony1 influenced and inspired the Wayfarer Songsand how the musical ideas of one work arecarried over and developed in the other.

Along the way, we’re told of various per-formance traditions. Never having heardMahler’s first symphony in the hall I didn’tknow, for example, that at one point the brassstand to deliver a passage in one of the latermovements. I learned many things from thisdisc while being thoroughly entertained. Iknow Starr has created a similar film aboutDas Lied von der Erde, also available on VAI(Nov/Dec 2013). I have every intention ofexploring that too. In fact, as I watched this, Ikept wishing that Starr would make filmsabout all of Mahler’s symphonies. That’s prob-ably not financially possible, but one candream.

In my next lifetime I will get to knowMahler more intimately.

REYNOLDS

MASSENET: CendrillonDanielle de Niese (Cendrillon), Kate Lindsey(Prince Charming), Lionel Lhote (Pandolfe),Nina Minasyan (Fairy Godmother), AgnesZwierko (Madame de la Haltiere); Glynde-bourne/ John WilsonOpus Arte 1303 [Blu-ray] 148 minutes; also DVD

The esteemed Irish actress and opera directorFiona Shaw devised a magical Cendrillon forGlyndebourne aimed at telling the story to amodern audience. To her credit, her rethink-ing is generally rooted in Massenet’s musicand the text by Henri Cain, after Perrault. Asseen in this 2019 performance the staging isrichly detailed in characterizations, imagery,and stage effects (including a canny use ofholograms), yet never feels overstuffed. Cin-derella’s adventure is a dream, populated withkey figures from her life whom we meet inpantomimes. Her dead mother becomes theFairy Godmother, and the kind maid who isher only safeguard against the malignantwomen of the household (her father is caringbut ineffectual) becomes her Prince Charm-ing. As that role is written for a woman, theassociation is pregnant with psychologicalpossibilities. When he first approaches Cin-derella, the Prince has the demeanor of an


androgynous boy band singer, a stereotypicalteenage girl’s fantasy. But by the opera’s finale,when Cinderella awakens from her dream,there are suggestions that she and the maidmight share a more mature mutual attraction.Whatever the interpretation, Shaw was deter-mined to show that “finding love is not awoman’s entire destiny—she has moreoptions”.

Cinderella and Prince Charming are cast toperfection, Danielle de Niese with a sympa-thetic tear in her voice and the infallible KateLindsey with an artless purity well suited tothe male roles she often assumes. The two arealso captivating to watch. With De Niese’slarge, entrancing eyes and Lindsey’s expressivebody language, one can imagine them tri-umphing just as well in a silent film adapta-tion. Nina Minasyan is outstanding as the FairyGodmother. Her coloratura soprano has bell-like brilliance and effortless solidity, and she isalso a delight to behold.

Cinderella’s father Pandolfe is sung byLionel Lhote, a Belgian baritone with a sweetand robust timbre who plays the character notas an old fool, but a middle-aged man withregrets. The duet where he and his daughterreminisce about better days and imagine run-ning off together (`Viens, nous quitterons cetteville’) is especially moving since, in Shaw’sconcept, this is perhaps only the overtly affec-tionate father of Cinderella’s dreams. AgnesZwierko also breaks the mold as the step-mother Madame La Haltiere, finding plenty ofhumor in the role without excessive caricature.She appears in the first scene in a jogging suitand baseball cap (the world outside of Cin-derella’s dream is contemporary), a tough butattractive older woman who can still rely onher feminine wiles for social advancement.

Conductor John Wilson keeps Massenet’senchanting score bubbling along, and heshows a strong affinity for shaping the ineffa-bly charming lyrical moments so that thesingers are supported lovingly. This is the kindof production that reveals subtleties on eachviewing. After the second time through, I waslooking forward to the third.

ALTMAN

MASSENET: Don QuichotteGabor Bretz (Don Quichotte), Anna Goryachova(Dulcinée), David Stout (Sancho); Vienna Sym-phony/ Daniel CohenC Major 754104 [Blu-ray] 125 minutes; also DVD

Massenet’s Don Quichotte may not be the

composer’s finest achievement, but directorMariame Clement was attracted to what shecalls the “incredibly honest music which doesnot shy away from expressing feelings”. Herinventive production for the 2019 Bregenz Fes-tival brings the legendary knight into the 21stCentury, and her vision is supported by anexcellent cast, conductor, and set and costumedesigner Julia Hansen.

Before the curtain rises, the audience isshown the message-heavy ad the razor com-pany Gillette produced for the 2019 SuperBowl. Titled `We Believe’, it is a hokey responseto the #metoo movement that provoked somecontroversy for its critical depiction of (prima-rily white) “toxic masculinity”. The audience isunsure of how to react, but a man (the animat-ed actor Felix Defer) rises from the audience tovoice their concerns: “Commercials in anopera house? Now I’ve seen everything!” Aftera few uncomfortable moments, it is clear thisis part of the show, and the Man, ranting abouthow Don Quixote’s lance is probably too vio-lent a prop for our modern sensibilities, invitesQuixote (who seems to materialize out ofnowhere) to join him in the first row toobserve the opera.

Once we are properly disoriented by thisclever framing device, Clement goes on toexploit the libretto’s episodic nature to presentmodels of male behavior in various situations,relating back to the commercial. The opening,where Quixote meets Dulcinée, is in periodcostume. But the second scene is set in a lock-er room, Sancho busy writing an email on hislaptop while his master showers after shaving(presumably with a Gillette razor). The famouswindmill is here a small window fan. But as heprepares for battle against the perceived“giants”, the back wall of the set opens up andwe see a striking image of the fan as Quixotesees it, huge and threatening. When the Knightsets out on his mission to recover Dulcinée’sstolen necklace, he is dressed as Spiderman.Confronting gang members in a graffiti-cov-ered alley, he converts them with words ofpeace and inspiration, demonstrating what itreally means to be a (super)hero.

The next scene is a contemporary office.Don Quixote, now an awkward work colleaguewith a secret crush on his superior, offers Dul-cinée the recovered necklace. On bendedknee, he proposes marriage as the otheremployees gather around to mock him andrecord the embarrassing event on their phonecameras. Though she rejects his offer, shedefends his honor to her colleagues. Yes, he’s a


fool, but he’s a noble fool (“un fou sublime”).The curtain falls and Sancho steps forward,discarding the wig and glasses he wore in theoffice scene. Scolding the audience for notappreciating Quixote’s exemplary heroism, headjures his master to carry on his mission.After he leaves, Dulcinée comes before thecurtain and, shedding the remnants of theatri-cal pretention, seats herself in the front row towatch Don Quixote’s death scene. Thedenouement is handled with great sensitivityas Clement celebrates the knight whom shesees as “not manly in the classical sense”, but a“combination of the hero and poet that is quiteunusual”.

On paper, this concept might seem con-trived. But the charismatic individuality of theprincipal performers is consistently engaging,capped by a compelling finale, with DonQuixote left all alone on stage. In the title role,Hungarian bass Gabor Bretz displays a voice ofsize, beauty, and tonal variety. The Britishbaritone David Stout is a loveable Sancho, andthe Russian mezzo-soprano Anna Goryachovahas a strong, mellow tone and a hauntingphysical presence. Daniel Cohen makes themost of the score, and the Vienna Symphonyplays beautifully.

ALTMAN

MOZART: Arias & OverturesJuan Diego Florez, t; Orchestra La Scintilla/ Ric-cardo Minasi—C Major 754904 [Blu-ray] 75 min

Allan Altman wrote a mostly favorable reviewof Florez in these same Mozart arias (Sony43086, Jan/Feb 2018). Here we have almost thesame program (the CD had Tito’s other ariafrom Clemenza di Tito as well). Florez singsthese arias with beauty and charm and a daz-zling command of Mozart’s florid demands.Other tenors have supplied more warmth andcolor, but the Peruvian tenor gives his audi-ence their money’s worth. He uses appropriateappoggiaturas and ornaments tastefully,adding a cadenza at the end of Idomeneo’s`Fuor del mar’ that takes him to a high D.

Riccardo Minasi and his orchestra supplyexciting accompaniments, augmenting thearias with performances of Mozart overtures.The double dotting and tempo of the Don Gio-vanni overture may raise some eyebrows; Ienjoyed it, but more traditionally inclined lis-teners may not. Florez is still as handsome asever and enthusiastically conveys his enjoy-ment of the music. The audience adores him.

Sound is excellent, picture very clear—

though the lighting is a little glaring some-times. The theater itself is one of those smallatmospheric houses that take one right back tothe 18th Century.

REYNOLDS

PUCCINI: Suor AngelicaMaria Jose Siri (Angelica), Anna Maria Chiuri(Principessa); Florence May Festival/ ValerioGalli—Dynamic 57873 [Blu-Ray] 60 minutes

Gianni SchicchiBruno De Simone (Schicchi), Anna Maria

Chiuri (Zita), Francesca Longari (Lauretta),Dave Monaco (Rinuccio); Florence/ Galli


In the last issue (N/D 2020) I wrote a positivereview of the Tabarro from this Trittico,lamenting that Dynamic chose to split theoperas up into three separate releases insteadof including all of them on one video disc.(They did this with a recent Cavalleria Rusti-cana and Pagliacci too.). Our editor kindly sentme the other two operas so I’ve now been ableto observe the rest of director Denis Krief ’swork. In all of them, he tells Puccini’s storiessuccinctly without deviating from their plots oradding extraneous, self-indulgent details. Thesettings have been brought forward to contem-porary times or at least into the last century.This works for Tabarro, but is less effective forthe other two operas, particularly GianniSchicchi. (The threat of having one’s hand cutoff for altering a will is no longer a possibility,as far as I know!) Yet these stagings work.

Some of the blocking in Suor Angelica isawkward; Krief doesn’t seem to know what todo with the large group of women. He doespreserve the intent of the composer at the endof the opera without observing the stage direc-tions to the letter. I won’t reveal what he does,but it is very moving (unlike other productionsof this opera that rewrite the ending altogetherto avoid any “saccharine religiosity”).

Gianni Schicchi is hilarious from begin-ning to end: the trashing of Buoso Donati’sapartment to find the will, the deception of thewitnesses—it all made me laugh out loud. AndKrief doesn’t ruin the end of the opera bybringing Zita back in to murder Schicchi (as inWoody Allen’s staging for LA Opera).

Maria Jose Siri is as lovely an Angelica asone could wish for. She is not as specific in heracting as Renata Scotto or Ermonela Jaho(whose work is spoiled by director KasperHolton in Covent Garden’s production); buther strong, clear soprano is very refreshing and


she has no difficulty with Angelica’s three high

Cs in the opera’s final 15 minutes. Anna Maria

Chiuri plays her unyielding Aunt with more

humanity than we usually see in this role. The

interaction between the two women is more

interesting in this production than elsewhere.

Chiuri also plays Zita, the cranky aunt in

Gianni Schicchi; she is the only singer to

appear in all three operas. Francesca Longari

is a beautiful Lauretta, both visually and vocal-

ly, but it would’ve been more fun to have Siri

perform all three heroines (as Scotto, Teresa

Stratas, and, more recently, Patricia Racette

have done). Bruno De Simone is a terrific

Schicchi, singing and acting with piquant wit;

and Dave Monaco contributes a well-sung,

handsome Rinuccio (sporting a ponytail). All

of the relatives contribute greatly to the

ensemble and yet all are individual and funny

on their own. Several of them appear in the

other two operas as well.

Valerio Galli is an excellent conductor for

these works. He knows how to follow, but also

lead, a must when conducting opera. Sound

and picture are excellent on both, the Blu-ray a

little sharper than the DVD. Subtitles are avail-

able in six languages.

REYNOLDS

The Mother (ballet)

Natalia Osipova (Mother), Jonathan Goddard

(Death); Arthur Pita, Choreographer

Opus Arte 7280 [Blu-ray] 78 minutes; also DVD

Inspired by a dark fairy tale by Hans Christian

Andersen, Portuguese-born choreographer

Arthur Pita created the ballet The Mother as a

vehicle for the prodigious talents of the dancer

Natalia Osipova. It is a true tour-de-force, a

mix of many styles that exploits Osipova’s love

of dramatic theater. The music is composed

and played by Frank Moon and Dave Price; it’s

an eclectic score, mainly for synthesizer and

percussion.

The scenario follows a mother on her jour-

ney to find Death and rescue her child from

his clutches. In each trial along the way, she

encounters different guides (the stunningly

versatile Jonathan Goddard) who demand gru-

eling sacrifices.

In Andersen’s telling, Death explains that he isonly God’s servant. In his garden of souls, heshows the mother two flowers that representyoung lives. One is destined to be “a blessing tothe world”, the other “full of care, anxiety, misery”.He will not divulge which of the two is her child,only that both fates are God’s will. Andersenexplored a similar concept in his poem known inGerman as `Muttertraum’ (set with chillingunderstatement by Schumann). There, the moth-er delights in her child as he slumbers in his cra-dle. Forgetting her own struggles, she envisions arosy future for her “angel”. A raven, however,“shrieks a tune” outside the window: this childwill grow up to be a brigand and will one dayserve as supper for the raven and his clan.Pita’s adaptation streamlines Andersen’s endingand puts the emphasis on the necessity of griev-ing and the acceptance of death. In an Epilogue,we see the mother all aglow, bringing home babyclothes and patting her enlarged belly. Is this theexpectant joy of a second child who will compen-sate in some way for the loss of the first? Or aflashback to the blissful ignorance of the future,as in `Muttertraum’? The staging leaves the ques-tion open in this harrowing tribute to the emo-tional highs and lows of motherhood.

ALTMAN

Arturo Benedetti Michelangelifilm by Syrthos J Dreher & Dag Freyer

C Major 755206—79 minutes

Making a film about this legendary and reclu-sive pianist cannot have been an easy task, andmuch time is spent on relating the difficultiesinvolved. Michelangeli was a perfectionist, notonly with his playing, but with such things asthe temperature of the room, not wishingunauthorized people to observe him, and can-celing his appearance if things were not justright. Unsatisfied with a recording of Ravel’sPiano Concerto in G, he orders it destroyed.

Surreptitiously caught is the moment of hisheart attack in 1988. Luckily there were twodoctors in the audience who helped him sur-vive. The film is chock full of moments wherewe eavesdrop on the artist— none of whichprobably met with his approval. Whether thisis right I leave for others to determine.

Wisps, and moments from the Ravel, butnever the complete work, nor the completeanything is offered to us, and given the cir-cumstances why should they? Michelangeliwould most certainly not have approved. Thecrumbs from his earlier years are delicious, butcrumbs nevertheless.

Lots of praise and occasional thoughts


from his friends, colleagues, and admirers addto the interest of the film; but finally we are leftwith scabs in the life and times of this uniquepianist. He valued his privacy so much, andthis brave attempt to penetrate that onlyscratches the surface.But this was an impossi-ble task from the start.

Would I recommend this? Unquestionably,for piano mavens.

BECKER

The Heart of a Woman:

Florence B Priceby Rae Linda BrownU of Illinois Press, 296 pp, $29.95

No one today can imagine the inner faith andstrength of will it must have taken for a Blackwoman nearly a century ago to write sym-phonic music. Florence Beatrice Price (1887-1953) had such faith and will—and talent. HerSymphony 1 was popular in the 1930s and 40sand the first by an African-American womanto be played by a major orchestra (in Chicagounder Frederick Stock in 1933). Her music ismaking something of a comeback. In additionto her songs and keyboard works, there arenow recordings of three symphonies and herPiano Concerto. I live in rural Pennsylvania,but thanks to enterprising conductors at localuniversities have had the fortune to hear twoof her symphonies in good concert perform-ances.

Dr Brown’s biography thus comes at agood time. It is an expansion of her 1987 dis-sertation, and its title comes from one ofPrice’s songs. It makes fascinating reading.She’s especially good describing the milieuwhere the composer (nee Smith) grew up. Thespecifics of her family history are well fleshedout—the result of good, solid shoe-leatherresearch. Her concentration on what’s impor-tant is a refreshing contrast to the dreary door-stoppers in vogue these days, where the authorsimply shovels his info between covers andexpects the reader to sort it out. In short, this isa real biography, not a data dump of a writer’snote cards.

Price’s parents were relatively middle-classin the Black community in Little Rock,Arkansas. She was born a blue baby. To havelived to be 66 was itself unusual; with that con-dition back then, Irving Thalberg’s 37 was amore common span.

In her childhood years, there was someflexibility in their chances to better them-selves. All that changed in the 1890s when JimCrow laws increasingly starved any notion ofdeveloping a higher Black culture. Price hadgotten a good musical education, studyingunder George Whitefield Chadwick and Fred-erick Converse at the New England Conserva-tory. Always an outstanding student, she grad-uated a year early with two degrees. She mar-ried Thomas J. Price, an attorney. But in addi-tion to the burden of the Jim Crow laws, thespecter of lynching also grew more menacing,and in the Prices’ case potentially personal, soin 1927 the family moved to Chicago. Unfortu-nately, Mr Price became mentally and physi-cally abusive, forcing her to divorce him. Thebook describes her struggles as a single moth-er during the Great Depression as well as theconstant demeaning Black artists—and Blacksin general—had to endure. Brown notes this incompelling detail without editorializing. Shewisely lets the facts speak for themselves.

Her analyses of Price’s major works aretechnically well done with useful musicalexamples that don’t bog down in theoreticalchloroform. She zeroes in on its harmonicbases and the specific melodic traits that makeup Price’s personal style. Like any good musi-cal writer, she makes you want to hear themusic itself. Price had ill luck similar to Haver-gal Brian when it came to scores getting lost,including her Symphony 2 and an early tonepoem Ethiopia’s Shadow in America. As a tonepoem aficionado, I’d especially like to hearthat one.

Dr Brown died in 2017, thus never lived tosee the results of her work. The book was seento completion by Guthrie P Ramsey Jr, whoalso contributes a worthwhile introduction.There are excellent and informative footnotes,a bibliography and a discography.

O’CONNOR

Julian AndersonDialogues with Christopher Dingle on Listening,Composing, and CultureBoydell Press, 458 pages, hard cover

As you can tell from the subtitle, these arewide-ranging dialogues. I enjoyed most of it,but especially the subject of tempo markings,the matter of period performance practice,and the comments on “browsing” and howvaluable that was when it was possible. (I can’tresist a couple of his comments on PPP: The


Books

dogmatism has got absurd, and it was veryheavily marketed.)

A great many contemporary pieces startloud. Julian Anderson is a composer, and hehas a laugh about that. He also thinks musi-cians should shut up and play—he hates (as Ido) the way some of them think they must talkabout it.

These interesting and erudite conversa-tions began in 2014 and went on for severalyears. They cover all the major figures ourreaders cut their teeth on, from Mengelbergand Furtwangler thru Bernstein and Karajan.There’s a lot about Boulez. They give us aninkling of English thought about music sincethe turn of the century. They help us to under-stand what it means to be a composer in ourtime.

VROON

Aaron Copland and the American

Legacy of Mahlerby Matthew MugmonCasemate—228 pages—$49 hardcover

Aaron Copland was an early American advo-cate of Mahler’s music, and he remained so allhis life. He encouraged conductors he knewwell, like Koussevitzky and Bernstein, to pro-gram Mahler and eagerly attended those con-certs. Intelligent critics hear Mahler’s influ-ence in Copland’s Third Symphony—and evenin most of his very “American”-soundingmusic. Despite his French training, Coplandwas heavily influenced by Austro-Germanromanticism. In 1935 he said, “Mahler speaksto the romanticist in all of us.” He also seemedto connect Mahler’s kind of romanticism withJewishness. He loved Mahler’s orchestrationand textures, which were a lot lighter and lessdense than, say, Strauss’s.

I had never realized Copland’s influence inthis area. He really “pushed” Mahler, and hisinfluence on Bernstein was considerable. Thebook really has only the one thesis and can beread rather quickly, though there are fascinat-ing details as well.

VROON

Conducting Opera—Where Theater

Meets Musicby Joseph RescignoUniversity of North Texas Press, 336 pp. $29.95

American conductor Joseph Rescigno (1945-)has been Artistic Advisor and Principal Con-ductor of the Florentine Opera Company of

Milwaukee since 1981 and for four seasonswas Artistic Director of l’Orchestre Metropoli-tain in Montreal. Since 2005 he has served asMusic Director of La Musica Lirica, a summerprogram for singers in Northern Italy. In 2014he joined the Solti Foundation’s residencyproject as an advisor to the Olga Forrai Foun-dation’s work with singers and conductors.All that experience was surely excellent prepa-ration for writing Conducting Opera, which isnot a manual on conducting technique somuch as it is a hands-on practical volumeabout the conducting process. It examinesfrom a conductor’s viewpoint well-knownoperas by Mozart, Verdi, Wagner, Puccini,Richard Strauss, the French Romantics, andbel canto. Among the author’s many generalrecommendations: learn the opera first from avocal score before working with an orchestralone; analyze the structure; identify its “emo-tional high points”, etc. He goes on to discusscuts, casting, the characteristics of roles andtheir ranges, whether voices should balance orcontrast, choosing tempos, balance problems,transitions, possible traps, where singers mightneed help from the conductor, appropriatebeat patterns and how different ones affect theinterpretation, and much more. Since a princi-pal function of the conductor is to pace theperformance, he or she must determine theright rhythmic pulse to create flow. To do that,Rescigno suggests relating tempos to eachother mathematically, a method that is proba-bly controversial.

He discusses traditions, interesting tidbits,opera lore, and more. Each composer (and belcanto) gets a chapter. The operas are oftentreated in detail. It helps to have an orchestralscore to follow all this, but most of what theauthor says can be followed if you know theopera. Scores for these operas are available onthe International Music Score Library Projectsite (IMSLP) and/or the Dover series of scores.

In Wagner’s Flying Dutchman, Rescignonotes the distinction between the original andrevised versions, and discusses performing theopera in one, two, or three acts. He character-izes his ideal singer for the Dutchman andcalls the Spinning Chorus a gentle piece thatshould not be taken too fast. In Die Walkurethere is a fascinating bit about how to handletwo timpani in limited space and another onhow to balance the final scene. For `Wotan’sfarewell’ he notes how the best interpretationmay stress the baritone. For Tristan and Isoldehe points out harmonic progressions and pays


Continued on inside back cover

ABEL: Cave of Wondrous Voice (Shifrin, Sherry, Rosenberg-er) Delos 3570, S/O: Gimbel

ABERT: Ekkehard (Falk) Capr 5392, J/A: LockeAFANASIEV: Double Qt (Roctet) Chall 72822, J/A: FrenchAGNESI: Arias (De Simone, mz) Tact 720101, M/J: Moore,CAGNEW: Piano Pieces (McCallum) Tocc 496, M/A: KangAHO: Chamber Pieces (Petronen) BIS 2186, N/D: new, BoydALAIN: Organ Pieces (Mantoux) Raven 163, S/O: DelcampALBENIZ: P Son 3,4,5; Suites Anciennes (Stanley) Piano

10194, S/O: KangPiano Pieces [4CD] (Jones) Nimb 1711, N/D: Repp

ALBINI: Quartets (Indago Qt) Brill 95717, M/A: new, FaroALBINONI: Cantatas (Frigato) Brill 95600, J/F: LoewenALECIAN: Armenian Quartet (Akhtamar Qt) Cypre 1681, J/A:

see KOMITASALKAN: 4 Ages Sonata; Souvenir (Viner) Piano 10209, S/O:

HarringtonP Pieces (Nosrati) Avi 8553104, M/J: BeckerPreludes (Viner) Piano 10189, M/A: Kang

ALWYN: Miss Julie (Oramo SACD) Chan 5253, N/D: LockeQt 6,7,8,9 (Villiers Qt) Lyrit 386, N/D: Thomson

AMRAM: Flute Pieces (Large) BlueG 537, J/A: GormanANET: Violin Sonatas (Illes) Hung 32754, S/O: BrewerANHALT: Portraits; Timbre of these Times (Csaba) Centr

26419, J/F: new, FaroARENSKY: Chamber Symphony (Amsterdam Sinfonietta)

Chanl 37119, M/J: O’ConnorTrios (Munich Trio) Prof 19072, J/F: Vroon

ARNOLD, C: PC; P Sextet (Torgersen) Simax 1344, S/O:French

ARONIS: William Blake Cycle; V Son (Various) Enhar 36,N/D: new, Faro

ARTYOMOV: Hymns; Clar Son; Duets (Various) DivA 25198,S/O: Althouse

ASPLMAYR: Quartets (Eybler Qt) GPN 20001, S/O: AlthAUBER: Cheval de Bronze (Richter) Orfeo 986192, M/J:

LockeLe Macon (Tenner) Orfeo 985191, M/A: LockeOvertures (Salvi) Naxos 574005, J/A: FischOvertures 2 (Salvi) Naxos 574006, N/D: Hecht

AUERBACH: 72 Angels (Rascher Sax Qt) Alpha 593, J/A:Gimbel

AYLWARD: Angelus (Ecco Ensemble) NewF 261, J/A: SullBABAJANIAN: Trio (Gluzman, Moser, Sudbin SACD) BIS

2372, M/A: see TCHAIKOVSKYBACEWICZ: Violin Sonatas, all (Berthome-Reynolds) Muso

32, M/A: GimbelBACH: 2-Hpsi Concertos (Fortin & Frankenberg) Alpha 572,

M/J: Lehman2-Piano Transcriptions by Reger (Takahashi & Lehmann)Audit 23445, M/A: Harrington

Arrangements (Chelsea Festival) Chel 0, J/F: VroonArt of Fugue (Belder, hpsi) Brill 96035, J/F: LehmanArt of Fugue (Nikolaeva) FHR 95, S/O: LehmanArt of Fugue, 3 completions (Salzburg Chamber Soloists)

Adil 9, S/O: FrenchBrandenburgs (I Musici) Uran 121386, S/O: AlthouseBusoni transcriptions (Michiels) FugaL 760, J/A: BeckerCantatas 56, 82, 158 (Greco, Luthers Bach Ens) Brill95942, M/A: Loewen

Cantatas 56,82,158 (Zefiro) Arcan 466, J/F: LoewenCello Suites (Bertrand) HM 902293, J/F: Moore

Cello Suites (Clement) Decca 4828523, M/A: MooreCello Suites 1+2 (Deserno) Kalei 6344, M/A: seeDINESCU

Cello Suites (Malov) SoloM 343, N/D: MooreCello Suites for Guitar (McFadden) Naxos 573625, N/D:Moore

Cello Suites 4-6 (Tetzlaff) Avi 8553078, M/A: MooreCello Suites (Unterman) BST 132, M/J: see BLOCKCello Suites (Vectomov) Sup 4275, S/O: MooreCello Suites (Weber) Prosp 1, N/D: MooreCello Suites (Ylonen) Alba 444, J/F: MooreChorale Preludes+ (Sherman, St Mark Seattle) Loft1157+8, S/O: Gatens

Christmas Oratorio (St Thomas, Leipzig) Acce 30469,N/D: Gatens

Dances for Piano (Rubinsky) Naxos 574027, M/J:Lehman

English Suites (Rangell) Stein 30136, M/J: LehmanEnglish Suites (Zanzu) MusF 8032, S/O: LehmanFlute Sonatas (Labrie) Anal 8921, S/O: GormanFrench Suites (Alard) HM 902457, S/O: LehmanGamba Sonatas (Tamestit) HM 902259, J/F: MooreGoldberg Var (Boyadjieva) Cent 3712, J/F: HarringtonGoldbergs (Madge, p) Zefir 9670, N/D: LehmanGoldberg Var (Malcolm, hpsi) Decca 4828439, M/A:Lehman

Goldbergs (Moersch, hpsi) Cent 3721, J/A: LehmanHpsi Concertos (Corti) Penta 5186837, J/A: LehmanHpsi Concertos 2,4,5,8 (Suzuki SACD) BIS 2401, N/D:Lehman

Italian Concerto; partitas (Eickhorst, p) Genui 20682,S/O: Haskins

Italian Concerto; transcriptions (Osetinskaya) Melya2602, M/A: Lehman

Lute Suites (Halasz, g) BIS 2285, N/D: McCutcheonMagnificat (Boult) Decca 4840411, M/A: see HANDELMagnificat; Cantata 63 (Chapelle Harmonique) Vers 9,M/A: Gatens

Organ Pieces (Boucher) ATMA 2777, M/A: GatensOrgan Pieces (Doeselaar, Wiersinga SACD) MDG9062137, J/F: Gatens

Organ Pieces at Notre Dame (Latry) LDV 69, J/F: DelcOrgan Pieces (Suzuki) BIS 2421, M/A: DelcampOrgan Pieces: harmonic seasons (Tomadin) Brill 95786,J/A: Gatens

Orgelbuchlein (Farr) Reson 10259, J/A: DelcampPartitas (Hewitt) Hyp 68271, M/A: LehmanPartitas (Levin) Palai 17, M/J: LehmanPiano Pieces (Ilic) MSR 1724, J/A: HaskinsPiano Pieces (Rangell) Stein 30111, M/J: HaskinsPiano Dances (Rubinsky) Naxos 574026, J/F: KangSinfonias, Inventions, more (Rangell) Stein 30126, J/A:Haskins

Solo V Son & Part (Cotik) Cent 3755, M/J: Kell+MagilSt John Passion (Herreweghe) Phi 31, J/A: GatensSt Matthew Passion (Petite Band) Chall 72821, M/A:Gatens

St Matthew Passion (Koopman) Chall 71232, M/A:Gatens

St Matthew Passion (King’s College Choir) Kings 37,J/A: Gatens


Index to Vol. 83 — 2020Composer: Work (performer or conductor) Label & Number, Issue, Page, Reviewer

Page number is not given if review was in alphabetical section. References such as �see MOZART�are not to this index but to the issue of American Record Guide.PC = Piano Concerto, VSon = Violin Sonata, F = Flute, C = Cello, Qn = Quintet, J/A = July/August,etc. �arc� is the Archive section; �new� is the Newest Music columns.

St Matthew Passion (Suzuki SACD) BIS 2500, J/A:Gatens

Toccatas (Fouccroulle, org) Ricer 140, J/A: GatensToccatas (Suzuki, hpsi) BIS 2221, J/A: LehmanTrio Sonatas, S 1030-35 (Petri+) OUR 6220673, M/J:Gorman

Trio Sonatas (Ponsford & Hill, hpsi) Nimb 6403, J/A:Lehman

Trumpet Concertos (Hofs) Berl 1305, M/J: KilpatrickVCs (Les Accents) Apart 206, J/F: LoewenVCs (Debretzini) SDG 732, M/J: KellV Sons (Szeryng) Uran 121380, M/J: KellenbergerWTC (Merlet) Palai 8+15, M/J: LehmanWTC 2 (Booth) Sound 219, M/J: LehmanWell-Tempered Consort 1 (Phantasm) Linn 618, M/J:Loewen

BACH FAMILY: Cantatas (Appl/Goebel) Hans 19081,N/D: Moore,R

Cantatas+ (Naessens) EvilP 31, M/A: GatensCantatas (Vox Luminus) Ricer 401, J/F: GatensHpsi Pieces (Moersch) Cent 3724, S/O: Lehman

BACH,CPE: Ob Cons (Loffler) HM 902601, J/A: GormanPCs (Rische) Hans 19041, J/A: BeckerP Son 4 (Jovanovic) K&K 135, J/F: see BACH,WFVariations (Demeyere, hpsi) Chall 72845, N/D: Lehman

BACH,JB: Orch Suites (Thuringa Bach Collegium) Audit97770, M/A: Loewen

BACH,WF: Polonaises (Jovanovic) K&K 135, J/F: LoewBACHRICH: Songs, Piano Pieces, Violin (Rubio+) EDA

44, J/F: EstepBAIRSTOW: Anthems (Tewkesbury Abbey) Regen 543,

J/A: DelcampBALASSA: Piano Pieces 3 (Kassai) Grand 805, J/A:

GimbelBALLARD: Lute Book 1 (Kolb) Cent 3747, M/A: LoewenBALTAS: Christmas Pieces (Armenian Chamber Choir)

Phasm 10, N/D: GreenfieldfPanoria (Baltas) Phasm 16, S/O: Hecht

BANKS: Five (Ingman) Naxos 574141, M/J: FischBARBER: Cello Sonata (Kim) Delos 3574, N/D: Moore

Piano Pieces (Moon) MDG 9042177, N/D: KangVC (Dalene/ Blendulf) BIS 2440, M/J: French

BARBIERI: Barberillo de Lavapies (BBC) Cameo 9115,M/A: Fisch

Organ Pieces (Molaschi) Tact 800201, N/D: DelcampBARMOTIN: Piano Preludes; Variations (Williams)

Grand 799, N/D: EstepBARNSON: Vanitas (Various) Innov 20, J/F: new, FaroBARRY: PC; Beethoven (Ades) Sign 616, S/O: see

BEETHOVENBARTOK: Bluebeard’s Castle (Gardner SACD) Chan

5237, J/F: ReynoldsCon for Orch; Suite 1 (Dausgaard) Onyx 4210, M/A:French

P Qn (Lane, Goldner Qt) Hyp 68290, M/J: EstepP Qn (Lockenhaus) Alpha 458, J/F: Estep

BATES: Children of Adam (Smith) Ref 732, J/F: GimbelBEACH: P Qn (Iruzun, Coull Qt) Somm 609, S/O: Dutter

P Qn (Ohlsson, Takacs Qt) Hyp 68295, S/O: see ELGARBECKER: Soundpieces (Flux Qt+) NewW 80816, S/O:

SullivanBEETHOVEN: An die Ferne Geliebte (Williams) Chan

20126, S/O: see SCHUBERTArias (Reiss) Onyx 4218, J/A: ReynoldsBagatelles (Lewis) HM 902416, N/D: BeckerBagatelles; Diabelli; Eroica Var (Maltempo) Piano10181, S/O: Becker

Bagatelles (Williencourt) Mirar 492, J/A: BeckerCanons & Jokes (Cantus Novus Vienna) Naxos 574176,N/D: Fisch

Cantatas for Emperors (Segerstam) Naxos 574077, S/O:Moore,R

Cello Sonatas & Var (Berger) SoloM 338, N/D: MooreCello Sonatas & Var (Epsteins) Linn 627, M/A: MooreCello Sonatas & Var (Michael) Reson 10254, J/A: MooreChoral Songs (German Youth Chamber Choir) Carus83502, M/A: Greenfield

Clar Trio (Bedenko) Orch 102, J/F: HanudelClarinet Trio; arr Septet (Herold+) Avi 8553479, N/D:Hanudel

Creatures of Prometheus (Segerstam) Naxos 573853,J/F: Althouse

Diabelli Var (Leuschner) PN 1902, M/J: KangEgmont (Albrecht) Orfeo 1903, J/A: FrenchEgmont; Minuets (Segerstam) Naxos 573956, J/F:Vroon

Flute Pieces (FlautoPiano Duo) MDG 9032135, M/J:French

Folk Songs (Various) Naxos 574174, S/O: VroonKing Stephen (Segerstam) Naxos 574042, M/J: AlthouseLeonore (Jacobs) HM 902414, M/A: LockeMandolin Pieces (La Ragione) Arcan 117, J/A: VroonMandolin Pieces (Martineau) Naive 7083, M/J: VroonMass in C (Segerstam) Naxos 574017, J/A: AlthouseMasses; Mt of Olives (Rilling) Hans 20027, J/A: AlthouseMissa Solemnis (Masur) Berl 301459, J/A: AlthousePC 1+2 (Giltburg/Petrenko) Naxos 574151, J/F: VroonPC 1+2 (Sombart) Sign 614, S/O: BeckerPC 1,3,4; VCPC (Barnaton/Gilbert) Penta 5186817,M/A: Althouse

PC 2,5,VC as PC, Choral Fantasy (Barnatan) Penta5186824, S/O: Becker

PC 3+4 (Sombart) Sign 620, N/D: AlthousePCs, all (Brautigam SACD) BIS 2274, M/A: AlthousePCs, all (Goodyear) Orch 127, J/A: FrenchPCs (Lisiecki) DG 4837637, M/J: FrenchPCs, all (Mustonen) Ond 1359, S/O: BeckerPCs, all (Wallisch, fp) CPO 555329, N/D: AlthousePiano 4-Hands (Hill & Frith) Delph 34221, S/O: HarrPiano Pieces, all (Tirimo) Hans 19032, M/A: KangPiano fragments & sketches (Gallo) Naxos 574131, J/A:Becker

Piano Quartets (Hanover Trio) Genui 19673, M/A: DuttP Qts (Miucci,p) Dyn 7854, M/J: DuttererP Son 1,10,21,22 (Hewitt) Hyp 68220, M/A: KangP Son 1,11,12 (Brawn) MSR 1470, J/F: ReppP Son 1,14,17 (Erdi) Hung 32828, M/A: KangP Son 7,18,32 (Biss) Orch 109, M/A: BeckerP Son 8,13,14 (Tung, fp) MSR 1733, S/O: BeckerP Son 8,16,17 (Schuch) Avi 8553016, N/D: KangP Son 12+27; Bagatelles, op 126 (Rosenbaum) Bridg9517, J/F: Becker

P Son 14+23 with ragas (Diluka) Warnr 531883, M/J:Vroon

P Son 23+30; Bagatelles (Mahan) Stein 30161, S/O:Becker

P Son 23,30,32 (Oh-Havenith) Audit 20047, N/D: ReppP Son 29+32 (Gorini) Alpha 591, M/J: BeckerP Sons, all (Say) Warnr 538024, J/A: ReppQt 1 (Eliot Qt) Genui 19661, M/A: see SZYMANOWSKIQt 7+8 (Ebene Qt) Erato 539602, M/J: KellQt 11-16 (Brodsky Qt) Chan 20114, M/J: ThomsonQts, all (Miro Qt) Penta 5186827, M/A: FrenchRuins of Athens (Segerstam) Naxos 574076, J/A: AlthSecular Vocal Pieces (Tamanial Ens) Naxos 574175,N/D: Althouse

Septet; Clar Trio (Berkeley Ens) Reson 10255, J/A: HanShort Piano Pieces (Kirschnereit) Berl 301409, S/O:Becker

Songs 1 (Breuer, Trost+) Naxos 574071, M/A: Moore,RSongs with orchestra (Haavisto/Segerstam) Naxos573882, M/A: Moore,R

Songs (Schreier) Berl 301495, J/A: Moore,R


String Quintets (Cologne Chamber Players) Alpha 585,M/J: Dutterer

String Trios (Boccherini Trio) Genui 20699, S/O: ThomsString Trios & Serenades (French String Trio) Dorem8106, N/D: Thomson

String Trios, opp 3+8 (Italian String Trio) Brill 95819, J/F:Dutterer

Sym 1,2,3 (Ades) Sign 616, S/O: VroonSym 1+2 (Berlin Academy) HM 902420, N/D: FrenchSym 1+5 (Fischer SACD) Chanl 39719, M/A: HechtSym 3; Egmont Overture (Ballot) Gram 99210, M/J:Vroon

Sym 3 (Herbig) Berl 301492, J/A: VroonSym 3 (Salonen) Alpha 544, J/F: AlthouseSym 5+6 (Haselbock) Alpha 479, S/O: HechtSym 5+6 (Janowski) Penta 5186809, M/A: HechtSym 5+7 (Manze) Penta 5186814, M/J: HechtSym 6 (Berlin Academy) HM 902425, J/A: FrenchSym 9 (Abendroth) Berl 301496, S/O: AlthouseSym 9 (Freiburg Baroque) HM 902431, N/D: AlthouseSym 9 (Haitink) BR 900180, M/A: AlthouseSym 9 (Suzuki SACD) BIS 2451, M/A: AlthouseSyms, all (Vienna/ Nelsons) DG 4837071, M/J: HechtTranscribed (Kodama) Penta 5186841, S/O: KangTrios 1+3 (George Malcolm Trio) FHR 96, M/J: DuttererTrios 3+5 (Sitkovetsky Trio SACD) BIS 2239, J/A: VroonTrios 3+6 (Vienna Trio) MDG 9422155, J/A: VroonTrio 4; VCPC (Beethoven Trio Bonn) Avi 8553108, J/A:Becker

Trio 5; Sym 2 as trio (Beethoven Trio) Avi 8553111, N/D:French

Trio 6; VCPC (Shaham-Erez-Wallfisch) Nimb 5978, J/F:Althouse

Trio 6; Early Trios; Kakadu (Van Baerle Trio) Chall72782, M/A: Vroon

Trio, op 11; Sym 6 as trio (Beethoven Trio) Avi 8553114,N/D: French

Variations (Feitmair, p) Hans 19070, M/J: Becker32 Variations (Miyamoto) BlueG 503, J/A: see SCHU-BERT

VC (Gaede) Tacet 246, J/A: AlthouseVC; Septet; Variations (Kavakos) Sony 92988, M/A: AlthVC; Romances (Neudauer) CPO 777559, J/A: AlthouseVC (Smeulers) Genui 20702, N/D: AlthouseVC; Romances (Suske) Berl 301498, J/A: AlthouseVC (Tetzlaff/Ticciati) Ond 1334, J/F: FrenchVCPC; Trio fr Septet (Van Baerle Trio) Chall 72801, J/A:Becker

V Son 1,5,8 (Waley-Cohen) Sign 618, N/D: MagilV Son 4,5,8 (Ehnes) Onyx 4208, N/D: MagilV Son 9 (St John) Anca 144, J/A: MagilV Sons, 3 (Suske) Berl 301501, S/O: MagilV Sons, all (Francescatti, Casadesus) Prof 19029, J/F:178, Magil

V Sons, all (Watson, Ogata) Coro 16177, J/A: MagilWellington’s Victory+ (Petersson, p) Naxos 573928, J/F:Estep

Wind Octet; Sextet (Shifrin+) Naxos 573942, M/A: HanuWind Quintet; Early PC (Becker, Maalot Qn) Avi8553110, N/D: Hanudel

BEKEN: Turk in America (ISSA Sonus Ens) N/S 1067,M/A: Sullivan

BELLINI: Adelson & Salvini (St Cecilia) Uran 14053, M/J:Locke

BEMBO: Produzioni Armoniche (Armonia delle Sfere)Tact 640280, M/A: Moore,C

BENDA: Pygmalion (Bernolet) Ramee 1809, J/F: seeRAMEAU

BEN-HAIM: Cello Concerto (Wallfisch) CPO 555273,M/J: Moore

BENNETT,RR: PC; Country Dances; Aubade; Anniver-sarie (Wilson SACD) Chan 5244, S/O: Sullivan

BENOIT: Sym Poem (Shelley) Hyp 68264, M/J: O’ConorBENTZON: Piano Pieces (Bentzon) DACO 859, J/A:

EstepTempered Piano (Salo) DaCap 8226077, M/J: Haskins

BENZECRY: VC; Clar C; Song Cycle (Boggiano) Naxos574128, N/D: Hanudel

BERG: Lyric Suite (Veses) Apart 207, J/A: O’ConnorSongs, all (Var) Brill 95549, M/J: ReynoldsVC (Smeulers) Genui 20702, N/D: see BEETHOVEN

BERIO: Coro; Cries of London (Pedersen SACD) BIS2391, S/O: Haskins

BERLIOZ: Damnation of Faust (Nelson) Erato 541735,M/A: Hecht

Mass (Niquet) Alpha 564, M/A: VroonRequiem (Nelson) Erato 543064, J/F: ReynoldsSong arrangements w guitar (Jacques, g) ATMA 2800,M/J: Altman

Sym Fantastique; Reverie; Death of Ophelia (Fischer)Hyp 68324, M/J: French

Sym Fantastique; Francs-Juges Overture (Roth) HM902644, M/A: Hecht

BERNARDI: Requiem Mass; Sinfonias (Voces Suaves)Arcan 470, M/A: Loewen

V Sons (Solisti Ambrosiani) Uran 14056, S/O: MagilBERNSTEIN: Mass (Davies) Capr 5370, S/O: Greenfield

Piano Pieces, all (Tozzetti) Piano 10174, J/F: SullSym 1+2 (Lindberg SACD) BIS 2298, J/A: Estep

BERSA: Piano Pieces (Filipec) Grand 832, S/O: ReppBIZET: Doctor Miracle (Robinson) Cameo 9113, M/A:

ReynoldsBJORNSTAD: Lofoten Oratorio (Lofoten Voices) LAWO

1202, N/D: VroonBLACKFORD: Pieta; Winter Canticle (Carr) Nimb 6396,

M/J: GreenfieldBLAND: Piano Pieces (Olson) Camb 1256, S/O: new,

FaroBLOCH: Cello Symphony (Wallfisch) CPO 555273, M/J:

see BEN-HAIMBLOCK: Step into the Void (Unterman) BST 132, M/J:

MooreBLYTON: Shoal of Fishes (Chamelion Arts) Sleev 1012,

M/A: new, BoydBOCCHERINI: Stabat Mater (Oliveras) Enchi 2050, M/A:

GatensBOISMORTIER: 2-Viol Sonatas (Les Deux Viols) Antes

319305, J/A: MooreChamber Pieces (Cappella Enrico Stuart) Brill 96036,M/A: Brewer

Recorder Pieces (Podluzny) RecA 26, M/J: GormanV Sons (Brault) Anal 8769, M/A: Magil

BOMTEMPO: Piano Sonatas, all (Tender) Grand 801,J/F: Kang

BONDS: Ballad of the Brown King (Mitchell+) Avie 2413,M/J: Reynolds

BONELLI: Keyboard Pieces (Del Sordo) Brill 95816, J/F:Lehman

BONONCINI: John the Baptist Oratorio (WroclawBaroque) Acco 256, J/F: Gatens

BONPORTI: Trio Sonatas, op 1 (Labirinti Armonici) Brill95966, S/O: Loewen

BORTOLAZZI: Mandolin Sonata (La Ragione) Arcan117, J/A: see BEETHOVEN

BOULANGER: Songs (Phan) Avie 2414, M/J: Moore,RBOULEZ: Marteau sans Maitre (Kawka) ColL 20447,

S/O: GimbelBRADEN: Songs of Invisible Summer Stars (Centr

27119, J/F: new, BoydBRAGA SANTOS: Trio; P Qt; suites (Various) Tocc 428,

N/D: KilpBRAHMS: Cello Sonatas (Hohti) Alba 452, S/O: Moore

Cello Son 3 (Poltera) BIS 2167, M/J: see SCHUMANNClarinet Sonatas & Trio (Ross) Cent 3760, M/A: Hanudel


Clar Trio (Bedenko) Orch 102, J/F: see BEETHOVENGerman Requiem w pianos (Bella Voce) Naxos 573952,J/F: Greenfield

German Requiem (Harding) HM 902635, J/F: GreenfieldHandel Var (Park) Capr 5412, S/O: see SCHUBERTIntermezzos, all (Koroliov) Tacet 256, M/A: ReppPC 1; Ballades (Vogt) Ond 1330, M/A: AlthousePC 2 (Falletta) BeauF 524, J/F: AlthousePC 2 (Vogt) Ond 1346, J/A: AlthouseP Pieces, opp 76,79,116-119 (Berman) Palai 18, M/J:Repp

Piano Pieces, opp 116-119 (Hough) Hyp 68116, M/J:Repp

Piano Pieces (Masi) Navon 6260, M/J: SullivanP Qt 1, arr Schoenberg (Vandelli SACD) Chall 72831,M/J: Althouse

P Qn; Qt 3 (Gerstein, Hagen Qt) Myrio 21, M/A: ThomsQts; PQn (Strada Qt) B 26, J/A: AlthouseSextets (Cologne Chamber Players) Penta 5186807,J/A: Althouse

Serious Songs (Finley) Hyp 68288, J/F: see SCHUBERTSongs (Belle Saison) B 23, M/J: MagilSongs 8 (Burns) Hyp 33128, N/D: AlthouseSongs 9 (Tritschler) Hyp 33129, J/A: Moore,RSongs (Wallfisch) Reson 10258, J/A: Moore,RSym 1+3 (Gardner SACD) Chan 5236, M/A: AlthouseSyms, PCs, Serenades (Masur) Decca 4840144, M/A:Vroon

Viola Sonatas (Belonogov) Melya 2553, J/F: MagilViola Sonatas (Zhang) Cent 3686, M/A: MagilViola Sonatas & Trio (Willwohl) Avi 8553473, J/A: ThomsViola Sonatas arr Cello (Wallfisch) Nimb 5974, J/A:Moore

VC (Liebeck) Orch 129, J/A: AlthouseVCC (Weithaus/Manze) CPO 555172, M/J: see SCHUMV Sons (Schickedanz) Cent 3498, S/O: MagilV Son 2+3; in E-flat (Wallin) BIS 2419, M/J: Magil

BRANDL: Sym; Sym Concertant (Griffiths) CPO 555227,N/D: French

BRANDON: Songs, Pieces, Trio (Binkley, ob) BlueG 545,N/D: Gorman

BRAUNFELS: Day & Night Music (Trinks) Hyp 68258,J/F: see PFITZNER

Piano 4 Hands (Blome & Groschopp) Capr 5361, S/O:Harrington

BRETON: Quartets (Breton Qt) Naxos 573037, J/A:O’Connor

BRIAN: Cleopatra; Nursery Rhyme (Brabbins) Dutt 7348,N/D: O’Connor

BRIDGE: Sextet (Cologne String Sextet) Avi 8553079,J/F: O’Connor

BRIGHT: PC; Var (Peebles) Somm 273, J/F: BeckerBRINCKEN: Sym 4; PC (Brincken/Held) Tocc 550, M/J:

O’ConnorBRITTEN: Rejoice in the Lamb; Cantata Acad (Britten;

Malcolm) Decca 4840658, M/A: GreenfieldV Son (Huang) Cent 3681, J/F: see WALTON

BROSTROM: Crimson Seas; Theatricon (Bergby)SwedS 1165, J/F: new, Boyd

BRUCH: 8 Pieces (Philon Trio) Anal 8923, J/A: EstepSyms; Overtures; Entractes (Trevino) CPO 555252, N/D:O’Connor

BRUCKNER: Mass E minor (Berlin Radio) Penta5186774, N/D: Greenfield

Piano Pieces (Pasqualotto) Brill 95619, M/J: HaskinsRequiem (Borowicz) Acce 30474, M/A: AlthouseSym 1 (Schaller) Prof 19084, M/J: VroonSym 2 (Ballot SACD) Gram 99211, J/A: VroonSym 6 (Dausgaard SACD) BIS 2404, M/J: VroonSym 6 (Rattle SACD) LSO 842, J/F: VroonSym 9 (Gatti) RCO 18008, M/A: Vroon

Syms (9) (Bohm, Solti, Mehta, Stein) Decca 4840204,M/A: Vroon

BRUK: Sym 19-21 (Kupcs) Tocc 543, S/O: GimbelBRUMEL: Lamentations (Musica Secreta) Obsid 719,

M/A: BrewerBRUNETTI: Lamentations; Cello Concerto (La Tempes-

tad) IBS 202019, S/O: BrewerBULL: Violin Pieces (Folleso SACD) 2L 159, S/O: VroonBURGE: 24 Preludes (Chiu) Centr 27319, M/A: new, BoyBURGER: Songs (Ross & Cameron) Spatl 1, M/A:

Moore,RBURGMULLER: Etudes (Petersson) Grand 816, J/F:

ReppBUSONI: Bach-based Piano Pieces (Harden) Naxos

573982, J/F: KangViolin Sonatas (Falasca) Brill 95854, M/J: French

BUXTEHUDE: Cantatas (Bolton & Perrot) Mirar 442, J/A:Loewen

Cantatas (Ricercar Consort) Ricer 145, S/O: LoewenHpsi Pieces (Kappel) DACO 852, M/J: LehmanMembra Jesu Nostri; Anthems (Baker Festival Singers)Amber 129, N/D: Loewen

Membra Jesu Nostri (Vatio Bissolati) Crem 19048, M/J:Loewen

Organ pieces (Boucher) ATMA 2777, M/A: see BACHStradal Transcriptions (Ai, p) Tocc 534, M/J: Repp

BYRD: Anthems (Magdalena Consort) Sign 609, N/D:150, Gatens

CACIOPPO: Metamorphoses (Various) Alb 1822, N/D:new, Faro

CAMPAGNOLI: Flute & Violin Duets (Parrinos) Brill95974, M/A: Gorman

CAPORALE: Cello Sonatas (Romabarocca) Brill 95622,J/F: Brewer

CAPOTORTI: Mass; Sacred Pieces (Petruzzella) Dig 98,N/D: Moore,C

CARISSIMI: Iudicium Extremum Jephte (San Felice Ens)Bong 5211, S/O: Gatens

CARLEVARO: Guitar Pieces (Cappelli) Brill 95684, N/D:McCutcheon

CAROLLO: Sym 3 (Vaupotic) Navon 6250, M/A: new,Faro

CASTELBERG: Songs & Motets (Larynx Ensemble)SoloM 334, S/O: Moore,R

CASTELNUOVO-TED: Cello Sonata (Cicchese) Brill95812, J/A: see PIZZETTI

Importance of Being Earnest (Rose) Odyss 1003, S/O:Locke

Piano Pieces (Arciglione) Dig 100, M/A: KangCASTEREDE: Flute Pieces (Du Toit) Naxos 573949,

M/A: GormanF Pieces 2 (Du Toit) Naxos 573950, M/J: GimbelFlute Pieces 3 (Du Toit) Naxos 574155, N/D: Gorman

CATOIRE: Stg Qn; Trio; Andante (Catoire Ens) Chall72792, S/O: Dutterer

CAVALLI: Ipermestra (La Sfera Armoniosa) Chall 72774,M/A: Locke

CHABRIER: Piano Pieces (Meyer) Uran 121384, M/J:see DEBUSSY

CHADWICK: Tam O’Shanter (Constantine) Orch 103,J/F: see ELGAR

CHAILLOU: Legendes (Mikkola, p) FugaL 761, J/A: new,Faro

CHARPENTIER: Orpheus (2) (Vox Luminis) Alpha 566,M/J: Gatens

Pleasures of Versailles (Les Arts Florisants+) CPO555283, J/F: Brewer

Te Deum; Mass w Instruments (Namur Chamber Choir)Ricer 143, J/A: Gatens

CHAUSSON: Concert; Chanson Perpetuelle (Gollo+)IBS 62020, N/D: Dutterer


Poem of Love & the Sea (Lemieux) Erato 542433, M/A:see ELGAR

Trio (Vienna Trio SACD) MDG 9422130, J/F: see RAVELVC (Ambartsumian) Cent 3707, J/F: see MENDLSSOHNCHOPIN: Ballades & Impromptus (Farkas) Hung 32829,J/F: Kang

Ballades; Fantasy; Barcarolle (Luszczewski) Dux 1627,J/A: Vroon

Ballades; Scherzos; Polonaise-Fantasy (Richter) Uran121385, S/O: Repp

Cello Sonata (Capucon) Erato 539226, M/J: seeFRANCK

Etudes (Batsashvili) Warnr 542786, J/F: see LISZTNocturnes & Polonaises (McLean) Stone 80970, J/A:Repp

Nocturnes (Shen) Genui 19555, J/F: KangPC 1 (Sung) Berl 1096, M/A: see PADEREWSKIPC 2 (Senyshyn) Alb 1777, N/D: FrenchPCs (Yundi) Warnr 532018, M/J: VroonP Son 3; Ballade (Mikulska) Genui 20718, N/D: ReppP Son 3; late pieces (Russo) Stein 30125, M/A: ReppPiano Pieces (Costello) BlueG 513, S/O: VroonPiano Pieces (Kolesnikov) Hyp 68273, J/F: VroonPiano Pieces (Koroliov) Tacet 257, S/O: VroonPiano Pieces (Pisarev) Acous 13619, M/J: VroonPolish Fantasy; Krakowiak; Trio (Parnassus Academy)MDG 3032110, J/F: Vroon

Preludes (Chuang) Palai 16, M/J: 156, ReppCIMAROSA: Organ Sonatas (Chezzi) Brill 95781, J/A:

DelcampOvertures, vol 6 (Gallois) Naxos 574046, M/J: French

CLARKE,N: Mysteries of the Horizon (Grimethorpe Col-liery Band) Naxos 574097, J/A: Kilp

CLARKE: Trio (Neave Trio) Chan 20139, M/A: see FAR-RENC

CLEMENTI: Sonatas (McCabe) DivA 21231, M/A: seeSCARLATTI

P Sons, opp 2,7,9,12 (Park) Naxos 573940, J/F: KangPiano Sonatas (Scinardo 2CD) Sony 97348, S/O: Repp

CLEVE: Mass, King of Babylon (Cinquecento) Hyp68241, S/O: Gatens

CLYNE: Dance (Segev) Avie 2419, N/D: MooreCOATES: London; Jester at Wedding; Rhapsodies (Wil-

son) Chan 20036, M/A: FischCOKE: Cello Sonatas (Wallfisch) Lyrit 384, M/J: MooreCOLERIDGE: Requiem (RSVP Voices) Coler 0, J/A: DelCOLONNA: Motets (Scherzi Musicali) Ricer 406, M/A:

Moore,CCOOKE: Trio; PQt; PQn (Pleyel Ens) MPR 105, J/F: DuttCOOMAN: Christmas Organ Pieces (Simmons) DivA

25196, N/D: GatensOrgan Pieces 13 (Cooman) DivA 25200, J/A: Delcamp

COOPER: Stabat Mater (Hughes & Maroney) FurAr6823, M/J: Sullivan

COPLAND: Billy the Kid Suite (Noseda SACD) NSO 1,J/A: see DVORAK

COSSONI: Vespers (Kesselberg Ens) SoloM 326, J/A:Moore,C

COUPERIN: Hpsi Pieces, all (Cuiller 3CD) HM 902377,N/D: Lehman

Hpsi Pieces (Cybulska-Amsler) Dux 1547, J/A: LehmanHpsi Pieces 6 (Kroll) Cent 3719, J/A: LehmanHpsi Pieces (Vinikour) Ced 194, J/A: Lehman2-Hpsi Pieces (Rovelli & Gaggini) Brill 95752, J/A: LehmNations; Viol Pieces (Dupre, Dart) Decca 4828544, M/A:Lehman

Organ Masses (Heurtematte) Raven 153, M/A: GatensCRUMB: Metamorphoses 2 (Barone, p) Bridg 9535, N/D:

GimbelCUTTING: Lute Pieces (Cerasani) Brill 96099, N/D:

Loewen

CZERNY: Etudes, op 849 (Horvath) Grand 815, J/F:Repp

PC; Concertino; Rondo (Tuck) Naxos 573998, M/A:Becker

Piano Pieces 1 (Zhan) Tocc 20, J/F: BeckerDALBERG: Qts (Nordic Qt SACD) DaCap 6220655,

N/D: ThomsonDALL’ABACO: Cello Sonatas (Frey) Passa 1069, J/A:

MooreDALLAPICCOLA: Priioniero (Noseda SACD) Chan

5276, N/D: ReynoldsDANDRIEU: Magnificats (Robin) Vers 23, M/A: GatensDANIELPOUR: Passion of Yeshua (Falletta) Naxos

559885, J/A: GreenfieldDAUGHERTY: This Land Sings (Miller) Naxos 559889,

S/O: GimbelDAVIDSON: Universal Masses (NY Virtuoso Singers)

Sound 1034, M/A: GreenfieldDAVIS: Intolerance (Davis) CarlD 30, J/F: FischDAVIS,O: Arcadia (Bateman) Sign 590, M/A: new, FaroDAWSON: Negro Folk Symphony (Fagen) Naxos

559870, N/D: HechtDAYTON: Aspects of Landscape (Various orchestras)

Daytn 0, S/O: new, FaroDEBUSSY: Enfant Prodigue (Fracassi) Bong 2498, J/F:

see MONTEMEZZIEtudes; Children’s Corner (Karis) Bridg 9529, M/J: KangImages; Afternoon of a Faun (Elder) Halle 7554, N/D:Hecht

Nocturnes (Ticciati) Linn 623, J/F: see DURUFLEPiano Pieces (Biret) IBA 571401, J/A: HarringtonPiano Pieces, rare (Horvath) Grand 822, S/O: KangPiano Pieces (Meyer) Uran 121384, M/J: KangPreludes+ (Berman) Palai 14, M/J: KangPreludes (Schvartz) Mode 322, N/D: HarringtonQt (Noga Qt) Avi 8553106, M/J: see HAHN

DECKER: Prelude; 7 Last Words & Triumph (Decker,Cleveland) Loft 1167, J/A: Delcamp

Psalm Paraphrases; Freese Collection (Decker) Loft1151, J/F: Delcamp

DENISOV: Symphony; Flute Concerto (Rozhdestvensky)Melya 2604, M/A: Estep

DERLANGER: P Qn (Lane, Goldner Qt) Hyp 68296,N/D: see DUNHILL

DESCARRIES: Piano Sonata & Pieces (Fung,J) Centr27519, M/J: Kang

Songs & Chamber Pieces (Rancourt+) ATMA 2799, S/O:Estep

DESENCLOS: Requiem (Flemish Radio) EvilP 32, M/J:see POULENC

DESSAU: Chamber Pieces (Ens Avantgarde) MDG6132158, S/O: Haskins

DESTOUCHES: Isse (CMBV Singers) Ambro 53, M/J:Brewer

DIAZ-JEREZ: Canary Islands Sym Poems (Portal) Sign612, S/O: new, Faro

DINESCU: Cello Pieces (Deserno) Kalei 6344, M/A:Moore

DISTLER: Sacred Choral (Berlin Vocal Ens) Cant 57007,N/D: Greenfield

Sacred Choral (N German Chamber Choir) MDG9022156, S/O: Greenfield

DODGSON: Wind Quintets (Magnard Ens) Tocc 499,J/A: Hanudel

DOEMMING: Cantatas (Wessel) Music 56979, N/D:Loewen

DOHNANYI: PCs (Gulbadamova) Capr 5387, J/A:O’Connor

Qt 2; P Qns (Hamelin; Takacs Qt) Hyp 68238, J/F: O’CoSerenade (Anima Music) Hung 32764, J/F: O’ConnorSym 1; Sym Minutes (Paternostro) Capr 5386, M/A:O’Connor


Veil of Pierrette (Vienna Radio) Capr 5388, J/A: LockeDONIZETTI: Don Pasquale (Wunderlich, Bavarian

Opera) Prof 19075, J/A: ReynoldsQt 4,5,6 (Pleyel Qt) CPO 555240, N/D: Dutt

DOWLAND: Lachrimae (Opera Prima) Brill 95699, M/J:Brewer

Lute Songs (Flores) Naive 8941, M/A: BrewerDRAESEKE: Qt 1+2 (Constanze Qt) CPO 555281, S/O:

DuttererDRAPER: Portraits (Draper, g) MSR 1719, J/F: SmithDREYFOOS: Holocaust Songs (Baker) Amber 119, N/D:

see RUTTERDUFAY: Mass, Se la Face ay Pale (Diabolus in Musica)

Alpha 495, J/F: BrewerDUFOURT: Inspired by Goethe (Collot) W&W 910262,

S/O: ReppDUKAS: Poleucte Overture (Rophe) BIS 2432, M/J: see

ROUSSELDUNHILL: P Qn (Lane, Goldner Qt) Hyp 68296, N/D: DutDUNI: Trio Sonatas (DuniEnsemble) Brill 96023, J/F:

BrewerDUPONT: PC 3 (Shelley) Hyp 68264, M/J: see BENOITDUPUIS: V Son (Prouvost) EP 7, S/O: see INDYDURANTE: Requiem (Centemeri) Brill 96027, J/A: AlthDURON: War of the Giants (Granada Baroque) IBS

132019, J/F: LoewenDURUFLE: Requiem (Ticciati) Linn 623, J/F: DelcampRequiem; Mass (U of Northern Iowa) Cent 3715, J/F:Delcamp

DUSAPIN: Penthesilea (La Monnaie) Cypr 4654, J/A: Alt-man

DUSSEK: P Sons (Dadelsen) Tudor 7509, J/F: BeckerDVORAK: Biblical Songs (Pribyl) Sup 4269, J/F: see

JANACEKPC (Kahanek) Sup 4236, M/J: EstepQt 8+10 (Albion Qt) Sign 597, S/O: DuttererRequiem (Kesling) Cent 3725, J/A: ReynoldsSerenade (Anima Musicae) Hung 32824, S/O: O’ConnorSerenade (Balkan Chamber Orch) Audit 20045, N/D:Vroon

Stabat Mater (Soloists, piano) BR 900526, M/A: AlthSym 6; 3 Overtures (Inkinen) SWR 19093, S/O: VroonSym 9 (Noseda SACD) NSO 1, J/A: FrenchSym Variations; Serenade (Davis) Decca 4829380, M/J:Vroon

Trios, all, with Suk & Smetana (Irnberger+) Gram 99206,S/O: Dutterer

VC (Pine) Avie 2411, M/A: VroonDZUBAY: Quartet; All Water (Orion Qt) Innov 11, M/A:

new, FaroEBERL: Piano Sonatas (Quintavalle) Brill 95929, S/O:

KangEISLER: Leipzig Sym; Night & Fog (Bruns) Capr 5368,

J/F: HechtLieder, vol 4 (Falk) MDG 6132126, M/J: Moore,R

ELCOCK: Haven; Sym 5 (Vasiliev) Tocc 445, S/O: GimblELGAR: Cello C (Segev) Avie 2419, N/D: see CLYNEFalstaff (Constantine) Orch 103, J/F: O’ConnorP Qn (Ohlsson, Takacs Qt) Hyp 68295, S/O: DuttererSea Pictures (Lemieux) Erato 542433, M/A: 206, AltmanSea Pictures; Music Makers (Rudge) Onyx 4206, N/D:Reynolds

VC (Ruubel) Sorel 16, N/D: O’ConnorELLER: White Night; Night Calls; Dawn (Elts) Ond 1335,

M/A: O’ConnorELLING: Piano Pieces (Alver) LAWO 1185, M/A: KangELSNER: Chamber Pieces (Various 2CD) Dux 1555,

S/O: DuttererENESCO: Octet (Gringolts Qt & Meta4 SACD) BIS 2447,

S/O: see MENDELSSOHNPiano Sonata 3; Suite (Giorgini) Piano 10184, M/A:Becker

Trio 1 (Amatis Trio) Avi 8553477, J/A: ThomsonEOTVOS: Trisestry (Davies) Oehms 986, J/A: AltmanERDMANN: Solo V Son (Ingolfsson) Genui 20711, S/O:

see SCHNABELERNST: Violin Etudes+ (Lupu) Tocc 311, J/F: KellESENVALDS: Choral Pieces (Portland State Chamber

Choir) Naxos 574124, S/O: GreenfieldSacred Choral (Pacific Lutheran University) Sign 603,M/J: Greenfield

ESPADERO: Piano Pieces (Lopez) Tocc 544, M/A: ReppFAHRMANN: Motets (Bernius) Carus 83499, M/A: O’ConFALLA: 3-Cornered Hat; Amor Brujo (Heras-Casado)

HM 902271, J/F: FrenchP Pieces (Jones) Nimb 7731, S/O: Repp

FARINA: Instrumental Pieces (Capriccio Stravagante)Ricer 139, S/O: Moore,C

FARRENC: Piano Variations & Etudes (Polk) Stein30133, J/A: Harrington

Sym 1; Overtures; Variations (Konig) Naxos 574094,J/A: Vroon

Trio 1 (Neave Trio) Chan 20139, M/A: 169, ThomsonFAURE: Cello Sonatas (Magariello) Brill 95681, S/O:

MooreCello Sonatas (Meunier) Palai 19, M/J: MooreNocturnes (Dumont) Piano 10186, S/O: KangP Qns (Mozart P Qt SACD) MDG 9432162, N/D: SullP Qn 1 (Wihan Qt) Nimb 6397, N/D: see FRANCKPiano Pieces (Lortie) Chan 20149, S/O: Kang

FEINBERG: Piano Sonatas (Hamelin) Hyp 68233, M/J:Repp

FELDER: 4 Seasons (Rose) BMOP 1069, J/A: GimbelJeu de Tarot; Netivot (Arditti Qt) Cov 91913, M/J: HaskinsFELDMAN: Patterns in a Chromatic Field (Mayr) Wergo

7382, M/J: new, BoydFELICE: Chamber Music for Strings & Voice (Indianapo-

lis Qt+) Enhar 35, J/A: new, FaroFERRABOSCO: Lyra Viol Works (Biordi) Dyn 7852, M/J:

MooreFERRER: Guitar Duets (Skogmo & Franke) Naxos

574011, J/F: SmithFIBICH: Sym 3; Sarka; bride of Messina (Stilec) Naxos

574120, N/D: O’ConnorFINGER: V Sons (Duo Dorado) Chan 824, J/F: MagilFINZI: Bagatelles (Fiterstein) Orch 106, M/A: see

MOZARTClarinet Concerto (Collins SACD) BIS 2367, N/D: seeVAUGHAN WILLIAMS

FLOYD: Prince of Players (Florentine Opera) Ref 736,S/O: Reynolds

FLURY: Magic Mirror (Mann) Tocc 552, M/J: O’ConnorFORREST,D: Requiem for the Living (Borowski) Dux

1573, M/J: GreenfFRANCAIX: Clar Con (Beltramini) Brill 95994, M/A:

HanudelFRANCK: Cello Sonata (Capucon) Erato 539226, M/J:

MooreChorales; G Piece Symphonique (Patrick) Guild 7816,M/A: Delcamp

Organ Pieces (Challenger) Salis 0, M/J: DelcampP Qn (Wihan Qt) Nimb 6397, N/D: DuttererPiano Pieces (Lugansky) HM 902642, S/O: HarringtonPsyche; Chasseur Maudit; Eolides (Tingaud) Naxos573955, S/O: Vroon

Redemption, complete (Fournet) Brill 96002, N/D: VroonSym Var; Preludes; Djinns (Biret) IBA 8571403, M/J:Becker

Sym; Sym Var (Gimeno SACD) Penta 5186771, N/D: Alt-house

V Son (Carmina Qt) MDG 6502167, S/O: see SZYMANV Son (St John) Anca 144, J/A: see BEETHOVEN

FRANZ: Songs (Burns, Searle) MPR 106, M/J: AlthouseFREDDI: Vespers (Savan) Reson 10245, J/F: Moore,C


FRESCOBALDI: Arias & Canzoni (Clematis) Ricer 149,S/O: Moore,C

FRID: Sym 3; Inventions; Va+PC (Gazarian) Capr 5353,J/F: O’Connor

FROBERGER: Fantasias & Canzonas (Charlston, clav)DivA 25204, S/O: Lehman

FUCHS,H: New Beginning (NeueM 301274, J/F: new,Faro

FURSTENTHAL: Chamber Pieces 2 (Rossetti Ens) Tocc542, J/A: O’Connor

GAL: Viola Pieces (Pakkala) Tocc 535, J/F: MagilVocal Pieces (Borealis) Tocc 509, N/D: Althouse

GALUPPI: Amante di Tutte (Piacenza) Bong 2318, J/F:Locke

GARSON: Pathetique Var (Schuch) Avi 8553016, N/D:see BEETHOVEN

GATTO: Making of Americans (Jack Qt+) NewF 265,N/D: new, Boyd

GAUBERT: F Pieces (Pagnini) Verm 40023, M/J: GormGELANIAN: Cello Sonata; P Son (Frasse-Sombet)

Mague 358432, M/A: MooreGEMINIANI: Concerti Grossi (Concerto Koln) Berl 1285,

M/J: BrewerGERNSHEIM: Songs (Gann) Genui 19662, J/A: Moore.RGERSHWIN: American in Paris (Langree) FanF 16, M/A:

HechtPiano Pieces (Lent) Espr 0, J/A: HarringtonPiano Pieces (Mahan) Stein 30132, J/A: BeckerRhaps; PC; Rhaps 2; I Got Rhythm (Licad) DACO 869,S/O: Estep

Rhapsody 2; Overtures (Marshall) Avi 8553007, N/D:French

GERVASIO: Mandolin Sonatas (Giatintucci) Tact720702, M/A: Lehman

GESUALDO: Madrigals I+II (Arts Florissants) HM8905307, M/A: Moore,C

Madrigals for 5 (Exaudi Ens) W&W 259, J/F: Moore,CGILARDINO: Guitar Quartets (Santorsola Qt) Brill 95911,

J/F: SmithGINASTERA: Harp C; Var Concertantes (Harth-Bedoya)

LAWO 1182, M/A: SullGIPPS: PC (Peebles) Somm 273, J/F: see BRIGHTGIULIANI: Guitar Pieces (El Khouri) Dyn 7855, S/O:

McCutcheonViolin & Guitar (Sacco & Dieci) Brill 95735, J/F: Smith

GLANERT: Oceane (German Opera Berlin) Oehms 985,J/A: Altman

GLASS: American Four Seasons (Bern/ Bach) Naxos559865, M/J: Faro

King Lear (Composer) OM 141, J/A: HaskinsP Pieces (Deutekom) OM 6052, M/J: new, BoydPC 2; Pieces (Horvath) Grand 817, M/J: Faro

GLINKA: Clarinet Trio (Punzi) Brill 95871, J/A: seeSCHUMANN

GLUCK: Orfeo & Euridice (Davies, Bevan, Nuova Musi-ca) Penta 5186805, M/A: Altman

GODOWSKY: Chopin Etudes (Delucchi) Piano 10182,J/F: Becker

Chopin Etudes (Scherbakov) MPolo 8225372, S/O: KngPiano left hand (Ross) Cent 3754, S/O: Becker

GOETZ: Trio (Trio Fontane) SoloM 336, S/O: see HUBEGOLDNER: Modern Suites 2,4,6 (Beckman & True, p)

Tocc 527, J/A: HarringtonGOLESTAN: V Son (Golcea) Genui 19668, J/F: see

STRAUSSGOMES,C: Lo Schiavo (Cagliari/Neschling) Dyn 7845,

M/A: LockeGOMES,P: Chamber Works (Var) Naxos 579029, M/J:

HanudelGOOSSENS: Sym 2; VC (Davis,A SACD) Chan 5193,

M/J: O’Connor

GORDON,G: Cello Concerto; Fathoms; Nightingale (Mol-drup) BIS 2330, S/O: Moore

GORDON,R: Ellen West (Zetlan & Gunn) BST 139, N/D:Vroon

GORECKI: Qt 3; 2-V Son (Tippett Qt) Naxos 574110,S/O: Dutterer

GOSSEC: Symphonies (Gaudenz) CPO 555263, J/F:French

GOTOVAC: Ero the Joker (Croatian & Munich Radios)CPO 555080, N/D: Locke

GOULD: Quartet (Acies Qt) Gram 99028, M/J: SullivanGOUNOD: Faust (Rousset) BruZ 37, J/F: ReynoldsGRADENER: Violin Concertos (Pollick) Tocc 528, M/A:

O’ConnorGRANADOS: Goyescas (Dichamp) Brill 96067, S/O:

127, KangGRANDI: Motets+ (Accademia d’Arcadia) Arcan 464,

J/F: GatensGRAUN: Passion Oratorium (Schwarz) CPO 555270,

J/F: LoewenGRAUPNER: Passion Cantatas III (Heyerick) CPO

555230, J/F: LoewenGREGSON: Brass pieces (London Brass) Chan 20127,

S/O: KilpatrickGREIF: Chants de l’Ame (Garnier+) B 24, M/J: SullivanGRETRY: Raoul Barbe-Bleue (Wahlberg) Apart 214,

M/A: LockeGREVE: Palace of the Dreamking+ (Greve) Navon 6257,

M/A: KilpatrickGRIEG: Lyatrickric Pieces (Booth, s; Glynn, p) Avie

2403, J/F: OberoiV Sons (Urioste) Orch 126, S/O: Magil

GRILL: Elements; In Praise of Reason; Mystical (Camer-ata Philadelphia) Innov 47, J/A: new, Faro

GRISEY: Songs (Hannigan) Alpha 586, J/A: see HAYDNGRONAU: Organ Pieces (Szadejko) MDG 9062139, M/J:

GatensGROSLOT: PC; CC; HpC (Composer) Naxos 579057,

M/A: GimbelGROVEN: Sym 1+2 (Szilvay) Naxos 573871, S/O:

O’ConnorGUINJOAN: Piano Pieces (Calderon de Castro) IBS

102019, M/J: HaskinsGULDA: Quartet (Acies Qt) Gram 99028, M/J: see

GOULDGUNDERMANN: Kreuzleich (Krahnert) Genui 19657,

J/F: LoewenGUNNING: Sym 2,10,12 (Woods) Sign 593, M/J: GimbelVC; CC; Birdflight (Composer) Sign 621, N/D: Moore

GURDJIEFF: Guitar transcriptions (Herbig) BIS 2435,M/A: Smith

HADLEY: Cello Pieces (Buchholz) Cent 3780, N/D:Moore

HAHN: Qt 2 (Noga Qt) Avi 8553106, M/J: DuttererSongs (Prokofieva) Stone 80888, S/O: Fisch

HANCOCK: Raptures; VC (Liebeck/Parikian) Orch 111,M/A: new, Faro

HANDEL: Agrippina (DiDonato, Pomo d’Oro) Erato533658, J/A: Locke

Alto Cantatas (Zazzo) Inven 1002, M/A: ReynoldsArias with cello (Romabarocca) Brill 95622, J/F: seeCAPORALE

Brockes Passion (Egarr) AAM 7, M/A: LoewenCon Grossi op. 6: 7-12 (Alte Musik Berlin) Penta5186738, M/J: Gatens

Gamba Pieces (Aziz) FHR 91, S/O: MooreMessiah (Boult) Decca 4840411, M/A: VroonMessiah (Griffith) Sign 610, S/O: VroonTrio Sonatas+ (Apotheose) IBS 162019, J/F: Loewen

HANDL: Motets (Musica Nova) Palai 10, M/J: LoewenHARBACH: Luther Suite; Arabesque; Early American

(Angus) MSR 1672, J/A: Gimbel


HARBISON: North & South; Mirabar Songs (OberlinEnsemble) Oberl 1902, J/A: Gimbel

Songs (Gibbon) Alb 1818, S/O: HaskinsHARSANYI: Piano Pieces (Koukl) Grand 806, M/J: BeckPiano Pieces 2 (Koukl) Grand 807, S/O: Haskins

HART: Violin Sonatas (Collins) Tocc 470, M/A: MagilHARTMANN,JPE: Violin Suite; Character Pieces (Tel-

manyi) DACO 853, M/J: ThomsonHATZIS: Lamento; Ecstasy (Slean/Hatzis) Centr 27820,

M/J: new, BoydHAYDN: Canzonettas (Horak) Gram 99212, S/O: FischCello Concertos (Clein) Oehms 1895, N/D: MooreLyra Concertos (Trondheim Soloists) Penta 5186823,M/J: see STAMITZ

Mass 14, Harmonie; Sym 99 (Christophers) Coro 16176,M/A: Vroon

Mass 5, Cellensis (RIAS Chamber Choir) HM 902300,M/A: Gatens

Organ Concertos (Quinn) Chan 20118, M/A: AlthouseP Son 32,37,40,47,48.49 (McCawley) Somm 602, J/F:Repp

P Son 35,37,40,49,50 (O’Conor) Stein 30110, M/A: ReppQts, op 17 (Leipzig Qt) MDG 3072141, M/J: DuttererQts, op 20:1,4,6 (Dudok Qt) Reson 10262, S/O: Thom-son

Qts, op 20:2,3,5 (Dudok Qt) Reson 10248, J/F: VroonQts, op 76:1-3 (Chiaroscuro Qt SACD) BIS 2348, S/O:Thomson

Qts, opp 71+74 (London Haydn Qt) Hyp 68230, J/F: Alt-house

Qts, various (Hanson Qt) Apart 213, M/J: ThomsonScottish Songs (Poker Club Band) BIS 2471, M/J:Moore,R

7 Last Words (Pellizzari, org) Brill 95889, S/O: DelcampSym 28,43,63 (Giardino Armonico) Alpha 682, M/J:Vroon

Sym 49 (Hannigan) Alpha 586, J/A: VroonTrio 28 (Gaspard Trio) Avi 8553105, N/D: see SCHUBRTVPC (Ivakhiv, Pompa-Baldi) Cent 3742, S/O: French

HELBIG: Piano Pieces (Poetzsch) NeueM 301387, J/A:Vroon

HELLINCK: Missa Surrexit (Brabant Ens) Hyp 68304,M/J: 170, Loewen

HENRIQUES: Piano Pieces (Bjorkoe) DaCap 8226150,J/F: Kang

Piano Pieces (Trondhjem) DACO 840, J/F: KangHENSEL: Biblical Oratorio (Wolf) Carus 83468, M/A:

GreenfieldSongs; Qt (Musica Vitae) DB 191, J/F: see MENDELSTrio (Rodberg Trio) Alba 451, S/O: see MENDELSSOHN

HENZE: Contrabass Concerto; Trauer-ode (Roccato)Wergo 7391, S/O: Moore

Floss der Medusa (Eotvos) SWR 19082, J/F: GimbelPrince of Homburg (Stuttgart Opera) Capr 5405, N/D:Locke

HERSKEDAL: Behind the Wall (Meland, Robak, Hjertvik)Naxos 574189, J/A: new, Boyd

HERTEL: Woodwind Chamber Music (Concert RoyalCologne) Music 56958, N/D: Gorman

HERZOGENBERG: Piano Duos (Duo Nadan) Brill95647, S/O: Harrington

HESSE: Toccata; Elegy; Epigram (Various) Music 55725,M/A: new, Faro

HETU: Trombone Concerto; PC 2 (Trudel) ATMA 2793,S/O: Kilp

HEWITT: Piano Pieces, all (Johnson) Cent 3736, S/O:Haskins

HINDEMITH: Kammermusik (4) (Eschenbach) Ond1341, S/O: Kilpatrick

Ludus Tonalis (Laretei) Decca 4840142, M/A: ReppHO: Monkies King—Centr 28020, N/D: new, VroonHOFMANN: FCs 3 (Grodd) Naxos 573967, J/F: Gorman

HOLBROOKE: Sextet (Cologne String Sextet) Avi8553079, J/F: see BRIDGE

HOLLER: Organ Pieces (Rhompson) Raven 161, N/D:Delcamp

HOLMES: Songs (Loilier) Mague 358428, M/J: ReynoldsHOLST: Planets; Perect Fool (Stern SACD) Ref 146,

M/A: KilpatrickSongs (Bevan, Williams) Albio 38, M/A: see VAUGHANWILLIAMS

HOMILIUS: Christmas Cantatas (Cologne Academy)CPO 555278, N/D: Loewen

HOTTER: Chamber Pieces (Boston Musica Viva) Alb1820, S/O: new, Faro

HOVHANESS: Cello Pieces (Gullans) Alb 1805, J/A:Moore

HOWELLS: Mass, Sabrinensis (Hill) Hyp 68294, N/D:Delcamp

HUBER: Trio (Trio Fontane) SoloM 336, S/O: DuttererHUGHES: Cuckmere; Sinfonia (Composer) Met 28597,

J/A: new, FaroHUMMEL: PC in A; VPC (Commellato) Brill 95894, M/J:

ReppVPC (Ivakhiv, Pompa-Baldi) Cent 3742, S/O: seeHAYDN

HUNDSNES: Clavinatas (Mikkola) Grand 800, M/J: new,Boyd

HUTTER: Choral Pieces (Minnesota Choral Artists)Naxos 559868, J/F: Greenfield

HYMAN: Organ Pieces (Saunders) ProOr 7269, J/F: Del-camp

ICHMOURATOV: Octet; Romances; Con Grosso 1(Bushkov) Chan 20141, J/F: new, Faro

Overtures; Ruins Symphony (Tremblay) Chan 20172,N/D: new, Faro

INDY: V Son (Prouvost) EP 7, S/O: 140, MagilINGEGNERI: Mass, Laudate Pueri (Girton College Choir)

Tocc 556, J/A: GatensIPPOLITOV-IVANOV: 2-Piano Transcriptions (Ivanova &

Zagarinsky) Hans 19039, M/A: HarringtonIRIBARREN: Sacred Pieces (Il Narvalo) Brill 95859, S/O:

BrewerISAAC: Presulem Ephebeatum Mass (Cappella Mariana)

Sup 4273, J/F: BrewerIVES: Songs (Wagner) MDG 6132178, N/D: SullivanSym 3+4 (Thomas SACD) SFS 74, M/A: Hecht

JACOB: Horn Concerto (West Chester Wind Ens) Mark54389, J/F: 183, Kilp

JACOB,J: Sym 5; Sanctuary 1+final (Various conduc-tors) Navon 6248, J/F: new, Faro

JACQUET: Violin Sonatas (Les Dominos) Ricer 142, J/A:Brewer

JANACEK: Diary of One Who Vanished (Pribyl) Sup4269, J/F: Moore,R

Piano Pieces (Ades) Sign 600, S/O: HaskinsQt 1 (Navarra Qt) Orch 135, N/D: see SCHUBERT

JANCEVSKIS: Choral Pieces (Riga Cathedral) Hyp68328, M/J: Greenfield

JAQUES-DALCROZE: Piano Pieces 3 (Pares) Tocc 540,M/A: Harrington

JENKINS: Miserere (Layton) Decca 4818580, M/A:Greenfield

JENNER: Songs (Bastlein) Naxos 551422, N/D: Moore,RJOHANNSSON: Short Pieces (Echo Collective) DG

4837218, M/A: GimbelJOHANSEN: PC; Sym Var; Epigrams (Triendl) CPO

555246, N/D: O’ConnorJOLIVET: FC 2; Flute Pieces 2 (Boulegue) Naxos

574079, N/D: GormanJONGEN: Songs (Defrise) MusW 1993, M/J: AltmanJOSQUIN: Mass, Mater Patris (Tallis Scholars) Gimel

52, J/F: Brewer


KABALEVSKY: Piano Preludes (Korstick) CPO 555272,N/D: Harr

KAKABADSE: Odyssey; Songs (Royal Holloway Choir)DivA 25188, M/A: new, Faro

KALABIS: Piano Pieces (Kahanek) Sup 4259, J/F: SullKALKBRENNER: Etudes (Hay) Piano 10190, M/J: BeckKANCHELI: Piano Miniatures (Vatchnadze) Piano

10198, M/J: GimbelKAPSBERGER: Theorbo Pieces (Jacobs) Metro 1093,

J/F: LehmanTheorbo Pieces (Nordberg) BIS 2417, J/F: LehmanVillanelles (KasperGirls) Muso 37, S/O: Loewen

KAPUSTIN: Sax Qts (Clair-Obscur Qt) Capr 5369, J/A:Hanudel

KARCHIN: Jane Eyre (Composer) Naxos 669042, J/F:Altman

KAUFMANN: Chamber Pieces (ARC Ensemble) Chan20170, N/D: Thomson

KAYSER: Horn Concerto; Trio (Linder) DACO 857, M/J:Kilp

KEELEY: Sym 2; Var; FC (Mann) Tocc 462, N/D: GimbelKEISER: Theatrical Music (Capella Orlandi Bremen)

CPO 555068, N/D: FrenchKELLY: Etudes; Monographs (Wilson) Tocc 524, N/D:

BeckerKERNIS: Color Wheel; Sym 4 (Guerrero) Naxos 559838,

N/D: GimbelSym 2; FC; Air (Slatkin, Alsop) Naxos 559830, J/F: Gimb

KHACHATRYAN: Piano Sonatas (Composer) Alb 1795,M/A: Gimbel

KHACHATURIAN: Masquerade & Spartacus Suites(Kitaenko) Oehms 471, N/D: see PROKOFIEFF

Piano Sonata & Pieces (Sughayer) BIS 2436, M/A: HarrSpartacus Suite (Petrenko) Onyx 4211, J/F: VroonVC (Pine) Avie 2411, M/A: see DVORAKVC; Rhaps (Weithaas) CPO 555093, J/A: French

KHAN: Strings for Peace (Isbin) Zoho 202004, S/O:McCutcheon

KIEL: Cello Pieces (Zentgraf) MDG 6122175, N/D:Moore

KIM: Music—Gramo 0, N/D: new, VroonKLEMENT: Schutten—Gramo 1, N/D: new, VroonKNABLE: Song of the Redwood Tree (Pool) MSR 1749,

J/A: GormanKNECHT: Nature Symphony (Berlin Academy) HM

902425, J/A: see BEETHOVENKNEHANS: Backwards from Winter (Weusten) Ablaz 54,

N/D: new, BoydKODALY: Cello Pieces & Duo (Steckel) Avi 8553272,

J/F: MooreKOECHLIN: Cello Sonata (Meunier) Palai 19, M/J: see

FAURESur les Flots Lointaines (Rosner) Odrad 364, M/J: seePOULENC

KOMITAS: Miniatures (Akhtamar Qt) Cypre 1681, J/A:Thomson

KOPPEL: PC 3; P Pieces; Pastorale (Koppel) DACO856, J/A: O’Connor

KORNGOLD: Orchestral [4CD] (Richter) Capr 7350, J/A:O’Connor

P Qn (Lane, Goldner Qt) Hyp 68290, M/J: see BARTOKSymphony; Variations (Wilson SACD) Chan 5220, J/F:O’Connor

KOSHKIN: Guitar Preludes & Fugues (Selyutina) Naxos579058, J/A: new, Boyd

KOZELUCH: Joseph; Mass in C+ (Stilec) Naxos 573929,M/A: Greenfield

Symphonies 2,9,10,11 (Stilec) Naxos 574047, J/A: HectKREIN: Chamber Pieces (Various) Tocc 546, M/A: DuttKREISLER: V Pieces (Park) Cent 3816, N/D: VroonKREUTZER: VC 1,6,7 (Breuninger) CPO 555206, M/J:

French

KROMMER: Sym 6+9 (Griffiths) CPO 555337, N/D: AlthKROUSE: Nocturnes (Rivera+) Naxos 559877, N/D:

new, FaroKULJERIC: Croatian Requiem (Repusic) BR 900331,

N/D: GreenfKUULA: Piano Pieces (Oksanen) Alba 445, M/A: KangLABOR: P Qn; P Qt (Triendl+) Capr 5390, M/A: DuttLAHTI: Division (Division) Alb 1779, J/F: new, BoydLAITMAN: Secret Exit; Butterfly; Body (Soprano & clar-

inet) Naxos 559890, N/D: GimbelSongs (Various) Naxos 559872, J/A: Gimbel

LAMBERT: Songs; P Duet (Geer) Somm 614, S/O: seeWALTON

LANG: The Loser (Bang on a Can) Canta 21155, M/J:Vroon

LANGGAARD: Antichrist Prelude (Dausgaard) SSM1023, J/F: O’Connor

LEBEGUE: Hpsi Pieces (Alvarez) Brill 95671, J/A: LehmLECOCQ: Dr Miracle (Robinson) Cameo 9113, M/A: see

BIZETLECOINTRE: Cello Suite (Holtrop) Aliud 109, M/J: see

STAMLEDROIT: St John Passion (Reimer) Skarb 2194, M/A:

GatensLEFREK: Gloriosa (Gloriosa Trio) Cent 3744, M/J: see

SAINT-SAENSLEGRENZI: Vocal & instrumental pieces (Zenit Ens) Brill

96006, M/J: KilpLEHAR: Merry Widow (Frankfurt Opera) Oehms 983,

J/F: FischLEONCAVALLO: Pagliacci (Graz/Lyniu) Oehms 987,

J/A: see MASCAGNILERDAHL: Arches; Qy 4; Bagatelles (Daedalus Qt)

Bridg 9522, J/A: HaskinsLESHNOFF: Clar & Bassoon Concerto (Honeck SACD)

Ref 738, S/O: see TCHAIKOVSKYQuartets 3+4; Dances (Carpe Diem Qt) MSR 1765, N/D:Gimbel

LEVY: Violin Pieces (Levy+) HM 902506, J/F: new, BoydLIGETI: Musica Ricercata (Prisuelos) IBS 182019, J/A:

see SHOSTAKOVICHLINDBERG: Accused; Episodes (Lintu) Ond 1345, S/O:

GimbelLINDROTH: Wilfred Owen Songs (Eleby) Sterl 3005,

M/A: Moore,RLINIKE: Chamber Pieces & Wind Concertos (Cologne

Concert Royal) Music 56972, M/A: LoewenLIPKIN: Chamber Pieces (Nash Ensemble) DivA 25202,

N/D: FaroLIPTAK: PC; Constellations (McCormick) Innov 31, J/F:

new, FaroLISZT: Ballade; Legends; Benediction (Filjak) Prof

18074, M/J: VroonDante Sonata; Mephisto 1 (Shen) Genui 19555, J/F: seeCHOPIN

Dante Symphony; Tasso; Kunstlerfestzug (Karabits)Audit 97760, J/A: Hecht

Don Juan; Jeux d’eaux (Li) Warnr 537957, M/A: seeTCHAIKOVSKY

Opera Transcriptions (Hamelin) Hyp 68320, N/D: KangOrgan Pieces 1 (Ferjencikova SACD) MDG 9062140,N/D: 128, Delcamp

Petrarch Sonnets (Schuen, bar) Avi 8553472, M/J:Moore,R

PC 2 (Moura Castro) DMC 3, M/J: see RACHMANI-NOFF

PC 2 (Senyshyn) Alb 1777, N/D: see CHOPINP Pieces (Batsashvili) Warnr 542786, J/F: EstepP Pieces 54 (Jando) Naxos 574059, M/J: KangP Son & Consolations (Chuang) Palai 16, M/J: seeCHOPIN

P Sonata (Mikulska) Genui 20718, N/D: see CHOPIN


P Son; St Francis Legends (Moog) Onyx 4195, M/A:Becker

P Son (Oh-Havenith) Audit 20043, M/A: see SCHUBERTPoetic & Religious Harmonies (Waleczek) Naxos573773, M/A: Vroon

Prometheus; Hamlet; Mazeppa; Mephisto (Munchinger)Decca 4828427, M/A: Hecht

Schubert Transcriptions 8 (Williams) Sign 838, N/D:Repp

Songs 6 (Kletter) Hyp 68235, S/O: Moore,RVia Crucis (Estonian Phil Chamber Choir) Ond 1337,J/F: Greenfield

LITTA: Trilogy (Then-Berge, v) Genui 20690, S/O: O’ConLO MUSCIO: Piano Pieces (Padova) Brill 95952, J/F:

new, BoydLOCATELLI: VCs, op 3 (Conti) Tact 691280, M/J:

LoewenLOCKLAIR: Sym 2; Organ Concerto; Phoenix (Trevor)

Naxos 559860, J/F: GimbelLOEB: Distant Carillons+ (Factory Seconds Brass) Cent

3802, N/D: KilpatrickLyric Trombone (Avitsur) Cent 3727, J/A: KilpWind Pieces (Various) Cent 3803, N/D: new, Boyd

LOPEZ: Sym 1; Bel Canto (Harth-Bedoya) MSR 1737,J/F: new, Faro

LORENZ: King Mangoberry; Pataruco (Mich StateWinds) BlueG 517, M/A: Kilp

LOSY: Lute Suites (Lindberg) BIS 2462, M/J: LoewenLUKASZEWSKI: At; Trio; Choral Pieces (Various) Dux

1515, S/O: GimbelLULLY: Isis (Talents Lyriques) Apart 216, M/A: LockeTe Deum; De Profundis; Dies Irae (Cappella Mediter-ranea) Alpha 444, J/F: Gatens

LUND: Poetic Etudes (Alver) LAWO 1196, S/O: KangLUPI: Sacred Pieces (Brabant Ens) Hyp 68304, M/J: see

HELLINCKLUTOSLAWSKI: Sym 2+3 (Lintu) Ond 1332, J/A: SullivLYMBURGIA: Music (Miroir de Musique) Ricer 402, J/F:

LoewenMACDONALD: Modules+ (Composer+) CompC 48, J/F:

new, BoydMACHAUT: Single Rose (Orlando Consort) Hyp 68277,

J/F: BrewerMACK: Lucinda & the Flowers (SF Opera Scouts) Alb

1811, N/D: ReynoldsMACKEY: Time Release; Urban Ocean (Rose) BMOP

1068, M/J: GimbelMACMILLAN: Miserere (Clare College Choir) HM

905323, S/O: see PARTSym 5 (Christophers) Coro 16179, S/O: Gimbel

MAGARELLI: Mass & Motets (Magarelli) Dig 99, N/D:Greenfield

MAGNARD: Syms 1+2 (Bollon) Naxos 574083, M/J:Hecht

Sym 3+4 (Bollon) Naxos 574082, J/F: HechtMAHLER: Das Lied (Ferrier, Svanholm/Walter 1948)

Somm 5007, M/J: Moore,RDas Lied (Romberger, Smith/Fischer SACD) Chanl40020, N/D: Althouse

Ruckert; Kindert (Braun) Smith 36901, J/F: Moore,RSym 1 (Vanska SACD) BIS 2346, J/F: HechtSym 1 (Leinsdorf) Decca 4840184, M/J: HechtSym 2 (Feltz) Drey 21116, J/F: AlthouseSym 4 (Krips) Cameo 9112, J/F: AlthouseSym 4 (Vanska SACD) BIS 2356, M/A: AlthouseSym 6 (Netopil) Oehms 1716, J/A: HechtSym 7 (Vanska SACD) BIS 2386, N/D: HechtSym 8 (Fischer,A) Avi 8553474, M/J: Althouse

MAKAN: Dream Lightly; If We Knew the Sky (Rose)BMOP 1066, J/F: Gimbel

MALCYS: Blackthorn Eyes; Hyacinth (Ipp-Ivanov Qt)Naxos 574073, J/A: see VASKS

MALIPIERO: Piano Pieces (Hirose) Strad 37133, S/O:Kang

Sym 6; Ritrovari; Studies (Iorio) Naxos 574173, J/A:O’Connor

MANNA: Sacred Pieces (Lux Animae) Uran 14052, M/A:Greenfield

MARAIS: Gamba Suites (Karpeta) Acco 259, M/J: MoorePieces de Viole (Smith) Reson 10244, J/F: MoorePieces en Trio (Ricercar Consort) Ricer 154, S/O: LoewViol Pieces (Corriveau) ATMA 2785, S/O: Moore

MARCHAND: Organ Pieces (Ponsford) Nimb 6390, M/A:Gatens

MARTINI: Azione Theatrale (Euridice Chorus) Tact701307, S/O: Fisch

MARTINU: PC 4 (Kahanek) Sup 4236, M/J: see DVORTrios (Martinu Trio) Music 56970, J/F: Dutterer

MASCAGNI: Cavalleria Rusticana (Graz) Oehms 987,J/A: Reynolds

Cavalleria Rusticana (Janowski) Penta 5186772, J/A:Reynolds

MASCITTI: Violin Sonatas (Vanvitelli Qt) Arcan 473, S/O:Thomson

MASLANKA: Sym 4 (West Chester Wind Ens) Mark54389, J/F: see JACOB

Sym 10; O Earth O Stars (Fansler) Navon 6261, M/A: KilMASSENET: Don Cesar de Bazan (Aedes Ens) Naxos

660464, N/D: LockeSongs (Silver) Somm 600, J/F: OberoiThais (Toronto/Davis) Chan 5258, N/D: Reynolds

MATHIAS: Choral (St John’s) Naxos 574162, M/J:Greenfield

Songs & Chamber music (Williams, bar) Naxos 574053,M/J: new, Boyd

MATSUSHITA: Choral Pieces (Saarbrucken ChamberChoir) Carus 83505, M/J: Greenfield

MAW: Spring Music; Solo V Son (Mackenzie/Boughton)Lyrit 385, J/A: Gimbel

MAYR: Le Due Duchesse (Hauk) Naxos 660422, S/O:Locke

Mass in E-flat (Hauk) Naxos 574057, J/A: GreenfieldMAYR,R: Sacred Antiphons (Ars Antiqua Austria SACD)

Chall 72828, M/J: GatensMAYSEDER: Mass; VC (Christian) Gram 99200, J/A: Alt-

houseTrios; V Son 2 (Lissy, Grun, Gelleva) Gram 99197, M/J:Dutterer

MCCORMACK: You are Evaporating (Klangforum) Kairo18003, N/D: new, Vroon

MCDONALD: Piano Pieces (Holzman) Bridg 9528, J/A:Estep

MCDOWELL: Girl from Aleppo (National Children’sChoir, UK) Conv 54, S/O: Greenfield

MCENCROE: Chamber Orchestra Pieces 2 (Armore)Navon 6269, M/J: new, Faro

MCKINLEY,EM: Qt 8; Trio 1; Letter to Say I Love You(Janacek Trio+) Navon 6264, M/A: Moore

MEALOR: Choral Pieces (Same Stream) GIA 1078, M/J:Vroon

Choral Anthems: Blessing (Voce) Sign 613, J/A: DelcamMEDTNER: Skazki; Piano Pieces (Sama) 2L 156, M/A:

EstepMELANI: Concerti Spirituali (Gran Principe) Brill 95970,

J/A: Moore,CMENDELSSOHN: Cello Sonatas (Moser) Penta

5186781, J/F: MooreClarinet Chamber pieces (Zingales) Brill 96081, J/A:Hanudel

Early VC; VPC (Ivakhiv) Brill 95733, M/J: AlthouseOctet (Gringolts Qt & Meta4 SACD) BIS 2447, S/O:French

Octet (Henschel Qt) SoloM 332, N/D: see SCHUBERTOctet; Qt 1 (Merel & Castalian Qts) SoloM 293, J/F: Dutt


Octet (Roctet) Chall 72822, J/A: see AFANASIEVOrgan Sonatas (Davidsson) Loft 1166, M/A: DelcampPC 1; VPC (Lerner) Merid 84656, J/A: AlthousePiano Pieces, early (Monteiro) Naxos 573946, J/F: KangSongs without Words, all (De May) Pavan 7591, S/O:Estep

Trio 2 (Rodberg Trio) Alba 451, S/O: AlthouseV Sons (Kantorow) MDG 6502153, S/O: FrenchVPC (Musica Vitae) DB 191, J/F: AlthouseVPC (Ambartsumian) Cent 3707, J/F: French

MESSIAEN: Corps Glorieux (Gillock) Raven 984, J/F:Delcamp

Holy Trinity Meditations (Winpenny) Naxos 573979, J/F:Delcamp

Piano Pieces (Cipelli) Piano 10200, S/O: HaskinsQt End of Time (Estelles+) IBS 72020, N/D: Hanudel

MEYER,J: Chamber Pieces (Composer+) BST 128, J/F:new, Faro

MIASKOVSKY: P Son 5+8 (Mustakimov) BlueG 511, J/F:Harrington

MIGUEZ: V Son (Baldini) Naxos 574118, J/F: seeVELASQUEZ

MIHAJLOVIC: Bageteles; Memento; Melancholy (Grif-fiths) CPO 555296, N/D: Faro

MIKALSEN: VC; PC (Dahl, Ugelvik) Auror 5104, M/A:Gimbel

MOKRANJAC: Piano Pieces, all (Martinovic) Grand 829,M/A: Kang

MOLIQUE: Flute Quintet; Piano Quartet (ParnassusAkademie) MDG 3032132, J/F: French

MOLTER: Concertos (Gottesauer Ens) Music 56968,M/A: Loewen

MONFERRATO: Motets (Celadon Ens) Ricer 405, M/A:Moore,C

MONIUSZKO: Quartet 1 (Messages Qt) Dux 1586, N/D:Estep

Qt 1+2 (Plawner Qt) CPO 555124, J/F: VroonShort Pieces (Various) NFM 265, S/O: Fisch

MONK: Memory Game (Monk+) Canta 21153, J/A: new,Boyd

MONTEMEZZI: Incantesimo (Fracassi) Bong 2498, J/F:Locke

Hpsi Pieces (Matteuzzi) Bong 2574, M/J: Moore,CVespers (Green Mountain) OldeF 918, N/D: BrewerVespers (La Tempete) Alpha 552, M/A: Thomson

MOOR: Cello Concerto & Sonata (Stromberg) Oehms1704, S/O: Moore

MORAVEC: Sanctuary Road (Tritle) Naxos 559884, M/J:Greenfield

MORAWSKI: Songs (Rehlis) RecA 10, M/A: new, BoydMORGAN: Organ Pieces (Pipe) Merid 84653, M/A: DelcMORLACCHI: Tebaldo & Isolina (Fogliani) Naxos

660471, J/A: LockeMOSZKOWSKI: Joan of Arc (Hobson) Tocc 523, M/A:

FrenchPiano Pieces (Hirose) DACO 866, S/O: Kang

MOURAT: Pieces with Guitar (Morillas) IBS 232019, S/O:Gorman

MOUSSORGSKY: Boris Godounov (Nagano SACD) BIS2320, J/F: Hecht

Pictures, arr (Camerata du Leman) Penta 5186762, J/A:see TCHAIKOVSKY

Pictures (Petrenko) Onyx 4211, J/F: see KHACHATURPictures (Roth) HM 905282, J/A: VroonPictures; Night; Memories (Samoyloff, p) Quart 2135,N/D: Harrington

MOYZES: Gemer Dances; Pohronic Dances; River Vah(Lenard) Naxos 555477, M/A: O’Connor

MOZART: 2-Piano Pieces (Demus & Badura-Skoda)Gram 99214, J/A: Harr

Apollo & Hyacinth (The Mozartists) Sign 577, M/A: AltmaArias & Scenes (Pygmalion) HM 902638, M/A: Altman

Clar C; Clar Qn; pieces (Altman) Tacet 252, M/J: HanudClar Qn (Fiterstein) Orch 106, M/A: HanudelClarinet Quintet & Qts (Heau) Alpha 498, J/F: HanudelCosi Fan Tutte for winds (Roseau Trio) MDG 9032144,S/O: Gorman

Divertimento K 563 (TrioTaus SACD) 2L 148, M/A: ThomDivertimentos K 136-138; EKN (St Cecilia Strings) Arcan471, M/J: Vroon

PC 5,15,16 (McDermott) Bridg 9523, J/A: AlthousePC 6+13 (McDermott) Bridg 9518, J/F: VroonPC 10,11,23 (Blocker) Nimb 6394, M/J: VroonPC 11-13 (Schimpf) Avi 8553112, N/D: FrenchPC 17+23 (Kim) Chall 72816, J/A: AlthousePC 22+24 (CR Hamelin, Violons du Roy) Anal 9147,S/O: Althouse

P Son 8,12,13,14 (Black) CRD 3538, M/A: ReppP Son 8+15; Rondos (Yoshikawa) Ypsi 5, M/J: ReppP Son 9,12,16; Rondo (Asuka) Hans 19082, S/O: KangP Son 10,11,18 (Donohoe) Somm 613, J/A: ReppQt 14+15 (Van Kuijk Qt) Alpha 551, M/J: KellQt 14-19, arr Qn (Pentaedre) ATMA 2756, J/F: VroonQt 15 (Voce Qt) Alpha 559, J/F: AlthouseSerenade 10, Gran Partita (Toronto Chamber Winds)Crys 646, J/A: Hanudel

Serenade, Haffner; Musical Joke (Cologne AcademySACD) BIS 2394, J/A: French

Sym 40; Sym Conc Violin & Viola (Netherlands ChamberOrchestra) Tacet 236, N/D: Vroon

Trio reconstruction by Levin (Levin+) Palai 20, M/J:Thomson

Unfinished Violin Pieces, arr Levin (Poulet) Palai 7, M/J:French

Variations (Demeyere, hpsi) Chall 72845, N/D: seeBACH,CPE

VC 1+5 (Nikolic) Tacet 231, M/J: VroonV Sons K 301,305,376,378 (Faust) HM 902361, S/O:Magil

MOZART,FX: Polonaises; P Son (Drogosz) Acco 260,M/A: Repp

Variations (Laun) Music 56977, M/A: ReppNAPRAVNIK: Violin Pieces (Trotovsek) Tocc 305, N/D:

EstepNATHAN: Space of a Door (Rose) BMOP 1071, N/D:

GimbelNICKEL: Woodwind Pieces (Various) Centr 27019, M/A:

HanudelNIELSEN: Clar Con (Beltramini) Brill 95994, M/A: see

FRANCAIXString Quintet (Telmanyi) DACO 853, M/J: see HART-MANN,JPE

Sym 1+2 (Dausgaard) SSO 1024, N/D: O’ConnorV Son 1+2 (Sjogren) DACO 850, M/J: Magil

NIXON: Gay Typewriters; Orch Pieces (Mann) Tocc 374,N/D: O’Connor

NORLAND: 13 Pieces (Various) Denov 322, M/A: FischO’KEEFE: Piano Pieces (Ulezko) Alb 1785, J/A: SullivanO’REGAN: Choral Pieces (Pacific Chorale) Yarl 2592,

N/D: GreenfieldO’RIORDAN: Autumn Winds (Composer) Ravel 8029,

M/J: new, BoydOCKEGHEM: Songs 1 (Blue Heron) BlueH 1010, M/A:

LoewenOFFENBACH: Fontaine Fables; Overtures (Haeck)

Alpha 553, M/A: FischMaitre Peronilla (Radio France/Poschner) BruZ 1039,J/A: Locke

Overtures & Orchestral (Kruger) Genui 20698, J/A: FischOSTLUND: VC; Forgotten Garden (Podgoretsky) DivA

25199, M/J: GimbelVoyages (Various) DivA 21232, M/A: new, Faro

OSWALD: P Qn (Iruzun, Coull Qt) Somm 609, S/O: seeBEACH


OURKOUZOUNOV: Guitar Sonatas (Tosidis) Naxos574117, J/A: new, Boyd

PACHELBEL: Magnificats+ (Himlische Cantorey) CPO777707, N/D: Loewen

PADEREWSKI: PC (Sung) Berl 1096, M/A: EstepP Son; V Pieces (Tomasik & Morawski) FFV 7, N/D: Mag

PAGANINI: VC 1 (Feng) Chanl 40719, M/A: FrenchViolin & Guitar (Sjogren) DACO 850, M/J: see NIELSEN

PAINE,B: Guitar Pieces (Herbig) Naxos 574121, N/D:McCutcheon

PAISIELLO: Gare Generose (Di Stefano) Bong 2575,S/O: Locke

La Serva Padrona (Manzo) Bong 2578, N/D: ReynoldsPAJAK: Mental Illness (Whitehead+) Cent 3729, J/F:

new, BoydPALESTRINA: Lamentations II (Cinquecento) Hyp

68284, J/F: GatensMass, Fratres (The 16) Coro 16175, M/A: Brewer

PARADISI: Hpsi Sonatas (Paradiso) BIS 2415, S/O:Lehman

PARRY: Songs of Farewell (Westminster Abbey) Hyp68301, S/O: Gatens

The Hours (Royal Holloway Choir) Sign 629, N/D: new,Boyd

PARRY,B: Christmas Music (Selwyn College) Regen542, N/D: Estep

PART: Choral Pieces (Estonian Phil Chamber Choir) Ond1337, J/F: see LISZT

Stabat Mater+ (Clare College Choir) HM 905323, S/O:Greenfield

Stabat Mater (Gloriae Dei Cantores) GloD 65, J/A: GreePAUS: The Beauty that Remains (Norwegian Youth

Choir SACD) 2L 157, J/A: new, FaroPEETERS: Organ Pieces (Marini) Brill 95637, M/J: DelcPELAZZA: Organ Sonatas (Bergamini) Tact 841601,

M/J: DelcampPENALOSA: Lamentations (NY Polyphony) BIS 2407,

J/F: LoewenPENDERECKI: St Luke Passion (Nagano SACD) BIS

2287, N/D: GimbelQuartet 3 (Messages Qt) Dux 1586, N/D: see MONIUSSym 6; Clarinet Concerto (Rajski) Acco 270, S/O: Gimb

PERKINS: Requiem; Hymns (Judson) Goth 49322, N/D:Delcamp

PERLE: Serenades (Rose) BMOP 1067, J/F: GimbelPERRY: Ballet & Film Scores (Composer+) Naxos

573954, M/A: FischPERSICHETTI: Organ Pieces (Winpenny) Tocc 549,

S/O: DelcampPETERSON: Choral Pieces (Uppsala Vocal Ens) Footp

109, N/D: GreenfPETITGIRARD: States of Mind+ (Composer) Naxos

574034, J/A: new, FaroPETRIDOU: Asmata; Byzantine Doxology (Smart) DivA

21233, M/A: new, BoydPETTERSSON: Vox Humana; songs (Hansson) CPO

999286, M/J: GimbelPFITZNER: PC (Trinks) Hyp 68258, J/F: O’ConnorPFOHL: Beach Pictures; Elegiac Suite (Gerl) Grand 784,

M/A: ReppPHILLIPS: Organ Pieces (Wells) ProOr 7256, J/F: DelcPIATTI: Opera Fantasies (Bradbury, vc) Merid 84659,

N/D: MoorePICKARD: Gardener of Aleppo (Nash Ens SACD) BIS

2461, S/O: new, FaroPILATI: Music (Adriano) Naxos 574168, M/J: KilpPING: Oriental Wash Painting (Tao) Naxos 570627, M/A:

GimbelPINTO: Piano Pieces, all (Toporowski) Piano 10177, J/A:

BeckerPISENDEL: Solo Violin (Schmitt) Mague 358408, M/J:

Magil

PIZZETTI: Cello Sonata (Cicchese) Brill 95812, J/A:Moore

PLATTI: Cello Sonatas (Galligioni) Brill 95763, J/F: MoorPOHL: Stories (Rudny, p) RecA 20, M/A: VroonPONCHIELLI: Organ Pieces, all (Ruggeri) Brill 96019,

M/J: DelcampPORPORA: Cantatas (Musica Perduta) Brill 96077, M/J:

GatensPOTT: At First Light; Word (Berry) Naxos 573976, N/D:

new, FaroPOULENC: Organ Concerto (Conte) Raven 159, S/O:

see SAINT-SAENSOrgan Concerto (Jansons) BR 900178, J/A: see SAINTPC; Con Champetre; Wind Trio (Bebbington) Reson10256, J/A: Vroon

PC; Sinfonietta (Rosner) Odrad 364, M/J: VroonStabat Mater (Flemish Radio) EvilP 32, M/J: DelcampVoix Humane; Babar (Mazzucato) Brill 96030, M/J: FischWind music (Confederatio Ens) MDG 9032152, M/J:Hanudel

PRADO: PC 1; Fribourg Concerto (Rubinsky) Naxos574225, S/O: Sull

PRAETORIUS: Motets (Alamire) Inven 1, J/F: LoewenPRIMROSCH: Songs (Gibbon) Alb 1818, S/O: see HAR-

BISONPROKOFIEFF: Alexander Nevsky; Lt Kije (Fischer

SACD) Ref 735, J/F: VroonCello Sonata (Lim) Sony 80497, J/A: see RACHMANINCello Son (Von Bulow) DACO 843, M/J: see RACHMANIOld Grandmother (Trpceski, p) Onyx 4191, M/A: seeRIMSKY-KORSAKOFF

P Son 1+6; Etudes; Cinderella (Argentieri) DivA 25156,J/A: Harrington

P Son 3,8,9 (Kempf) BIS 2390, M/A: KangP Son 4,7,9 (Melnikov) HM 902203, M/A: HarringtonRomeo & Juliet sel (Falletta) BeauF 524, J/F: seeBRAHMS

Romeo & Juliet; P Pieces (Khristenko) Stein 30114, M/J:Haskins

Songs (Gritskova) Naxos 574030, S/O: HarringtonStone Flower & Gambler Suites (Slobodeniouk SACD)BIS 2301, J/A: Vroon

Summer Night; Scythian Suite (Kitaenko) Oehms 471,N/D: Vroon

Sym 3+6 (Inkinen) SWR 19086, S/O: VroonSym 5+7; Peter; Lt Kije; Love 3 Oranges (Boult, Marti-non+) Decca 4840357, J/A: Hecht

Sym Conc; Cello Sonata (Philippe) HM 902608, M/A:Moore

PROKOFIEV,G: Cello Concerto; Turntables (Bogorad)Sign 628, S/O: Moore

PUCCINI: Tosca (Andersson-Palme) Sterl 1837, J/F:Reynolds

Le Willis (Elder) OpRar 59, J/F: AltmanPUJOL: Studies (Bungarten,g) MDG 9052131, N/D:

McCutcheonPURCELL: Royal Welcome Songs 2 (The 16) Coro

16173, J/F: GreenfieldQUANTZ: Flute Concertos (Dikmans) Reson 10252, M/J:

GormanQUILTER: Songs 3 (Rothschild, Vale) Nimb 5983, S/O:

Moore,RQUINN: Choral & Organ Pieces (Selwyn College Choir)

Regen 538, M/A: DelcampRACHMANINOFF: 2-Piano Pieces (Genova & Dimitrov)

CPO 555326, N/D: HarrBells (Kitaenko) Oehms 470, N/D: HechtCello Sonata (Kim) Delos 3574, N/D: see BARBERCello Sonata (Lim) Sony 80497, J/A: MooreCello Son (Von Bulow) DACO 843, M/J: MooreEtudes-Tableaux (Ferro) Muso 36, S/O: Harrington


Moments Musicaux (Douglas) Chan 20121, M/A: seeTCHAIKOVSKY

Moments Musicaux; P Son 1 (Soldano) DivA 25155, M/J:Vroon

P Son 2; Moments Musicaux op 16 (Poghosyan) Cent3772, M/J: Harrington

PC 1 (Martino/Ettinger) Hans 19048, J/F: HarrPC 1+3 (Trifonov) DG 4836617, M/J: EstepPC 1; Pag Rhaps; Preludes (Fedorova) Chanl 42620,M/J: Vroon

PC 2; Sym Dances (Lim; Argerich/ Vedernikov) Warnr545551, J/F: Harrington

PC 2+3; Pag Rhaps (Moura Castro) DMC 3, M/J: VroonPC 3 (Abduraimov) RCO 19003, J/A: EstepSongs (Sitkovetsky) Hyp 68309, N/D: ReynoldsTrio 1 (Mezzena Trio) Dyn 7825, M/A: see TCHAIKOV

RACZYNSKI: Choral Sacred (Various Choirs) RecA 22,M/A: Greenfield

RADZYNSKI: Cello Pieces (Plesser) Cent 3480, J/A:Moore

RAFF: Benedetto Marcello (SW German Radio) Sterl1123, M/J: Locke

V Sons 1+2 (Kayaleh) Naxos 573841, J/F: KellRAHBARI: Sym Poems 4-8 (Composer) Naxos 574065,

M/A: GimbelRAMEAU: New Hpsi Pieces (Malafronte) Quart 2136,

J/A: LehmanPygmalion (Bernolet) Ramee 1809, J/F: Brewer

RASMUSSEN: Andalog (Aldubaran) DaCap 8226133,J/A: Gimbel

4 Seasons after Vivaldi (Concerto Copenhagen) DaCap8226220, J/F: Vroon

Sinking Through the Dream Mirror (Concerto Copen-hagen) DaCap 8226221, N/D: new, Vroon

RAUTAVAARA: Lost Landscapes (Kamenarska) Uxtex299, M/J: French

Vigil (Helsinki Chamber Choir SACD) BIS 2422, J/F:Greenf

RAVEL: Miroirs; Valse; Tombeau (Biret) IBA 571404,M/J: Harrington

Miroirs; La Valse (Rana) Warnr 541109, M/A: HarringtonPC; Alborada; Tombeau (Perianes/Pons) HM 902326,M/A: Kilpatrick

PCs; Tzigane (Dumont, Gilbert/Slatkin) Naxos 573572,J/F: French

Piano pieces [2CD] (Fergus-Thompson) Decca4829041, M/J: Harrington

Trio (Amatis Trio) Avi 8553477, J/A: see ENESCOTrio (Vienna Trio SACD) MDG 9422130, J/F: FrenchLa Valse (Roth) HM 905282, J/A: see MOUSSORGSKYV Sons (Kiffer) Stein 30103, J/A: Thomson

REALE: Piano Music (Jensen) Naxos 559879, M/J: Gim-bel

REBAY: Sonatas for Violin or Viola & Guitar (Kayaleh,Kolk) Naxos 573992, N/D: Estep

REGER: Bach variations; Bocklin Tone Poems (Levin)Naxos 574074, M/A: O’Connor

Clar Qn; Sextet (Johanns) CPO 555340, N/D: HanudelIntimate Organ (Dobey) ProOr 7204, J/F: DelcampOrgan 6 (Weinberger SACD) CPO 777539, M/J: DelcString Trios (Il Furibondo) SoloM 323, S/O: French

REICHA: Lenore (Albrecht) Orfeo 1903, J/A: seeBEETHOVEN

Piano Sonatas (Lowenmark) Tocc 273, J/A: ReppWind Quintets (Belfiato Qn) Sup 4270, J/F: Hanudel

REINECKE: PC (Kauten) SoloM 315, M/A: see SCHU-MANN,C

Sym 1+3; Overture (Raudales) CPO 555114, N/D: AlthREIZENSTEIN: PC; Serenade; Cyrano Overture

(Triendl/Traub) CPO 555245, M/A: O’ConnorRESPIGHI: Piano 4-hands (Baldocci & Caramiello) Tact

871804, N/D: Harr

Piano Pieces 1 (Gatto) Tocc 405, M/J: HaskinsPines of Rome (Jansons) BR 900183, M/J: seeSHCHEDRIN

REZNICEK: Quartets (Minguet Qt) CPO 555002, N/D:O’Connor

RIDIL: Songs; Male Choral (Fluck; Camerata MusicaLimburg) Genui 20692, S/O: Moore,R

RIES: Cello Pieces 2 (Rummel) Naxos 573851, J/F:Moore

Sextet; Octet; Stg Trio (Franz Ens SACD) MDG9032136, M/A: Dutt

RIHM: Organ Pieces [4CD] (Schmeding) Cybel 12, M/A:Delcamp

RIMSKY-KORSAKOFF: Kashchei the Immortal (Samo-sud 1949) Melya 2605, S/O: Locke

Russian Fantasy (Gregory) Naxos 579052, J/F: seeTANEYEV

Scheherazade; Cap Esp (Markevitch) Decca 4829378,M/A: Vroon

Scheherazade; Cap Espagnole; Russian Eas (Petrenko)LAWO 1198, N/D: Hecht

Scheherazade (Trpceski, p) Onyx 4191, M/A: 190, HarrRINALDI: Piano Pieces (Bonucelli) Tact 841880, J/F:

BeckerP Pieces (Simonacci) Uran 14059, N/D: Becker

RINCK: Trios+ (Parnassus Trio SACD) MDG 9032171,N/D: Thomson

RIPPE: Lute Pieces (O’Dette) HM 902275, M/J: Moore,CRODRIGO: Chamber Orchestra Pieces (Lluna) IBS

82020, N/D: O’ConnorG Pieces (Rojas-Ogayar) IBS 172019, S/O: McCutcheon

ROHDE: It Wasn’t a Dream (Mundy+) Alb 1812, J/A:Vroon

RORE: Madrigals (Blue Heron) BlueH 1009, J/F:Moore,C

Mass, Vivat Felix Hercules (Weser Renaissance) CPO777989, M/A: Moore,C

ROREM: 14 Stations of the Cross (Robinson, org) Delos3549, M/J: Delcamp

ROSE,G: Red Planet; VC; Suite for Strings(Skaerved/Rose) Tocc 558, S/O: Gimbel

ROSNER: Masses (Blossom Street) Conv 53, M/J: GimbROSSI,G: Cantata for 2 Voices+ (Romabarocca) Bong

2577, N/D: Moore,CROSSINI: Marriage of Thetis & Peleus (Gorecki Choir,

Cracow) Naxos 574282, N/D: ReynoldsZelmira (Cracow/ Gelmetti) Naxos 660468, M/J: Locke

ROTA: P Pieces 1 (Hodgkinson) Grand 827, M/J: FischROUSE: Sym 5; Concerto for Orchestra (Guerrero)

Naxos 559852, N/D: EstepROUSSEL: Spider’s Feast (Rophe) BIS 2432, M/J: FrchROZYCKI: PC; Sym Poem & Scherzo (Makowski) Dux

1591, J/A: O’ConnorRUBBRA: PC (Lane/Botstein) Hyp 68297, S/O: O’ConnrRUBENSON: Songs (Gentele) Sterl 1839, J/A: Moore,RRUBINSTEIN: Cello Sonatas & Trio (Von Bulow) DACO

858, S/O: MooreP Sons 1+2 (Chen) Naxos 573989, M/J: HarrP Pieces (Mamou) Pavan 7589, J/F: see TCHAIKOV4-hand Piano, vol 2 (Pianistico di Firenze) Brill 95965,J/A: Harrington

RUDERS: PC 3; Cembal d’Amore II; Kalfkapriccio(McDermott+) Bridg 9531, M/J: Gimbel

RUTTER: Requiem (Baker) Amber 119, N/D: GreenfieldSACHSEN-WEIMAR: VCs (Thuringian Bach Collegium)

Audit 97769, J/F: LoewenSAINT-SAENS: Ascanio ballet; overtures (Markl) Naxos

574033, M/A: FrenchPC 3+5; Auvergne (Lortie) Chan 20038, M/J: VroonP Pieces 5: rarities (Burleson) Grand 626, J/F: HarrSym 1; Sym in A; Carnival (Fischer) Hyp 68223, M/A:French


Sym 3 (Conte) Raven 159, S/O: DelcampSym 3 (Jansons) BR 900178, J/A: VroonTrio 2 (Gloriosa Trio) Cent 3744, M/J: VroonV Sons (Kantorow) MDG 6502153, S/O: see MEND

SALIERI: Cantatas (Herrmann) Hans 19079, J/A:Reynolds

SALMENHAARA: Organ Pieces, all (Lehtola) Tocc 515,J/A: Delcamp

SALVIUCCI: Serenade; Chamber Sym; Qt (Ens Uber-bretti) Naxos 574049, J/F: Sullivan

SAMUEL-HOLEMAN: Jeune Fille+ (Claes) MusW 1892,J/A: Moore,R

SANCES: Motets (Scherzi Musicali) Ricer 141, S/O:Moore,C

SATIE: Piano Pieces 4 (Horvath) Grand 823, M/A: HarrVexations (Ogawa) BIS 2325, N/D: Estep

SAURET: Etudes-Caprices (Rashidova, v) Naxos574159, N/D: Magil

SAWER: Rumpelstiltskin Suite; Cat’s Eye; April (Birming-ham Contemp Mus Ens) NMC 251, M/A: Gimbel

SAWYERS: Sym 4; Kandinsky Homage (Woods) Nimb6405, N/D: Gimbel

SCARLATTI: Sonatas (Dichamp) Brill 96067, S/O: seeGRANADOS

Sonatas (McCabe) DivA 21231, M/A: KangSonatas K 98-146 (Ullrich) Tacet 247, M/A: Lehman

SCARLATTI,A: Cantatas & Recorder Sonatas (Col-legium Pro Musica) Brill 95721, M/A: Brewer

SCHARWENKA: P Music vol 1 (Pipa) Tocc 521, M/J:Becker

SCHARWENKA,P: Violin & Viola Pieces (Breuninger)Capr 5391, S/O: Dutt

SCHNABEL: Solo V Son (Ingolfsson) Genui 20711, S/O:Magil

SCHNEIDER: Mozart Ascending; Inner Worlds (Gau-denz) Wergo 5125, M/A: Kilp

SCHNITTKE: String Trio (Trio Lirico) Audit 97753, J/F:see VAINBERG

Various Works (Rozhdestvensky+) Melya 2630, N/D:Gimbel

SCHOCKER: Flute Sonatas (Stroud) Cent 3741, M/A:Gorman

Piano Pieces (Composer) Cent 3818, N/D: new, FaroSCHOENBERG: Pelleas & Melisande; Erwartung (Gard-

ner SACD) Chan 5198, S/O: HaskinsQt 2 (Arod Qt) Erato 542552, M/A: see ZEMLINSKYVC; Transfigured Night (Faust+) HM 902341, M/J: ThomVC (Liebeck) Orch 129, J/A: see BRAHMS

SCHREKER: Intermezzo & Scherzo (Veses) Apart 207,J/A: see BERG

SCHUBERT: Fantasy (De Maeyer) EvilP 34, N/D: seeSTRAVINSKY

Impromptus op 90; P Son D 960 (Kobrin) Cent 3695,M/J: Repp

Impromptus; Moments Musicaux; 3 Pieces (Demus) DG4840777, M/A: Repp

Moments Musicaux; Impromptus (Carbone) DaVin 253,N/D: Becker

P Son in A, D 959; Impromptus, op 90 (Chukovskaya)Dux 1618, S/O: Kang

P Son in A, D 959 (Volodos) Sony 86829, M/A: BeckerP Son B-flat; 3 Pieces (Lucchesini) Audit 97766, N/D:Becker

P Son B-flat; Impromptus (Vanden Eynden) Palai 9, M/J:Repp

P Son B-flat; P Pieces; Moments Musicaux (Ugorskaya)Avi 8553107, M/A: Vroon

P Son C minor (Miyamoto) BlueG 503, J/A: ReppP Son D 664; Wanderer Fantasy, arr Liszt (Park) Capr5412, S/O: Estep

P Son in G (Oh-Havenith) Audit 20043, M/A: ReppP Sons & Pieces (Williams) Sign 831+2, M/J: Repp

Piano Sonatas, 4 late (Wosner) Onyx 4217, J/A: ReppQt 13+14 (Fitzwilliam Qt) DivA 25197, S/O: DuttQt 14 (Valchev Qt) Gega 413, N/D: DuttererQt 14 (Navarra Qt) Orch 135, N/D: FrenchQt 15 (Voce Qt) Alpha 559, J/F: see MOZARTQts, vol 1 (Alinde Qt) Hans 19071, S/O: VroonSakontala (Bernius) Carus 83509, S/O: LockeSchone Mullerin (Gliemans) B 25, J/A: Moore,RSchwanengesang (Finley) Hyp 68288, J/F: Moore,RSchwanengesang (Williams) Chan 20126, S/O: Moore,RSongs (Richter) Penta 5186839, J/A: Moore,RSongs (Sulayman) Avie 2400, J/A: Moore,RString Trio & Quintet (Aviv Qt) Naxos 573891, S/O:Vroon

Sym 3+7 (Edusel) SoloM 339, N/D: VroonTrio 2 (Gaspard Trio) Avi 8553105, N/D: FrenchTrio 2; Notturno (Hamlet Trio) Chanl 41719, M/A: DuttTrout Qn (Thymos Qt, Eschenbach) Avie 2416, S/O: AlthTrout Quintet (Henschel Qt) SoloM 332, N/D: Moore,RV Fantasy (Kamenarska) Uxtex 299, M/J: see RAUTAV Sons (Carrettin) SonoL 92240, J/A: MagilViolin Pieces (Daskalakis) BIS 2363, J/F: KellViolin Sonatas (Skaerved) Athen 23208, N/D: MagilWinterreise (Buet) Muso 35, J/A: Moore,RWinterreise (Bostridge) Penta 5186764, J/F: Moore,RWinterreise (Gee, trombone) Naxos 574093, J/A: KilpWinterreise (Hedegaard) DACO 865, M/J: Moore,RWinterreise (Mattei SACD) BIS 2444, J/F: Moore,RWinterreise (Oliemans) Chanl 42119, M/A: Moore,RWinterreise (Sabata) Berl 1309, M/J: Moore,RWinterreise (Schwarz, mz) Rond 6182, J/F: Moore,RWinterreise, arr (Voyager Qt) SoloM 335, S/O: Dutt

SCHULLER: Fisherman & His Wife (OdysseyOpera/Rose) BMOP 1070, S/O: Altman

SCHUMANN: C Son 2; Intermezzo (Poltera) BIS 2167,M/J: Moore

Carnaval; Kreisleriana; Arabesque (Min) Hans 19024,S/O: Repp

Cello Pieces (Ythier) Met 28590, J/F: MooreCello Pieces (Bohorquez) Berl 1282, M/J: MooreClarinet Pieces (Punzi) Brill 95871, J/A: HanudelDavidsbundlertanze (Avramovic) Genui 20684, J/A:Repp

Dichterliebe; Lenau Songs (Pregardien,C SACD) Chall72788, M/A: Moore,R

Fantasy Pieces, op 12; PC (Downes) Flip 0, J/F: BeckerFantasy; Kreisleriana (Son) Onyx 4202, S/O: ReppFaschingsschwank; Fantasy; Arabeske (Tong) Quart2134, J/F: Becker

Frauenliebe; Liederkreis; Maria Stuart (Kielland & Weiss-er) LAWO 1197, N/D: Moore,R

Humoreske; Forest Scenes; Night Pieces (Fejervari)ATMA 2816, S/O: Repp

Kerner Songs; Dichterliebe (Wllfisch) Reson 10247, J/F:Moore,R

Kreisleriana; Sym Etudes (Zagor) BlueG 509, J/A: BeckMyrthen songs (Tilling, Gerhaher) Sony 94536, M/A:Moore,R

P Qn; P Qt (Mortensen, Engegard Qt) LAWO 1189, M/J:Dutterer

Piano 4-hands (Fischer & Lutes) Cent 3751, J/A: HarrPiano 4 Hands (Plano & Del Negro) Brill 95675, M/J:Harrington

Sym 1+3 (Gardiner SACD) LSO 844, J/A: HechtSym 1+4; Concertos (Rosbaud) Prof 19085, M/A: AlthSym 2+4; Genoveva Overture (Gardiner SACD) LSO818, J/F: Vroon

Sym 2+4 (Herreweghe) Phi 32, M/A: VroonTrios; Fantasy Pieces (Kungsbacka Trio SACD) BIS2437, S/O: Dutterer

V Son; Romances (Poulet) Palai 11, M/J: MagilVC (Weithaus/Manze) CPO 555172, M/J: Althouse


SCHUMANN, CAM: Horn Pieces (Halsdorf) Naxos579051, S/O: Kilp

SCHUMANN,C: Chamber Pieces (Schenkman+) BSF191, M/A: Dutt

PC; Var (Kauten) SoloM 315, M/A: ReppPiano Pieces (Codispoti) Piano 10193, M/A: ReppPiano Transcriptions (De Beenhouwer) MDG 9032115,J/F: Becker

Romances (Downes) Flip 0, J/F: see SCHUMANNSCOTT: Piano Pieces (Gvetadze) Chall 72819, M/A:

BeckerSCRIABIN: P Sons, all (Maltempo) Piano 10168, J/A:

HarringtonPiano Pieces [5CD] (Fergus-Thompson) Decca4829034, M/A: Harr

Piano Preludes, all (Pereira) Odrad 352, S/O: HarrPiano Sonatas, all (Trotta) Dyn 7864, N/D: Harr

SCZINER: Echoes of Youth (Masi) Navon 6260, M/J: seeBRAHMS

SEREBRIER: Orchestral Pieces—BIS 2423, M/J: GimbelSHCHEDRIN: Carmen Suite (Jansons) BR 900183, M/J:

FrenchSHEBALIN: Suite 3+4; Ballet Suite (Vasiliev) Tocc 164,

J/A: FrenchSHOSTAKOVICH: Cello Concertos (Gerhardt) Hyp

68340, N/D: SullCello Sonatas (Anouchka) Genui 20701, N/D: MoorePiano Sonatas & Preludes (Gugnin) Hyp 68267, J/F: HarPreludes (Prisuelos) IBS 182019, J/A: EstepQt 2,7,8 (Haas Qt) Sup 4271, M/J: EstepSym 1+5 (Moseda SACD) LSO 802, J/A: EstepSym 2+12 (Tabakov) Gega 388, N/D: HechtSym 3+14 (Tabakov) Gega 387, J/F: EstepSym 7 (Jansons) BR 900184, M/J: EstepSym 10 (Jansons) BR 900185, M/A: HechtSym 10 (Liss) FugaL 756, M/A: HechtSym 11 (Storgards SACD) Chan 5278, J/A: EstepSym 13 (Karabits) Penta 5186618, N/D: EstepSym 13 (Muti) CSO 1901, J/A: EstepTrio 2 (Marvin Trio) Genui 19678, M/A: see VAINBERGVCs (Ibragimova) Hyp 68313, S/O: EstepVCs (Pochekin) Prof 19073, J/A: EstepSIBELIUS: Kullervo (Lintu SACD) Ond 1338, M/A: AlthSym 2; King Christian (Rouvali) Alpha 574, J/A: VroonSym 4+6 (Elder) Halle 7553, J/A: O’ConnorVC (Tetzlaff/Ticciati) Ond 1334, J/F: see BEETHOVENVC (Tjeknavorian) Berl 301424, S/O: see TJEKNAVOR

SIERRA: Cantares; Triple Concerto (Marcelletti) Naxos559876, S/O: Gimbel

SILVESTRI: Piano Pieces (Borac) Prof 20028, N/D:Kang

SINIGAGLIA: Quartet Pieces (Archos Qt) Naxos574183, S/O: Dutterer

SKALKOTTAS: PC 3 (Vandewalle) Palad 106, M/J:Estep

Sinfonietta+ (Fidetzis SACD) BIS 2434, J/A: SullSinfonietta; Classical Sym (Tsialis) Naxos 574154, J/A:Sullivan

SKEMPTON: Music (Sirinu) Met 28580, J/A: new, FaroPreludes; Nocturnes; Images (Howard,p) Orch 100116,J/A: Haskins

SKORYK: VC 1-4 (Bielow) Naxos 574088, J/A: GimbelSLONIMSKY: Choral Pieces 2 (Kontorovich) Melya

2598, M/J: GreenfSMYTH: Mass; Wreckers Overture (Oramo SACD) Chan

5240, M/A: GreenfSongs (Stevens) Somm 611, J/A: Moore,R

SOMMERVELL: Maud; Shropshire Lad (Williams) Somm615, S/O: Moore,R

SOR: Guitar Pieces (Giglio) Somm 604, N/D: McCutchGuitar Pieces (Grondona) Strad 37129, N/D: McCutch

SORABJI: Sequentia Cyclica on Dies Irae (Powell, p[7CD]) Piano 10206, S/O: Estep

Toccata 2 (Sanchez-Aguilera) Piano 10205, J/A: EstepSORENSON: La Mattina; Serenidad; Trumpet Concerto

(Andsnes, Frost, Helseth) DaCap 8226095, J/A: VroonSOWERBY: Piano Pieces (Guillman & Tsien) Ced 7006,

M/J: HarringtonSPEKTOR: Songs (Mesko) Navon 6256, M/A: new, BoydSPONTINI: Metamorfosi di Pasquale (Montesano) Dyn

7836, M/A: LockeOlimpie (Flemish Radio) BruZ 1035, M/J: Locke

STADELMANN: Flute Pieces (Lotscher) Genui 20717,N/D: new, Vroon

STAM: Cello Sonata+ (Holtrop) Aliud 109, M/J: MooreSTAMITZ: FC; F & Ob C (Trondheim Soloists) Penta

5186823, M/J: GormanSTANCHINSKY: Piano Pieces (Solovieva) Grand 766,

M/J: HarringtonSTANFORD: Motets (Westminster Abbey) Hyp 68301,

S/O: see PARRYQuartets 1,2,6 (Dante Qt) Somm 607, M/J: O’ConnorTravelling Companion (Sussex Opera) Somm 274, M/A:Hecht

STEFFAN: Hpsi Concertos (Keglerova) ArcoD 211, S/O:Lehman

STEFFANI: Duets (Vinikour+) MusOm 802, J/A: LehmanSTENHAMMAR: Romances (Ruubel) Sorel 16, N/D: see

ELGARSTEVENS: Prevailing Winds (Composer+) DivA 25194,

J/A: new, FaroString Quartets & Quintet (Behn Qt) DivA 25203, N/D:new, Boyd

STEVENSON: Piano Pieces (Hamilton) Prima 107, M/J:Sull

STOHR: Chamber Music vol 4—Tocc 536, N/D: ThomsSTRAUSS: Alpine Symphony (Dausgaard) SSM 1023,

J/F: see LANGGAARDAlpine Symphony (Petrenko) LAWO 1192, J/A: HechtAlso Sprach Zarathustra; Till; D&T (Chailly) Decca4833080, M/J: Hecht

Zarathustra; Burleske (Trifonov/Jansons) BR 900182,J/A: Hecht

Don Quixote (Bailey/Llewellyn) Stein 30156, N/D: seeWALTON

Don Quixote; Don Juan; Till (Petrenko,V) LAWO 1184,M/A: O’Connor

Macbeth; Rosenkavalier Suite; Death & Trans (ShuiSACD) BIS 2342, N/D: Hecht

Metamorphosen (Salonen) Alpha 544, J/F: see BEETRosenkavalier Suite (Leinsdorf) Decca 4840184, M/J:see MAHLER

Songs (Siegel) Hans 19078, M/J: Moore,RSym F minor; Concert Overture (Baumer) CPO 555290,J/A: O’Connor

V Son (Golcea) Genui 19668, J/F: 179, MagilSTRAUSS FAMILY: 2020 New Year Concert (Nelsons)

Sony 70240, J/A: FischSTRAUSS,J: Waltzes+ (Krips) Decca 4840692, M/A:

FischWaltzes (Wei,p) Cent 3734, M/A: 190, Fisch

STRAVINSKY: Ballet Movements (Rana) Warnr 541109,M/A: see RAVEL

Firebird & Petrouchka Pieces (Kiffer) Stein 30103, J/A:see RAVEL

Firebird Suite; Petrouchka mvmts (Poghosyan) Cent3772, M/J: see RACHMANINOFF

Mass (Berlin Radio) Penta 5186774, N/D: see BRUCKNSuite Italien (De Maeyer) EvilP 34, N/D: 141, Magil

STROZZI: Songs (Youngdahl+) Cent 3672, M/A: LoewenSUCCARI: Near Eastern Album (Frasse-Sombet) Mague

358432, M/A: see GELANIAN


SUK: Serenade for Strings (Anima Musicae) Hung32824, S/O: see DVORAK

SUSMAN: Collision Point (Piccola Accademia) Belar 7,M/A: new, Boyd

SWAYNE: Stations of the Cross (Nieminski) Reson10118, J/A: Delcamp

SWEELINCK: Hpsi Pieces (Egarr) Linn 589, M/A: LehmSZARZYNSKI: Mass; choral pieces (Wroclaw Baroque)

Acco 261, M/J: GatensSZYMANOWSKI: Preludes & Etudes (Vivanet) Naxos

551401, J/F: ReppQt 2 (Eliot Qt) Genui 19661, M/A: ThomsonQuartets (Carmina Qt) MDG 6502167, S/O: Magil

TABAKOV: Sym 2+6 (Tabakov) Tocc 562, N/D: GimbelSym 5; Db Concerto (Tabakov) Tocc 530, J/F: Gimbel

TANEYEV: John of Damascus (Kitaenko) Oehms 470,N/D: see RACHMANINOFF

Songs, all (Cent 3749, M/J: Moore,RSuite de Concert (Gregory) Naxos 579052, J/F: O’Con

TANSMAN: Guitar Pieces 1 (De Vitis) Naxos 573983,M/A: Smith

G Pieces 2 (De Vitis) Naxos 573984, N/D: McCutcheonTCHAIKOVSKY: Ballet highlights; Serenade (Fistoulari)

Decca 4829366, J/A: VroonLiturgy; Sacred Choruses (Latvian Radio) Ond 1336,J/F: Greenfield

Mazeppa (Bolshoi/Mansurov) Melya 2613, N/D: LockeNutcracker (Jurowski) Penta 5186761, M/A: VroonPC 1 (Li) Warnr 537957, M/A: FrenchP Son in G (Douglas) Chan 20121, M/A: HarringtonP Son in G; Pieces (Donohoe) Sign 594, J/A: HarrPiano pieces (Schellenberger) Hans 19007, J/F: HarrQts; Sextet (Danel Qt) CPO 555292, J/F: DuttSeasons (Mamou) Pavan 7589, J/F: 175, HarrSerenade (Anima Music) Hung 32764, J/F: see DOHNSerenade (Amsterdam Sinfonietta) Chanl 37119, M/J:see ARENSKY

Serenade (Balkan Chamber Orch) Audit 20045, N/D:see DVORAK

Song transcriptions (Severus) Grand 795, M/A: 189,Estep

Souvenir de Florence (Camerata du Leman) Penta5186762, J/A: Vroon

Sym 3; Suite 3; Hamlet; VC (Elman/Boult) Decca4840381, J/A: Vroon

Sym 4 (Honeck SACD) Ref 738, S/O: HechtSym 4+5 (Gergiev) Mari 17, J/F: VroonSym 4+5; Suite 3; Cap Italien (3 conductors) Decca4840407, J/A: Hecht

Sym 4+6; VC (Ricci/ Kleiber) Decca 4840373, J/A: HechtSym 5 (Ettinger) Hans 19048, J/F: see RACHMANINOFSyms, all; PCs, all; Serenade; Romeo; Fr (Bychkov)Decca 4834942, J/F: Vroon

Trio (Gluzman, Moser, Sudbin SACD) BIS 2372, M/A:Vroon

Trio (Mezzena Trio) Dyn 7825, M/A: VroonVC (Dalene/ Blendulf) BIS 2440, M/J: see BARBERVC & Pieces (Lozakovich) DG 4836086, M/A: FrenchVigil; Hymns (Latvian Radio Choir) Ond 1352, S/O:Greenfield

TCHEREPNIN,A: My Flowering Staff (Acmeist MaleChoir) Tocc 537, S/O: Reynolds

TCHEREPNIN,N: Marcissus & Echo (Borowicz) CPO555250, N/D: Estep

TELEMANN: Cantatas & Sonatas (Spanos; PandolfisConsort) Gram 99215, S/O: Loewen

Cantatas for countertenor (Potter) CPO 555192, J/F:Gatens

Chamber Pieces (Elephant House Qt) Penta 5186749,M/J: Loewen

Flute Fantasias (Nahajowski) RecA 9, M/J: GormanFlute Fantasies (Roselli) Naxos 579054, M/J: Gorman

Frankfurt Sonatas (Von der Goltz) Apart 217, M/A: ThomMiriways (Labadie) Penta 5186842, S/O: LockeOboes (Corall & Griesshaber) Talan 90012, J/F: HanudelPartitas (6) (Goen, hpsi) Brill 95683, S/O: LehmanRecorder Concertos (Lauzer) ATMA 2789, N/D: GormanRecorder Sonatas (Dahl) LAWO 1181, M/J: GormanVCs (Les Accents) Apart 206, J/F: see BACH

TEODORESCU: Piano Pieces (Smolyar) Tocc 448, J/F:Harrington

TESSARINI: Violin Sonatas (Losito) Brill 95861, J/A:Loewen

THALBERG: Fantasies on French Operas (Viner) Piano10178, J/F: Kang

Opera Transcriptions (Hamelin) Hyp 68320, N/D: seeLISZT

THEILE: St Matthew Passion (Weser Renaissance) CPO555285, N/D: Gatens

THOMAS: Auditions+ (ICE Ensemble) Nimb 6402, S/O:Gimbel

Diary of Anne Frank; Rilke Meditations (Thomas) SFS79, N/D: Gimbel

THWAITES: Choral Pieces (Ex Cathedra) Somm 612,J/A: Delcamp

TICHELI: Wind Band Pieces 2 (Corporon, Fennell) GIA1082, S/O: Kilpatrick

TIN: To Shiver the Sky (Tin) Decca 32422, N/D: VroonTISHCHENKO: Harp Con; pieces (Marinutsa) Naxos

579048, M/J: GimbelTJEKNAVORIAN: VC (Tjeknavorian) Berl 301424, S/O:

AlthouseTODD: Choral Pieces (Bach Choir) Sign 591, S/O:

Moore,RTOMKINS: Choral Works (Hampton Court) Reson

10253, M/J: GatensTORROBA: Sonatina; Sonata-Fantasia (Locatto) Strad

37127, J/F: SmithTURINA: Piano Pieces (Jones 4CD) Nimb 1710, N/D:

KangTURNER: Horn Pieces 1 (Composer+) Naxos 579050,

J/A: KilpatrickTURRINI: Hpsi Sons (Barchi) Brill 95522, M/A: LehmanUEBAYASHI: Misericordia (Wincenc) Azica 71325, J/F:

GormanUNG: Space between Heaven & Earth; Spirals (Various)

Bridg 9533, J/A: GimbelUSTVOLSKAYA: Orchestral Suites & Poems (Mravinsky,

Jansons+) Brill 96084, J/A: GimbelVAINBERG: Cello Concerto; Fantasy; Concertino (Wall-

fisch) CPO 555234, N/D: EstepCello Pieces (Fudala) Dux 1545, M/A: MooreChamber Sym 1+3 (Krimer) Naxos 574063, J/F: HechtClarinet Pieces (Oberaigner) Naxos 574192, S/O: HanuFlute Concertos (Stein) Naxos 573931, M/A: GormanQt 14+15; 3 Palms (Silesian Qt) Acco 268, J/A: EstepSolo Viola Sonatas (Dinerchtein) SoloM 310, J/F: MagilString Trio (Trio Lirico) Audit 97753, J/F: FrenchTrio; Cello Sonata 1 (Trio Khnopff) Pavan 7590, J/F: SullTrio (Marvin Trio) Genui 19678, M/A: EstepViolin Pieces; Trio (Kremer) DG 4837522, M/A: EstepViolin Pieces (Newicka) RecA 6, M/A: Magil

VALENT: Poetic Logbook (Ensemble/Valent) DG4818169, J/A: new, Faro

VALI: For violin, quartet (Carpe Diem Qt) MSR 1738,M/A: Gimbel

VALLS: Mass, Regalis (Academy Ancient Music) AAM 8,S/O: Brewer

VARESE: Ameriques (Langree) FanF 16, M/A: seeGERSHWIN

VASKS: P Qt (Ipp-Ivanov Qt) Naxos 574073, J/A: new,Faro

Trio pieces (Palladio Trio) Ond 1343, J/A: Gimbel


VC; Summer Dances; P Qt (Gluzman+ SACD) BIS2352, S/O: Haskins

VAUGHAN WILLIAMS: Dona Nobis Pacem (Smith) Ref732, J/F: see BATES

Life & Work (Albio 39, M/A: O’ConnorSongs (Bevan, Williams) Albio 38, M/A: Moore,RSongs (Whately, Williams) Albio 37, J/F: Moore,RSym 3+4 (Brabbins) Hyp 68280, M/J: AlthouseSym 5 (Collins SACD) BIS 2367, N/D: Vroon

VELASQUEZ: V Son 1+2 (Baldini) Naxos 574118, J/F:Kellenberger

VENABLES: Requiem (Gloucester Cathedral) Somm618, N/D: Vroon

VENDETTI: Piano Pieces; Sax Pieces (Vendetti) 4Tay4055, M/J: new, Faro

VEPRIK: Orchestral Pieces (Mueller SACD) MDG9012133, J/F: Hecht

VERACINI: Overtures (Arte dell’Arco SACD) CPO555220, S/O: French

VERDI: Attila (Bavarian Radio) BR 900330, S/O: Locke4 Seasons (Minasi) PHR 112, N/D: see VIVALDIMacbeth (Verrett,Cappuccilli/Abbado) DG 4835601, J/F:Altman

Songs (Solis) IBS 192019, J/A: ReynoldsTrouvere (Bologna/R Abbado) Dyn 7835, J/F: Hecht

VERESS: Stg Trio (Lockenhaus) Alpha 458, J/F: seeBARTOK

VICTORIA: Mass, Gaudeamus (Contrapunctus) Sign608, S/O: Brewer

Requiem (Toulouse) Regen 551, M/J: BrewerVIEUXTEMPS: VC 4 (Feng) Chanl 40719, M/A: see

PAGANINIViolin & Orchestra (Kuppel) Naxos 573993, N/D: Thoms

VILLA-LOBOS: Guitar C; Harmonica C; Qn(Barrueco/Guerrero) Naxos 574018, N/D: McCutcheon

Piano Pieces; Bachianas 4 (Solounios) Sheva 218, J/F:Estep

Sextet; Guitar Etudes (Sextuor Mystique Ens) Uran14050, J/F: Smith

VILSMAYR: Solo Violin Partitas (Bernardi) Strad 37147,S/O: Brewer

VINCI,L: Gismondo—Parn 17, N/D: LockeVINCI,P: Spiritual Sonnets (Note Bene) Tocc 553, N/D:

Moore,CVINE: Piano Sonatas 1+4; Preludes; Bagatelles (Garrit-

son) LG 0, M/J: GimbelVIOTTI: Flute Qts (Viotti Qt) Brill 95645, S/O: GormanVITALI: Chamber Sonatas op 14 (Italico Splendore) Tact

632202, J/A: Moore,CSonatas (Italico Splendore) Tact 632206, N/D: BrewerViolin Sonatas (Italico Splendore) Tact 632204, S/O:Thomson

2-Violin Sonatas (Italico Splendore) Tact 632203, S/O:Thomson

VIVALDI: Concertos for Strings (Archicembalo) Brill95835, J/F: Lehman

Concertos, Paris (Modo Antiquo) Tact 672260, M/J:Brewer

Concertos (Tafelmusik) Tafel 1039, M/A: Loewen4 Seasons (Sulic, cello) Sony 98635, M/A: Moore4 Seasons (Minasi) PHR 112, N/D: French4 Seasons, with Piazzolla (Steinbacher SACD) Penta5186746, N/D: Thomson

VCs (Plewniak) Evoe 7, M/J: FrenchViolin Concertos VII, Castello (Tampieri) Naive 7078,M/A: Magil

Manchester V Sons (Fewer) Leaf 229, M/J: FrenchVLADIGEROV: Piano Pieces (Gatev) Gega 412, N/D:

EstepVLASSE: Songs (Plitman) MSR 1754, N/D: new, BoydVOGLER: Gustaf Adolf (Farnscombe) Sterl 1121, M/A:

Reynolds

VOLCKMAR: Organ Pieces (Szadejko) MDG 9062139,M/J: see GRONAU

VON EINEM: The Trial (Gruber) Capr 5358, J/F: SullivanWAGNER: Overtures & Excerpts [2CD] (Levine) DG

4840636, M/A: HechtSiegfried, sel (Inkinen) SWR 19078, J/F: AltmanWesendonck Songs (Pregardien,C SACD) Chall 72788,M/A: see SCHUMANN

Wesendonck Songs (Siegel) Hans 19078, M/J: seeSTRAUSS

WALKER,D: Chamber Music (Various) Alb 1794, M/A:new, Faro

WALTON: Cello Concerto (Bailey/Llewellyn) Stein30156, N/D: O’Connor

Facade Suites+ (Geer) Somm 614, S/O: Moore,RV Sons (Huang) Cent 3681, J/F: Magil

WEBER: Clarinet Concertos; Symphonies (Lluna) IBS222019, S/O: Hanudel

Euryanthe (Vienna Radio/ Trinks) Capr 5373, J/F: LockeFlute Sonata & Trio (Seo) Naxos 573766, J/F: GormanFreischutz (Leipzig Radio/ Janowski) Penta 5186788,M/A: Altman

Freischutz (Essen/ Netopil) Oehms 988, S/O: ReynoldsPeter Schmoll (Vienna Radio) Capr 5376, J/F: Locke

WEIGL: Qt 7+8 (Thomas Christian Ensemble) CPO555201, N/D: Dutterer

WEILAND: Quartets 4+5 (Melbourne Qt) Naxos 574028,N/D: new, Boyd

WEINER: Pieces for Orchestra 3 (Csanyi) Naxos574125, N/D: French

WEIR: Chamber Pieces & Songs (Hebrides Ens) Delph34228, M/A: Gimbel

WELTER: Cantatas (Ecco La Musica) Chris 77440, J/F:Loewen

WHITACRE: Marimba Qts (Burgess+) Sign 625, S/O:new, Faro

WHITBOURN: Choral Pieces (Cor Cantiamo) DivA25192, J/A: Greenfield

WHITE,J: Piano Sonatas (Powell) Conv 515, J/A: HasknWHITING: Percussionist-Storyteller (Composer) NewF

259, N/D: new, VroonWIDOR: Organ Sym 1; Latin Suite (Bell) Cent 3763, J/A:

DelcampOrgan Syms 1+2 (Rubsam) Naxos 574161, M/J: DelcOrgan Sym 2+3 (Bell) Cent 3764, N/D: DelcampOrgan Sym 4+7 (Bell) Cent 3765, N/D: DelcampSongs (Hays, Hanig, Saunders) Alb 1813, S/O: Moore,R

WILLAN: Songs (Various) Centr 26719, M/A: Moore,RWILLIAMS,L: Songs (Faux) NewW 80818, J/F: new,

BoydWILMS: Flute Sonatas (Dabringhaus) MDG 9032149,

N/D: GormanP Qts (Valentin Qt) CPO 555247, J/F: Kell

WINTERBERG: Piano Pieces (Helbig) Tocc 531, M/J:Haskins

WOLF: Italian Songbook (Seefried, Fischer-Dieskau) DG4840556, M/A: Moore,R

Songs. vol 10 (Various) Stone 80918, M/J: AlthouseWOLFE,J: Fire in My Mouth (Van Zweden) Decca

30845, M/A: GimbelWOOLF: Fire & Flood (Haimovitz, Trinity Wall St) Penta

5186803, M/J: new, BoydWORDSWORTH: PC; VC (Gibbons) Tocc 526, J/F: O’CoWOS: Flute Pieces (Kaczka) Hans 20001, M/J: GormanYSAYE: Violin Pieces (Various) FugaL 758, M/J: MagilZAIMONT: V Son; Qts (Amernet Qt) MSR 1709, J/F: GimZAREBSKI: P Qn (Plawner Qt) CPO 555124, J/F: see

MONIUSZKOZEBROWSKI: Magnificat; Mass, Pastoritta (Kosendiak)

Acco 258, J/F: GreenfieldZEMLINSKY: The Mermaid (Albrecht SACD) Penta

5186740, N/D: Hecht


Qt 2 (Arod Qt) Erato 542552, M/A: 168, DuttererSinfonietta; Maeterlinck Songs (Malkki) Capr 5377, S/O:O’Connor

Der Traumgorge (Albrecht) Capr 5395, M/J: LockeZEYNALOVA: Chamber Pieces (Composer+) DreyG

21117, J/F: new, FaroZIMMERMANN: Piano Pieces (Fernandez) BIS 2495,

N/D: GimbelV Sons (Milwidsky) Tocc 541, S/O: Magil

ZIMMERMANN,W: Lokale Musik (Composer) Mode 307,J/F: Gimbel

COLLECTIONSORCHESTRAL

British Tone Poems 2: Foulds, Fogg, Howell, Cowan,Hadley (Gumba) Chan 10981, J/F: 155, O’Connor

Cantos Islenos (Sanches-Arana) IBS 212019, N/D: new,Boyd

Cleveland Orchestra Box: Strauss, Prok, Beet, Varese,Deutsch—Cleve 1, S/O: 113, Hecht

Forgotten Treasures: Schmidt, Weiner, Pizzetti, Tcherep-nin (Falletta) BeauF 531, M/A: 165, O’Connor

Jascha Horenstein [10CD] Prof 19014, S/O: 114, HechtRafael Kubelik: Russian & Czech [10CD] Prof 19019, M/J:

141, HechtKarl Munchinger: Baroque [8CD] Decca 4840160, M/J:

143, AlthouseKarl Munchinger: Classical [8CD] Decca 4840170, M/A:

165, AlthouseNight at the Ballet (Fistoulari) Guild 3502, J/F: 155, FischOpera-Comique Overtures (Halasz) Naxos 574122, N/D:

116, FischPalace Premieres (Countess of Wessex Strings) CW

5001, M/A: 166, FischPiano Concertos: Kapustin, Shostakovich (Masleev)

Melya 2624, J/A: 136, EstepHans Swarowsky [10CD] Prof 18061, M/A: 167, VroonGeorge Szell, 1950s [9CD] Prof 19018, J/F: 156, Vroon

CHAMBERAdvenio Trio: horn, violin, piano—Atwell, Aurebach, Sar-

gon—Cent 3770, J/A: 137, KilpatrickAnders Chydenius Collection: Sacchini, Schulz, Pugnani

(Kokkola Qt) Alba 449, S/O: 117, FrenchArmenian Piano Trios (Aeternus Trio) Tocc 6, N/D: 117,

EstepChamber Music with Jorg Demus: Beet, Schum, Dvor,

Demus—Gram 99203, J/A: 155, ThomsonCobbett Prize Winners: Hurlstone, Knussen, Lewis

(Berkeley Ens) Reson 10243, J/F: 157, DuttEnglish Piano Trios (Anima Mundi Trio) DivA 25158, M/J:

144, O’ConnorFlute-Cello-Piano: Martinu, Gaubert, Weber, Damase

(Boyd-Doane-Snyder) Bridg 9539, N/D: 120, GormanLark Quartet Farewell: Harbison, Weesner, Waggoner—

Bridg 9524, M/A: 169, KilpatrickThe Leipzig Circle: Schumann 2, Mendelssohn 2, Gade

(Phoenix Trio) Stone 80949, S/O: 117, AlthouseLeipzig Circle 2: Mend Trio 1; Schumanns Trios (London

Bridge Trio) Somm 619, N/D: 117, DuttererNew England Trios: Piston, Perera, Bernstein (Pitchon+)

Bridg 9530, J/A: 137, EstepPortuguese Trios: Santos, De Freitas, Delgado (Pangea

Trio) Naxos 574014, J/F: DuttererRussian Trios: Rachmaninoff, Babajanian, Alabiev

(Zhdanov) Prof 16092, M/A: 153, VroonSilenced Voices (Black Oak Stg Trio) Ced 189, J/F: 159,

FaroString Quartets before the String Quartet: Purcell, Locke,

Blow (Kitgut Qt) HM 902313, M/J: 145, Thomson

CONTEMPORARY

Apollo Chamber Players: within earth—Brouwer, Wal-czak, Dubois—Navon 6262, J/A: new, Boyd

Azrieli Music 2: Murphy, Dorman, Glick (St John+) Anal9262, J/F: new, Boyd

Boston Symphony Commissions: Nathan, Tsontakis,Andres, Shepherd (Nelsons) Naxos 559874, M/A: 165,Gimbel

Contemporary American: Lifschitz, James (Beck) N/S1065, J/A: 136, Gorman

Dancing on Glass—women (violin, cello) Alb 1797, J/A:new, Boyd

Delicate Omens: flute & guitar—Maret & Bergeron (FoliasDuo) Folia 2, M/A: new, Boyd

Diaries of Adam & Eve: Daugherty, Knific, Chave (Walvo-ord) Alb 1791, J/A: 140, Sullivan

Dimensions 2: Stem, Whitley, Francis—Navon 6251, M/A:new, Faro

Empowering Silenced Voices (Chorosynthesis) Cent3699, J/F: new, Boyd

Figments (Various) Navon 6259, M/A: new, FaroFlute & Clarinet (O’Connor & Neidlich) NewF 258, N/D:

new, VroonFor My Love 3 (Mann) Tocc 504, M/J: new, BoydHealing Modes (Brooklyn Rider) Circ 14, J/A: new, BoydMeredith, Goehr, Matthews (Aurora Orchestra+) NMC

239, S/O: new, FaroModules+ (Composer+) CompC 48, J/F: new, BoydMoto Celeste (Trio Casals) Navon 6266, M/J: new, FaroNew Armenian Pieces: Avanesov, Kartalyan, Zohrabyan

(Various) NewF 244, M/J: new, FaroNew Music: Movio, Grossman, Gato—Kairo 15070,2,5,

N/D: new, VroonNew Music: Scelsi & Baltakas—Kairo 15030+45, N/D:

new, VroonNew Music: Globokar & Hilli—Kairo 15059+78, N/D: new,

VroonPanufnik Legacies III (Roth) LSO 5092, S/O: new, FaroPlaying on the Edge: Erickson, Castellano, Field (Sirius

Qt) Navon 6249, J/F: new, BoydPrisma 3 (Peterdlik) Navon 6271, M/J: new, FaroRan, Higdon, Zwilich (Pacifica Qt) Ced 196, N/D: new,

FaroSpark Catchers (Chineke Orchestra) NMC 250, M/J: new,

FaroThird Sound: Heard Havana—Innov 990, J/A: new, BoydUntold (Summerhayes, Grainger) Nimb 6398, J/A: new,

BoydViola & Strings: Brill 96053, S/O: 136, ThomsonVox (Heare Ens) Innov 40, M/J: new, FaroVoyages: Convery & Boyle (The Crossing) Innov 28, J/F:

new, Boyd

BRASS (Kilpatrick unless noted)

Brass Showcase—8 groups: Sayd 452, M/A: 170Chicago Brass & Organ: Reformation—MSR 1735, M/A:

171Constellations: Gjeilo, Wagner, Gabrieli (Canadian

National Brass) Anal 8924, J/A: 137From Heaven to Earth: Telemann to Rheinberger (Pfeiffer

Trumpet Consort Cant 58052, J/F: 159Gewandhaus Brass: Genui 20693, J/A: 138Night before Christmas (Burning River Brass) Azica

71319, N/D: 159Norwegian Trombone Ens: Beet, Telemann, Deb—LAWO

1194, S/O: 118Preludes, Rags, Cakewalks: (London Brass) MPR 5, J/A:

138River Raisin Ragtime Revue: CMU 241, N/D: 138Royal Brass King James I (Andre+) Decca 4828527, M/A:

170


OBOE & BASSOON20th Century Jewish Oboe: Gal, Finzi, Dorati, Haas

(Schmidt) Strad 37102, M/A: 182, HanudelBassoon & Guitar (Ferrara Duo) Antes 319307, N/D: 118,

GormanBassoon Concertos: Mozart, Weber, DuPuy (Sambeek)

BIS 2467, J/A: 138, VroonBotanica: Haas, Roven, Soukup (Fraker) MSR 1723, J/F:

170, HanudelTheresa Delaplain: Soler, Rubbra, Bacewicz—MSR 1691,

M/A: 181, HanudelFrench Bassoon (McGovern) Alb 1799, M/J: 146,

HanudelMexican Oboe (Thompson) Equil 158, N/D: 127, VroonMonde d’Hier (Lussier) ATMA 2778, M/J: 146, HanudelOboe Concertos: Pla, Telemann, Albinoni, CPE Bach

(Hauser) BlueG 525, J/A: 145, GormanOboe Sonatas: Mozart, Grieg, Prokofieff (Willett) Alb

1782, J/F: 171, GormanOboe Sonatas: Cooke, Jones (Williams) Willo 63, J/A:

145, VroonTheo Plath, bn: Weber, Crusell, Jolivet—Genui 20683,

S/O: 118, HanudelSong of the Redwood Tree (Pool) MSR 1749, J/A: Gor-

man

CELLO(D Moore mostly)

20th Century Cello: Armstrong, Martinu, Thompson,P(Handy) Sleev 1011, M/A: 172

21st Century Double Bass: Hodgson, Panufnik, Ellis,Parkin (Bosch) Merid 84655, M/A: 171

Zuill Bailey: Brahms, Schumann, Bruch Stein—30123,J/F: 160, Althouse

Baroque Cello (Harnoy) Anal 8907, M/A: 173Baroque Cello Concertos: Vivaldi, Boccherini, Haydn

(Polo) IBS 52020, N/D: 119Baroque Violin-Cello Duos (Tartini Duo) Muso 31, J/F:

163British Cello: Smyth, Clarke, Maconchy (Handy) Lyrit 383,

M/A: 172British Solo Cello (Saram) FHR 45, M/A: 173Casals Homage (Abel) Naxos 551418, J/F: 160Cello & Marimba (Stick & Bow) Leaf 231, M/J: 147Cello Encores (Rummel) Palad 105, N/D: 120, VroonClassic Hauser: Sony 98853, M/J: 147, VroonComplices (Queyras) HM 902274, M/J: 148Double-Bass: Schumann, Brahms, Misek (Beringer)

Genui 20706, S/O: 119Double-bass Encores: (Oppelt) MSR 1731, J/F: 161,

FischEntr’acte: Rach, Deb, Chabrier, Webern (Platte) Alb 1786,

J/F: 161Exiles in Paradise: Immigrants in Hollywood (Smith)

Naxos 579055, S/O: 119French Cello (Frankova) Cent 3753, M/J: 147Haydn & Friends—Gamba (Eckert) Hans 17064, N/D: 119Italian Violin-Cello Duos (Zanisi & Sollima) Arcan 468,

J/A: 140Antonio Janigro 4CD: Prof 20002, J/A: 139Sheku Kanneh-Mason: Elgar, Bloch, Klengel—Decca

31491, J/A: 139Kolophonistinnen: 4 cellos—Gram 99218, S/O: 118Richard Locker: Short pieces & arias—Leg 518, J/F: 162,

FischDaniel Muller-Schott: Solo cello—Orfeo 984191, M/A: 173Requiebros (Saram) FHR 97, S/O: 119Russian Cello (Croise) Avie 2410, M/A: 172Russian Visions: Strav, Schnittke, Smirnov (Vukotic)

Somm 606, M/J: 148Denis Severin: Schumann, Cassado, Rach, Faure—

SoloM 318, S/O: 119

Summerland: Black American Cello (Yeon-JiYun) MSR1752, J/A: 141

Luciano Tarantino: Tortelier, Tcherepnin—Brill 95964, J/F:162

Tea for 2 Cellos—Chinese: SoloM 327, J/F: 160, FischPaul Tortelier [3CD] Audit 21455, J/A: 140Benjamin Whitcomb: Bloch, Reger, Muczynski—MSR

1587, J/A: 141

CLARINET (most by Hanudel)

3 Sax Concertos: Cerha, Latzer, Lauba (Ernst) Genui19669, M/A: 174, Kilpatrick

Belle Epoque: Debussy, Brahms, Trojohn (Van Wauwe)Penta 5186808, J/F: 164

Bernstein Story (Studnitzky & Manz) Berl 1109, J/F: 163,Fisch

Clarinet Concertos: Lindberg, Hartmann, Farjot (Votano)FugaL 752, J/F: 165

Clarinet Quintets for Our Time: Ellington, Rogerson, Cole-man (Shifrin) Delos 3576, M/A: 175

Clarinet Trios: Mozart, Schumann, Reinecke (Teton Trio)Cent 3786, N/D: 120

Clarinets at the Opera (Imep Namur Clarinet Choir) Cypre2625, M/J: 149

Contemporary Clarinet: Hajdu, Harrop, Hoffmann, Heimer(Hoffmann+) Genui 20695, S/O: 120

Fairy Tales: Mozart, Schumann, Kurtag, Prok (Kuff, Self-heims) Music 56969, J/F: 163

Wesley Ferreira: Durao, Derrica, Cattapatoso—Cent3743, M/J: 149

Flute & Clarinet Solo (Darling & Arbulu) Cent 3717, S/O:121, Gorman

Pierre Genisson: Copland, Bernstein, Stravinsky—Apart218, J/A: 142

Latin American Clarinet: Lobato, Saglie, D’Rivera(Figueiredo) Cent 3740, S/O: 120

Northern Fantasies: Draeseke, Loewe, Winding (Nelson)Sound 1111, J/F: 164

Second Wind: Bach, Canfield, Handel, Koechlin(Camwell) Navon 6253, M/A: 174

Solas—Sax & Organ (McChrystal & Wilson) FHR 93, N/D:120

Spheres (Trio Eclipse) Prosp 2, N/D: 117

FLUTE (most by Gorman)

20th Century: Hindemith, Denisov, Prok (Lupachev)Naxos 579069, N/D: 121

Anonymous Venetian Recorder Sonatas (D’Avena)Ramee 1905, M/J: 173

British Flute: Scott, VWms, Bowen (Sherman) BlueG 515,J/F: 167

Early 20th Century Women: Bonis, Boulanger, Chami-nade (Hurel) Alpha 573, J/A: 143, Harrington

Flute & Cello Rarities (Koga & Lomakov) Genui 20700,N/D: 121

Flute & Clarinet Chronicles (Crescent Duo) BlueG 543,J/A: new, Faro

Flute & Guitar (Glinka & Botsis) Phasm 15, N/D: new,Boyd

Flute & Harp: Debussy, Jolivet, Schafer (Kalysta Duo)Leaf 226, M/J: 151

Flute & Harp: Schub, Schum, Deb, Caplet (Queens Duo)Genui 20691, S/O: 122

Flute Fantasias w Guitar (Cavatina Duo) Bridg 9541, N/D:121

Flute Pieces by Women: Saariaho, Williams—FurAr 6826,N/D: new, Vroon

Flute Sonatas: Hummel, Reicha, Weber (Pilch) RecA 3,M/J: 151


Flute, Viola, Harp: Debussy, Bax, Genzmer (Trio Partout)Gram 99196, J/F: 166

Fragile Phrases: flute & guitar (Duo Delinquo) Prop 2083,J/F: 166

Giantess (Brown) Innov 43, M/A: new, BoydIwona Glinka: Willo 13, M/J: 150Temo Kharshiladze: Reinecke, Prok, Taktakishvili—Gram

99201, M/A: 176Opera for Flute (Seel) Hans 19077, J/A: 143Emmanuel Pahud: Dreamtime: Reinecke, Penderecki,

Takemitsu—Warnr 539244, M/A: 176Piccolo Concertos: Liebermann, Campo, Damase (Beau-

madier) Skarb 3192, M/A: 175Piccolo Encounters: 20th Century (Stahel) SoloM 329,

N/D: 122Recorder Pieces: Marcello, Vivaldi, Bellinzani (Staropoli)

Brill 96052, J/A: 144Recorder Sonatas, 18th Century Netherlands (Bosgraaf)

Brill 95907, J/F: 165Sonora Slocum: Barber, Bartok, Copland—Affet 1903,

J/F: 167Ashley Solomon—historic inst: Bach, Telemann, Leclair—

Chanl 43020, J/A: 142Song in the Night—belle epoque (Mazzoli) Dyn 7862,

S/O: 121Wieslaw Suruto: Taffanel, Doppler, Briccialdi—RecA 27,

M/A: 177Swedish Women (Gudmundson) MSR 1722, M/J: 150Voyage: Flute & Guitar (Friend, Ogden) Chan 20037, J/F:

166Alena Walentin: Amirov, Bowen, Schulhoff—Guild 7820,

M/J: 152

GUITAR2-Guitar Recital: Petit, Rodrigo, Cast-Ted (Olsen & Haug-

land) Simax 1361, M/A: 181, SmithAli Arango: Naxos 574111, M/A: 177, SmithArctic Sonata: (Bjornsson) Emec 137, M/A: 178, SmithRobert Aussel: Tangos—IBS 62019, J/F: 167, SmithBalkan Guitar: (Grgic) Naxos 573920, M/A: 178, SmithAnton Baranov: Fleur 58047, J/F: 168, SmithEileen Baum: ArcoD 215, N/D: 123, McCutcheonRupert Boyd: SonoL 92231, M/A: 177, SmithAlejandro Cordova: Naxos 573972, J/F: 169, SmithDavide Fabbri: Viaggio: DotG 1908, N/D: 123, BrewerSalvatore Fodera: Mediterranean—Brill 95862, M/J: 173,

BrewerGrawemeyer Award Composers: Tower, Takemitsu,

Andriessen, Currier (Kupinski+) Sound 1112, N/D: 124,McCutcheon

Liz Hogg: Alb 1801, N/D: 123, McCutcheonItalian Concertos (Segre) Delos 3546, N/D: 125, McCVojin Kocic: Jose, Albeniz, Manen—Naxos 574133, M/A:

179, SmithMateusz Kowalski: Acco 251, M/A: 179, SmithCelia Linde: Shades of Blue—Propr 2085, M/A: 180,

SmithNapoleonian Sonatas (Valois) Cent 3733, N/D: 126,

McCutcheonNew Canadian 2-Guitar Pieces (Cowan & Cicchillitti) Anal

8792, J/F: 168, SmithNew Zealand Guitars: (Curry & Moriarty) Naxos 579041,

J/F: 169, SmithNew with Guitar 12: Lehrdahl, Bland, Leisner (Starobin)

Bridg 9520, M/A: 180, SmithJi Hyung Park Recital: Naxos 574140, S/O: 123,

McCutcheonPeace: Radice, Johnson, Sor (Johnson) DosA 2019, S/O:

122, McCPremiere Recordings (Isbin) Zoho 202005, S/O: 122,

McCutcheon

David William Ross: Nakada, Piazzolla, Takemitsu—Ravel 8019, M/A: 180, Smith

Salut d’Amour: Ponce, Castelnuovo-T, Haug (Gronona,Ciccolini) Strad 37141, M/A: 178, Smith

Sonatinas 19th Century: (Forqueddu) Brill 95558, N/D:124, McCutcheon

Souvenirs of Spain & Italy (Isbin; Pacifica Qt) Ced 190,M/A: 179, Smith

Frank Wallace: Wallace, Britten, Segreras—Gyre 10113,M/A: 181, Smith

Friedemann Wuttke & Friends: Piazzolla, Boccherini,Rodrigo—Prof 19067, N/D: 126, McCutcheon

HARPLauren Scott: 20th Century—Avie 2417, J/A: 144, FrenchViola & Harp: Bax, S-S, Schub, Britten (Xu & Schrama)

Prof 19069, S/O: 136, Thomson

HARPSICHORDAvant-Garde Cembalo (Nyquist) Music 55723, M/A: 181,

LehmanFitzwilliam Virginal Book 7 (Belder) Brill 95648, S/O: 124,

LehmanHpsi Sons: Scarlatti, Soler, Albeniz (Pozuelo) Strad

37140, J/F: 170, LehmanModern Harpsichord: Takemitsu, Saariaho, Bryars (Esfa-

hani) Hyp 68287, S/O: 124, HaskinsTime Flies—contemporary (Funaro) Cent 3783, N/D: 127,

LehmanToccata (Buccarella) Ricer 407, J/F: 169, Lehman

MISCELLANEOUSLSO Percussion Ensemble: Reich, Corea, Locke, Sim-

cock—LSO 5090, S/O: new, FaroPiano & Erhu III (Li & Hamm) Redsh 474, N/D: new, Boyd

ORGANArt & Rhapsodie (Chriss) ATMA 2782, M/J: 152, DelcampBerlin Organ: Mendelssohn, Rufer (Sieling SACD) MDG

9462161, S/O: 127, DelcampEastbourne (Eadon) Willo 60, M/J: 153, DelcampAlexander Ffinch: Jongen, Dove, Liszt—DivA 25193, J/F:

171, DelcampFrench Eclat: Messiaen, Widor (Bruns) ProOr 7220, J/F:

171, DelcampGdansk Organ 1 (Szadejko) MDG 9062157, N/D: 129,

LoewenAmelie Held Recital: Hera 2128, M/J: 153, DelcampNordic Journey 9 (Hicks) ProOr 7290, S/O: 126, DelcampNordic Journey 10 (Hicks) ProOr 7292, N/D: 129, Del-

campOnce Upon a Time: Ravel, Durufle, Robin (Robin at Dis-

ney Hall) Brill 96134, S/O: 126, DelcampOrgan Pieces by Women (Ajossa) Strad 37132, J/A: 145,

DelcampOrgan Trios: Rheinberger, Gustafsson, Storm (Johnsson)

Prop 2084, M/A: 182, DelcampOrgan at Bobenthal (Brembeck) Cant 58053, N/D: 128,

GatensOrganic Creatures (Vicens) ConsS 139, J/A: 147,

LehmanTimothy Parsons: Regen 523, M/J: 153, GatensPax Britannica (Stove) ArsOr 2, J/A: 146, DelcampPrairie Sounds (Thevenot) Raven 162, M/J: 154, Del-

campChrista Rakich: Bach, Senfter, Woodman—Loft 1139, J/A:

146, DelcampSt Agostino in Cremona (Bottini) Crem 19049, N/D: 127,

GatensSwedish 18th Century (Lundblad) Capr 21928, J/A: 146,

Delcamp


Manuel Tomadin: Strungk, Morhardt—Brill 95758, M/J:154, Gatens

Gillian Weir: Dupre, Vierne, Charpentier—Decca4818742, M/A: 183, Delcamp

PIANO20th Century Foxtrots (Wallisch) Grand 813, J/A: 152,

FischA New Yorker—Impressions (Chang) Cent 3795, M/J:

155, HarrJames Adler: Mouss, Moz, Deb, Adler—Alb 1781, J/F:

172, HarrAll Waltzes (Deliyska) Chall 72841, J/A: 149, ReppAmerican Rage: Rzewski, Copland, Wolfe (Tao) Warnr

535477, M/A: 189, SullMiyako Arishima: Chopin, Takemitsu, Szymanowski—

Stein 30118, J/F: 172, ReppBaroque Suites: Bach, Rameau, Schnittke (Proshayev)

Piano 10179, M/J: 159, LehmanJean-Efflam Bavouzet: Clementi, Dussek, Hummel—

Chan 20128, N/D: 130, ReppStephen Beus: Dance: Bach, Mozart, Ravel—Cent 3745,

S/O: 127, HarrBravura: Addinsell, Turok, Chopin, Litolff (Pierce) MSR

1640, M/A: 188, VroonSara Beth Briggs: Haydn, Mozart, Schubert, Gal—Avie

2418, N/D: 130, ReppBritish 2 Pianos: Bax, Britten, Bowen, Bennett (Berlin-

skaya & Ancelle) Melya 2565, M/A: 183, HarrDmytro Choni: Deb, Ginastera, Prok—Naxos 574136,

N/D: 131, HarrChopin Festival Hamburg 2019 (4 Pianists) Naxos

579068, N/D: 136, ReppJane Coop: Bach, Beethoven, Rach—Sky 1901, M/A:

183, EstepCzech cycles (Ahn) Cent 3781, J/A: 148, ReppFavorite Encores (Kirova) ConBr 22091, S/O: 130, EstepAnna Fedorova: Chopin, Liszt, Scriabin—Chanl 42219,

M/A: 183, ReppFinnish Favorites (Olszewski) Cent 3732, M/A: 187, KangFire: Falla, Stravinsky, Liszt (Kosuge) Orch 108, M/A:

185, ReppRudolf Firkusny [10CD] Prof 19013, N/D: 131, ReppFrench Piano (Fialkowska) ATMA 2766, M/A: 184, HarrFrench Piano Rarities: Deb, Messiaen, Boulez (Van Raat)

Naxos 573894, N/D: 134, HarrElena Gaponenko: Beet, Schub, Schumann—Oehms

1707, J/F: 173, KangUmi Garrett: Bach, Chopin, Beet, Liszt—Umi 0, J/F: 174,

ReppEmil Gilels 11: Beet & Rach PC 3 (Jochum & Ormandy)

Dorem 8100, S/O: 128, VroonFriedrich Gulda: concertos—SWR 19088, J/A: 150, Hask-

insGreat Pianists as Composers: Schnabel, Gould, Lipatti

(Miyamoto) BlueG 501, M/J: 158, HaskinsGugnin, Kholodenko, Geniusas: Beethoven, Schubert,

Schumann—Melya 2619, S/O: 132, ReppHalf-Remembered Music: Chopin, Bach, Mompou, Crumb

(Yang) BlueG 531, M/J: 161, VroonHidden Treasures: Norwegian (Marin) Alba 446, M/A:

187, KangHikaye: Turkish, Bloch, Takemitsu (Bengi) FugaL 759,

M/J: 155, KangHomage to Godowsky (Gugnin) Hyp 68310, S/O: 128,

KangHumoresques: Grieg, Dvorak, Reger, Schumann (Gul-

badamova) Hans 19036, M/A: 185, BeckerHungarian Melody: Brahms, Liszt, Schubert (Gulbadamo-

va) Hans 19037, M/J: 157, ReppIberia & Francia: Ravel, Falla, Albeniz, Mompou (Cooper)

Chan 20119, J/F: 173, Repp

Shinnosuke Inugai: Genui 20680, S/O: 129, EstepItalian Inspirations: Bach, Rach, Liszt, Dallapiccola (Bax)

Sign 611, J/A: 149, ReppSvetozar Ivanov: Intermissions—Gega 419, S/O: 129,

HaskinsJewish Composers, 1922-43 (Worms) Zefir 9669, S/O:

132, BeckerPeter Jozsa: Haydn, Schub, Brahms, Chopin, Liszt—

Gram 99213, S/O: 129, ReppKete: African & Diaspora (Nyaho) MSR 1708, S/O: 130,

EstepHonggi Kim: Schum P Qn; Vine, Granados, Ravel—

Naxos 574232, N/D: 133, BeckerOleg Kleiankina: Salonen, Bolcom, Crumb, Zaimont—

BlueG 505, M/J: 157, HaskinsLatin American 2-Pianos: Gustavino, Pinto, Bolcom (Bal-

taian & Polischuk) BlueG 539, J/A: 148, HarrLatin Soul: South Americans (Martino) Tico 2, M/A: 187,

KangLebanese Piano (Khoury) Grand 812, M/A: 188, SullLes Six (Roges) Onyx 4219, J/A: 151, HarrLong 17th Century (Pienaar) Avie 2415, M/J: 158,

LehmanMoura Lympany [6CD] Decca 4829404, M/A: 186, ReppWarren Mailley-Smith: Mozart, Chopin, Beethoven,

Gershwin—Sleev 1002++, J/F: 175, VroonMoon Rainbow: Bach & Kapustin (Imorde) Berl 301407,

S/O: 128, HarrKeigo Mukawa: Ravel, Liszt, Bach—Acous 13819, J/A:

150, ReppNeo-Classic: Haydn-Stravinsky (Greenberg) FurA 6820,

M/J: 156, ReppNorwegian piano (Sobon-Wakarecy) Acco 267, S/O: 131,

ReppCecile Ousset [7CD] Decca 4827395, M/A: 188, BeckerPercy & his friends (Masters) Herit 179, M/J: 158, BeckerPhilippine Piano (Pinkas) MSR 1645, J/F: 175, KangReminiscences of Brazil (Badgerow) DivA 25201, N/D:

129, KangRichter in Prokofieff & Rachmaninoff [11CD] Prof 19052,

S/O: 130, HarrAda Aria Ruckschlos: Bach, Franck, Beet, Prok—Hans

20033, N/D: 134, BeckerSavile Club Composers: Parry, Quilter, Arnold, Stanford

(Karpeyev) Somm 601, J/F: 174, BeckerJeungBeum Sohn: Beet, Schub, Ravel—Genui 20688,

S/O: 132, KangSolomon [10CD] Prof 20032, N/D: 135, BeckerSwedish Miniatures (Forsberg) DB 194, M/A: 184, VroonAlexandre Tharaud: Abrahamsen, Pesson, Strasnot—

Erato 532307, J/A: 151, HaskinsTranscriptions (Taverna) Somm 605, M/J: 160, BeckerAndrew Tyson: Scarlatti, Schubert, Albeniz—Alpha 546,

M/A: 190, KangAline Van Barentzen: Chopin, Liszt, V-Lobos—APR 6031,

N/D: 136, HarrVariations: Schumanns, Muhly, Brahms, Iyer (Momen)

Somm 603, M/A: 187, KangVersailles: Rameau, Couperin, Duphly (Tharaud) Erato

538642, M/J: 160, KangHeidi Louise Williams: Griffes, Walker, Floyd, Barber—Alb

1790, M/A: 191, BeckerWomen Composers (Wenglin & Lomon) Navon 6254,

M/A: new, BoydJae-Yeon Won: Bach to Bartok—Acous 13919, J/A: 153,

ReppAmit Yahav: Fantasies—Chopin, Mend, Schumann—

Genui 20709, N/D: 136, ReppAmy Yang: Bach, Shaw, Schumann—MSR 1655, M/J:

160, Haskins


TRUMPET & BRASS SOLO (Kilpatrick)

Alison Balsom: Handel, Bach, Purcell—Warnr 537006,M/J: 161

Keith Benjamin, tpt: Adler, Schoenberg, Garrop—Crys961, M/A: 191

Egregore (Brum) Naxos 574204, N/D: 137Chris Gekker: Moon Marked—Met 28605, S/O: 134Early Horn (Monberg) Hyp 68289, M/J: 162Simon Hofele, trumpet: Hummel, Haydn, Arutjunian—Berl

301314, J/A: 153Horn Monologues (Wall) Affet 2002, S/O: 134John McGuire, horn: Navon 6267, M/J: 162The Natural Trumpet: Sperger, Stamitz (Kovats) CPO

555144, N/D: 138New Trumpet Music with piano: Larson, Williams, Stanton

(Cook) MSR 1659, S/O: new, Faro Peter Steiner, trb: Berl 1298, J/F: 176Andrew Stetson: Stephenson, Hagerty, Mikulka—MSR

1664, J/A: 153Stories: Jolas, Beamish, Neuwirth (Hardenberger) BIS

2293, J/F: 175, Vroon Aaron Tindall, tuba: Rowles, Bolling, Tackett—Bridg 9536,

N/D: 139Trumpet & Trombone (Berlin, Spiridopoulos) MSR 1728,

S/O: 133Trumpet Camaleonica (Lee) Mark 54339, J/F: 176Violin & Horn: Women composers (Darvarova & Wall)

Affet 2004, S/O: 134

VIOLIN & VIOLA2 Moments in a City (Rossels) Music 55722, M/A: new,

Boyd2-Violin Sonatas: Ysaye, Prok, Gorecki (Milstein, Van

Bellen) Chall 72807, J/A: 157, Thomson4 Centuries: Mozart, Schum, Bloch, Levinson (Merdinger)

Sheri 5, J/F: 182, Magil5 Centuries of Violin (Beikircher) Emec 140, M/J: 163,

MagilAmerican Avenues: Gershwin, Bernstein, Rorem

(Haertzen) Cent 3722, M/A: 193, MagilAmerican Violin Sonatas: Schoenfeld, Stucky, Harbison

(Lin) Naxos 559888, N/D: 142, ThomsonArte di Diminuire: baroque violin (Estro d’Orfeo) Chall

72843, J/A: 164, LoewenBach & Vivaldi Double Concertos (Carmignola & Brunella)

Arcan 472, S/O: 148, LoewenLisa Batiashvili: City Lights—DG 4838586, N/D: 141,

VroonBelle Epoque: Franck, Ysaye, Dubois (Ingolfsson) Genui

19674, M/A: 194, MagilBritish Violin Sonatas: Walton, Alwyn, Leighton, Jacob

(Howick) Somm 610, J/A: 155, MagilBritish Violin Sonatas 3: Bowen, Ireland, Coates, Alwyn

(Little) Chan 20133, S/O: 139, MagilCantilena—Viola Pieces: Piazzolla, Falla, Montsalvatge

(Zimmermann) HM 902648, J/A: 159, ThomsonTatiana Chulochnikova, solo v: Stein 30131, M/A: 191,

MagilCzech Viola Concertos: Feld, Flosman, Bodorova (Hos-

prova) Sup 4276, S/O: 138, FrenchCzech Violin Sonatas (Duo Anime) Genui 19671, M/A:

194, KellDuo Maiss You: Bartok, Janacek, Leister—TXA 19130,

N/D: 142, MagilFolk Roots: Janacek, Veress, Enesco, Bartok (Cabeza)

Genui 20689, S/O: 137, FrenchVilda Frang: Paganini & Schubert—Warnr 541936, M/J:

163, FrenchFrench Violin: Ravel, Deb, Franck (Barati) Brill 95576,

J/A: 154, Magil

French Violin: Debussy, Ravel, Poulenc (Ovsyanikova)Stone 80963, N/D: 143, Magil

French V Sonatas: Faure, Ravel, Deb, Poulenc (Pietsch)Audit 97751, S/O: 140, Magil

French V Sonatas: Poulenc, Franck, Chausson (VanDriessche) Antar 17, J/A: 158, Thomson

Ivry Gitlis Early Years: Rhine 11, J/F: 178, KellIvry Gitlis [4CD] Violin Concertos—Prof 19056, S/O: 137,

MagilDaniel Hope—Belle Epoque: DG 4837244, J/A: 154,

MagilNigel Kennedy Early Years [7CD] Warnr 535574, M/J:

164, MagilKlagenfurt Manuscript (Skaerved) Athen 23206, N/D: 150,

MagilBarbora Kolarova: Francaix, LeBoeuf, Slavinsky—FurAr

6822, J/A: 156, ThomsonDenes Kovacs concertos: Dorem 8101, J/A: 156, MagilFritz Kreisler 9: Naxos 111410, J/A: 157, MagilTessa Lark: Fantasy: Telemann, Schub, Ravel—FHR 86,

J/F: 180, KellCarol Lieberman 2: Cent 3702, M/J: 165, MagilMeet at the Horizon: Sleeper, Drew (Powells, v & db)

Cent 3728, J/F: 162, MooreMelanconico: Schumanns & Enesco (Goldstein, va) Cent

3692, J/F: 179, MagilAlexander Meshibovsky: Romantics—Cent 3710, J/F:

181, KellMiniatures (Ostrowski) RecA 28, M/J: 166, KellOpera Fantasies (Reinhold SACD) MDG 9032134, J/F:

182, KellPas de Deux: violin & cello (Rowland & Bogdanovic) Chall

72833, N/D: 143, ThomsonLiya Petrova: Beet, Barber, Britten—Mirar 504, J/A: 158,

ThomsonMichael Rabin 4CD: Prof 20003, J/A: 158, MagilRejoice: Ysaye, Penderecki, Gubaidulina (Stawek) Acco

264, M/J: 148, MooreRose Petals—Canadian Va (Carey) Centr 26319, M/J:

new, BoydDmitry Sitkovetsky: Beet, Schub, Grieg—Melya 2595,

M/A: 194, KellSolo Viola: Reger, Hindemith, Pochon (Euler SACD) MDG

9032160, S/O: 135, ThomsonSteven Staryk: short pieces—Cent 3680, M/A: 195, KellSwedish Violin (Zilliacus) DB 195, N/D: 144, MagilTelmanyi & Hubay: DACO 851, M/J: 166, MagilDiana Tishchenko: Strangers in Paradise—Ravel,

Enesco, Prok, Ysaye—Warnr 540391, M/A: 195, MagilJac van Steen: VWms, Ravel, Dutilleux—Somm 275,

M/A: 195, KellViennese Divertimentos: Vanhal, Dittersdorf, M Haydn

(Cicchitti) Brill 96127, S/O: 116, ThomsonViola & Guitar: Paganini, Carulli, Margola (Duo Moebius)

Bong 5208, S/O: 135, ThomsonViola Gems: short pieces (Klemmstein) Thor 2666, N/D:

140, ThomsonViola Pieces: Bach, Biber, Hindemith, Britten (Mei) Genui

19666, J/F: 181, MagilViola Romance: short pieces (Golani 2CD) Hung 32811,

S/O: 136, ThomsonViola Sonatas & Pieces: Clarke, Werkman, Milhaud

(Zemtsov) Chanl 42320, N/D: 140, EstepViolin & Cello by women: Archer, Coulthard, Cummings

(Mercer) Centr 27719, M/J: 165, FrenchViolin & Guitar: Vivaldi, Corelli, Paganini (Gomyo & Eske-

linen) BIS 1998, M/A: 192, MagilViolin & Orchestra: Bruch, Bloch, Chausson, Vitali

(Boutellis-Taft) Apart 234, J/A: 154, O’ConnorViolin Concertos: Bach, Jalbert, Part, Vasks (Batjer

SACD) BIS 2309, J/F: 177, Magil


Violin Romances: Beet, S-S, Dvorak, Bruch, Svendsen(Alogna) Brill 95896, J/F: 177, Vroon

Violin Sonatas, Cello Sonatas: Barber, Dohnanyi, Strauss(Gilbert, Work) Fleur 58048, M/J: 145, Thomson

Violin-Cello Duos: Eisler, Ravel, Widmann (Gringolts &Kouzov) Delos 3556, J/F: 158, French

Violins of Hope (Ashkenazi) Alb 1810, N/D: 141, ThomsonVoila Viola 1—British (Dolman) Music 56971, N/D: 139,

MagilVoila Viola 2—French (Dolman) Music 56976, N/D: 139,

ThomsonDawn Wohn: Esmail, Zwilich, Kapralova, Price—Delos

3547, M/A: 196, MagilAlexander Woods: Dvorak, Thornock, Mozart—MSR

1689, N/D: 144, Magil

WINDS3 Reeds Duo: Britten, Morris, Marie—BlueG 523, N/D:

145, VroonBaroque Wind Sonatas (Freitagsakademie) Wintr

910263, N/D: 145, VroonElements: Bennett, Giroux (Eastern Wind Sym) Mark

54625, J/F: 182, KilpFavorite Marches (Norwegian Navy Band) FMK 2001,

N/D: 146, FischFour: Bozza, Bridge, Francaix, Bennett (London Myriad)

Met 28587, M/A: new, BoydNoteworthy: Sparke, Fouchet, Stephenson (N Texas Wind

Sym) GIA 1073, J/A: 160, HanudelOboe, Clarinet, Bassoon Trios: Lutoslawski, Veress,

Juon, Schulhoff (Trilli Trio) Brill 95688, S/O: 141, Gor-man

One for All: Navarro, Vilaplana, Brotons (N Texas WindSym) GIA 1076, J/A: 160, Hanudel

Piano & Winds: Mozart, Danzi, Beethoven (Hadland, OsloAcademy) LAWO 1187, M/J: 167, Hanudel

Polish Winds: Lutoslawski, Baird, Zulawski (SonoraWinds) MSR 1702, M/J: 167, Hanudel

Quaternity (UNLV Winds) Klav 11223, N/D: 145, KilpVoci Dentro Il Tempo (oboe, bassoon, piano) Bong 5207,

M/J: new, Boyd

EARLY12th Century Sacred Pieces (Ens Scholastica) ATMA

2804, S/O: 141, Gatens15th Century Lute Duos (Lewon & Kieffer) Naxos 573854,

J/A: 162, Lehman17th Century English Consort (Dart) Decca 4828574,

M/A: 200, BrewerAkoe: Dowland, Josquin, Isaac (Taracea) Alpha 597, S/O:

146, LoewenAnamorfosi: Allegri, Rossi, Monteverdi (Poeme Har-

monique) Alpha 438, J/F: 185, Moore,CCalls of Rome: Victoria, Josquin, Allegri (The 16) Coro

16178, S/O: 145, GatensCaroline Shaw: PhilB 12, N/D: new, BoydChristmas Songs (Van Veen/Koopman) Erato 539312,

N/D: 166, Moore,RCircle in the Water: Dowland+ (Capella de Ministrers)

CdM 1947, M/J: 172, GatensCodex Jacobides 1600 (Cizmar) Sup 4278, N/D: 148,

LoewenCoffee Cantatas (Ensemble Masques) Alpha 543, M/A:

201, LoewenDialogo d’Amore: frottolas (L’Amorosa Caccia) Brill

95759, S/O: 143, Moore,CDumesny—Lully’s Counter-tenor (A Nocte Temporis)

Alpha 554, M/A: 206, BrewerEarly American Songs (Boston Camerata) HM 902628,

J/F: 186, GreenfEton Choirbook (Purcell Consort) Decca 4840250, J/A:

163, Loewen

Extra Time (La Serenissima) Sign 641, N/D: 118, KilpFirst Voyage Around the World (Euskal Baroque Ens)

AliaV 9933, M/A: 198, BrewerFlorence 1350 (Sollazzo Ens) Ambro 55, S/O: 142,

Moore,CFor Milan Cathedral (Siglo de Oro) Delph 34224, M/J:

168, Moore,CFor the Mayflower (Passamezzo) Reson 10263, N/D: 151,

GatensFrom Court to Court (Frottolisti Anonima) Tact 400007,

N/D: 148, Moore,CFuneral Cantatas: Bach, Telemann, Riedel (Ricercar Con-

sort) Ricer 148, S/O: 147, LoewenGuerra Manuscript 5 (Ars Atlantica) Naxos 574092, J/F:

185, BrewerImpossible Silence: Dowland, Handel, Sephardic (Eratos

Trio) Gram 99207, J/A: 166, BrewerIntermedi della Pellegrina 1589 (Modo Antiquo) Dyn

7856, M/J: 168, Moore,CItalian Baroque (RedHerring Ens) Antar 14, M/A: 200,

BrewerJudeo-Spanish Songs (Alhambra) Cent 3635, S/O: 143,

BrewerKrummhorn (Syntagma Amici) Ricer 146, S/O: 144,

LoewenLate Medieval Mass (Aeolos Ens) Cant 58049, S/O: 141,

GatensLeonardo’s Age (Caristi, s) Cent 3807, S/O: 143, Moore,CLeufsta Bruk III: De Boeck, Johnsen, Monsigny (Rombo,

Rebaroque SACD) BIS 2354, J/F: 185, LoewenLost Fresco (Umbra Lucis Ens) Uran 14054, M/J: 169,

GatensLute & Theorbo Duos (Zapicos) Wintr 910258, S/O: 123,

LehmanMaria, Dolce Maria (Roobol) Brill 95893, M/A: 197,

Moore,CMaximilian (1459-1519) (Per Sonat) Chris 77438, J/F:

183, LoewenMedieval Finland & Sweden (Ens Peregrina) Tacet 248,

M/J: 167, LoewenMusic of the Cure (La Ninfea) PN 1904, S/O: 147, BrewerNeapolitan Baroque (Tempesta Basel) Vanit 13, M/J: 172,

Moore,CO Rose Belli—15th Century (Ens Dionea) Brill 95529, J/F:

183, LoewenOffice of St Sigfrid (Gemma Ens) Sterl 1840, J/A: 161,

GatensPassions, Venice 1600-1750—Monteverdi, Lotti, Caldara

(Les Cris de Paris) HM 902632, M/A: 199, GatensPiae Cantiones—sacred (Utopia Chamber Choir) AliaV

9932, J/A: 163, LoewenPlaisirs de Louvre: 1600s (Ens Correspondances) HM

905320, J/A: 164, BrewerPolish Canzonas (Filatura di Musica) RecA 33, J/A: 165,

LoewenPolish Lute (Held) Hans 19034, J/F: 184, LoewenRed Book of Ossory (Anakronos) Heres 25, N/D: 146,

BrewerRenaissance Collection (Vox Luminis) Ricer 155, J/A:

166, BrewerRoma 600 (Bassifondi) Arcan 467, M/A: 198, Moore,CSaint and Sultan—13th Century (Pera Ensemble) Berl

301383, J/A: 161, BrewerSalve Antverpia—16th Century (La Caccia) Ricer 137,

J/A: 164, BrewerSalve Regina: Porpora, Pergolesi, Leo (Napoletani) Brill

96092, J/A: 175, GatensSephardic-Italian Pieces (Bet Hagat Ens) Strad 37124,

S/O: 144, Moore,CSpanish Baroque (Vandalia) IBS 12020, S/O: 146, BrewerSpanish Baroque Songs & Dances (La Boz Galana)

Ramee 1909, M/J: 171, Brewer


Spanish Madrigals (Amystis) Brill 95905, J/F: 184,Loewen

Spanish Nativity (Stile Antico) HM 902312, N/D: 160,Brewer

Venetian Cello Sonatas (Nasillo) Arcan 465, J/F: 161,Moore

Venetian Gondolier (Falk, Nuovo Aspetto) Prosp 3, N/D:152, Moore,C

Venetian Violin Quartets (Clematis) Ricer 404, J/F: 184,Brewer

Vihuela Pieces (Cherici) Verm 40024, N/D: 148, BrewerViolin Concertos: Locatelli, Leclair, Telemann (Pomo

d’oro) Naive 30576, M/J: 170, LoewenWinter (Marti+) Ayros 4, J/A: 162, Brewer

CHORALAdvent Carols (King’s College London) Delph 34226,

N/D: 163, GatensAdvent Moon (Audite Chamber Choir) Alba 56, N/D: 160,

GreenfAmerican Christmas Carols (True Concord) Ref 734, N/D:

164, VroonAsh Wednesday (St John’s College) Sign 605, J/A: 168,

GatensAufblick: Verdi, Wolf, Reger (Chemnitz) Auris 5089, S/O:

148, Moore,RAve Maria 7 Centuries (Various) Antes 179001, S/O: 154,

GatensBe All Merry (University College Dublin) Sign 643, N/D:

161, VroonBlack Birch in Winter (Voces Musicales) MSR 1675, J/F:

189, GreenfBlessed art Thou Among Women (Patram Singers) Ref

737, S/O: 149, GreenfCantate Domino: Bach, Handel, Telemann (BachWerk-

Vokal SACD) MDG 9022138, M/J: 174, GatensChrist Cathedral Dedication: Goth 49326, M/A: 202, Del-

campChristmas (Gesualdo 6) Hyp 68299, N/D: 162, GatensChristmas: Britten & Pinkham (Warland) Goth 49317,

N/D: 165, DelcampChristmas Day (Eley, choirs) Affet 1904, N/D: 166, FischChristmas at St George’s, Windsor: Hyp 68281, N/D: 165,

DelcampChristmas in New York (NY Children’s Chorus) MSR

1700, N/D: 162, GreenfCornhill Visions (St Michael’s) Regen 550, M/J: 174,

GatensEvensong (King’s College) Kings 38, J/F: 187, GatensFading (Gesualdo 6) Hyp 68285, J/A: 165, GatensFestival of Carols (Indianapolis Choir) Naxos 579065,

N/D: 165, FischFrieder Bernius: Haydn, Schubert, Brahms—Hans 18100,

J/A: 166, AlthouseFryd (Cantus SACD) 2L 158, N/D: 161, EstepGuitar & Choir (St Martin’s Chamber Choir) Brill 96085,

S/O: 150, GreenfHeavenly Display: Shaker melodies (Georgia State Univ)

Goth 49324, M/J: 175, GreenfHorizons: world choral (Singer Pur) Oehms 1714, J/F:

188, GreenfIn Paradisum+ (Sofia Vocal Ens) Footp 112, M/A: 203,

GreenfIn Praise of St Catherine (St Catherine College) Reson

10246, M/A: 197, Moore,CKing’s Singers Library 1: Sign 601, J/A: 173, FischLike to the Lark (Swedish Chamber Choir SACD) Chan

5255, M/J: 175, DelcampLost Voices of Hagia Sophia: Byzantine Chant (Cappella

Romana) CapR 420, M/A: 197, BrewerMake We Merry (Benenden Chapel Choir) Regen 547,

N/D: 160, Moore,R

Male Chorus Pieces 6 (Limburg Camerata) Genui 19672,J/F: 188, Greenf

Mirabile Mysterium: Christmas (Saxon Vocal Ensemble)CPO 555318, N/D: 163, Gatens

New England Choirworks: Olson, Williams, Hill (YaleSchola) Hyp 68314, M/A: 203, Greenf

North American Choral: Muhly, Larsen, Paulus (MertonCollege Choir) Delph 34232, S/O: 149, Greenf

O Schone Nacht: Rheinberger, Herzogenberg (OrpheusVocal Ens) Carus 83510, N/D: 153, Althouse

Opera Choruses (Bavarian Radio) BR 900329, M/A: 201,Reynolds

Ora Singers: Tallis, Macmillan+ HM 902669, N/D: 147,Gatens

Papagena: Many composers—Somm 608, J/A: new,Boyd

Prayers for Notre Dame: Dupre, Poulenc, Demessieux(Walsh) Regen 538, M/A: 202, Delcamp

Rosa Mystica: Songs to the Virgin (Birmingham Conser-vatory) Somm 617, N/D: 153, Greenf

Sacred Fire (Festival Singers) Amber 125, J/F: 186,Reynolds

Sacred Pieces: Whitacre, Musgrave, Tippett (ScottishNational Youth) Sign 604, S/O: 150, Greenf

Sacred Romantic Partsongs (Meister) Rond 6180, J/F:187, Althouse

Secret Life of Carols (The Telling) FHR 94, N/D: 159,Moore,R

Silent Night (Seattle Pro Musica) SPM 9812, N/D: 164,Greenf

So Hallow’d the Time: Christmas—Delos 3580, N/D: 165,Delcamp

Something Borrowed (Christiana Male Choir) LAWO1188, J/A: 167, Greenf

St Louis Premieres (St Louis Chamber Chorus) Regen541, J/A: 168, Greenf

Ton sur Ton: 20th Century (Flemish Radio Choir) EvilP 33,J/A: 167, Greenfield

The Waiting Sky: Advent & Christmas (Sansara) Reson10250, N/D: 160, Brewer

A Winter’s Night—Christmas (Winchester College) Sign646, N/D: 165, Vroon

VOCALAcademie Orsay-Royaumont: Loewe, Schumann,

Debussy—B 21, J/A: 179, Moore,RAdieu (Rohrer) BlueG 529, J/A: 177, Moore,RAmerican Songs: Hundley, Thomson, Beach (Barham)

Guild 7819, M/J: 176, ReynoldsAmour Eternel: arias & duets (Siurina) Delos 3583, N/D:

157, ReynoldsApparition (Zubel, s) Acco 263, M/J: 182, ReynoldsBritish Airs w violin (Astrop, s) Cent 3775, S/O: 150,

Moore,RCaledonian Scenes—songs: Weir, Britten, MacCunn

(Vickers) Alb 1800, J/A: 178, Moore,RCanadian Art Songs (Haldane) Redsh 464, N/D: new,

FaroClytemnestra: Samuel, Mahler, Berg (Hughes) BIS 2408,

M/J: 179, ReynoldsCountertenor Duets: Purcell & Blow (Davies & Hall) Vivat

116, J/F: 190, ReynoldsCouples in Love—songs: Maier, Rontgen+ (Bisholt) DB

192, J/A: 170, Moore,RCzech Duets: Dvorak, Bendl, Bodorova (Dobesova &

Ruzickova) ArcoD 210, M/J: 178, Moore,RDidone Abbandonata: arias (Im) CPO 555243, J/A: 173,

ReynoldsDirty Minds (Vermeulen) Chall 72835, S/O: 154, ReynoldsDuben Collection (Acronym) OldeF 917, N/D: 149, BrewerEnglish Songs (Giebler) Bridg 9542, N/D: 154, Moore,R


English Songs: Walton, Quilter, Bridge (Sampson SACD)BIS 2413, J/A: 178, Moore,R

Every Tiny Thing: songs (Fierter) Alb 1809, N/D: new,Boyd

Femmes Fatales (Nasibli) Naxos 579066, J/A: 176,Reynolds

Flax & Fire: songs of devotion (Jackson) Orch 139, N/D:156, Moore,R

Fremde Heimat (Fingerlos, bar) Oehms 1711, N/D: 153,Moore,R

French Songs: Ravel, Deb, Ibert, Duparc (Kanaris) Hans19068, J/A: 173, Moore,R

Greek & German Songs (Antonelou SACD) BIS 2439,M/J: 176, Estep

Italian Songs (Chaiter, b) Romeo 7332, J/A: 171, FischJenny Lind Tribute (Rombo) DB 196, M/J: 181, VroonJugendstil (Tilling,s) BIS 2414, M/J: 181, ReynoldsJuyeon Song: Wagner & Strauss—Affet 2005, N/D: 158,

AltmanLieder: Schumann & Beethoven (Scharich) MSR 1762,

S/O: 153, Moore,RMexican Art Songs (Condacse) BlueG 547, S/O: 151,

VroonMorgen: songs (Dreisig) Erato 531948, J/A: 172, Moore,RNuits Blanches: Russian Opera 18th Century (Gauvin)

ATMA 2791, S/O: 151, ReynoldsOrchestral Songs: Berg, Duparc, Rangstrom (Bystrom)

SwedS 1168, M/J: 178, ReynoldsThe Other Cleopatra: Queen of Armenia—Vivaldi, Hasse,

Gluck (Bayrakdarian) Delos 3591, J/A: 170, Reynold-shut

Reine de Coeur: songs—Schumann, Poulenc, Zemlinsky(Muller) Penta 5186810, J/A: 174, Moore,R

Romance: arias & songs (Nafornita,s) Outh 705, M/J:180, Altman

Romantic Songs in a Dark Time (Broberg) Thor 2656, J/F:189, Moore,R

Sephardic Songs: Cast-Ted+ (Malkin) Brill 95652, M/J:180, Altman

Slavic Songs: R-K, Dvorak, Tchai, Rach, Janacek(Romaniw) Orch 131, S/O: 153, Estep

Sleepless Night—songs: Rach, Sib, Brit, Grieg (Alder)Chan 20153, J/A: 169, Harr

Solitude: Purcell, Schubert, Barber, Dove (Gilchrist) Chan20145, N/D: 155, Moore,R

Song Decade 1840-1850: Vivat 119, M/J: 182, Moore,RSongs: Bach to Stravinsky (Westbroek) Chall 72824, M/J:

164, FrenchSongs & Vexations: Debussy, Faure, Satie, Dove (Booth)

Nimb 6372, J/F: 189, OberoiSongs by Women (Lee, Williams) Lorel 143, N/D: 158,

Moore,RSongs of the Night: German (Miedl) Capr 3009, J/A: 174,

Moore,RSouth American Songs: Villa-Lobos, Ginastera, Guastavi-

no (Lojendio) IBS 22020, S/O: 152, FischTransparente (Raisanen) Alba 453, S/O: 153, ReynoldsVoices of Angels (Stockholm Syndrome SACD) BIS 2344,

N/D: 158, ReynoldsWayfarer Songs: Mahler, Wolf, Liszt, Lehar (Arcayurek)

Avi 8553409, J/A: 169, Moore,RWhither Must I Wander (Liverman, bar) Odrad 389, M/J:

179, Moore,R

VOCAL RECITALSRoberto Alagna: Caruso—Sony 95048, M/A: 203,

ReynoldsLilyana Bareva: arias—Gega 408, M/J: 176, AltmanBartoli: Farinelli—DG 4850214, M/J: 177, AltmanPiotr Beczala: Penta 5186733, S/O: 151, ReynoldsLyubomir Bodurov: arias—Gega 406, M/A: 204, Reynolds

Stephane Degout: songs—HM 902367, J/A: 171,Moore,R

Alfred Deller: Purcell, Buxtehude, Campion—Decca4840518, M/A: 204, Loewen

Fischer-Dieskau Volume 2: Orfeo 993204, N/D: 154,Moore,R

Flagstad Rarities: VAI 1286, M/J: 178, ReynoldsPhilippe Jaroussky [3CD] Erato 537555, M/A: 205, Brew-

erJonas Kaufmann: Vienna—Sony 95040, M/A: 205, AltmanMagdalena Kozena: Soiree—Dvorak, Brahms, Ravel—

Penta 5186671, J/A: 190, ReynoldsKonstantin Krimmel, bar: Loewe, Jensen, Schub,

Schum—Alpha 549, J/F: 191, Moore,RKate Lindsey: Arianna—Alpha 576, M/J: 171, BrewerSamuel Marino: Handel & Gluck—Orfeo 998201, S/O:

152, ReynoldsEdith Mathis: lieder—Audit 95647, J/F: 191, OberoiLudwig Mittelhammer: Schubert, Wolf, Medtner—Berl

1246, J/F: 192, Moore,RPeter Nekoranec: French arias—Sup 4260, J/A: 176,

ReynoldsJakub Orlinski: Facce d’Amore—Handel, Cavalli+ Erato

542338, M/A: 207, Moore,CAndreas Perez-Ursulet: songs—Warnr 534915, M/A: 207,

VroonChristoph Pregardien: Mahler, Reger, Zemlinsky—SoloM

328, J/A: 177, GreenfieldMargaret Price: Verdi & Songs—Decca 4825237, M/A:

207, AltmanMelba Ramos: Spanish Songs—Capr 3008, J/F: 192,

ReppCharlotte de Rothschild: songs—Nimb 6395, J/A: 177,

HarrRudolf Schock in complete operas [11CD] Prof 20012,

N/D: 156, AltmanAsen Selimski, baritone arias—Gega 407, M/A: 208,

ReynoldsRaoul Steffani: songs—Schum, Grieg, Sib, Berg—Chall

72785, M/A: 208, Moore,RDimitar Uzunov: arias—Gega 404, J/F: 192, ReynoldsFritz Wunderlich 20th Century pieces: SWR 19075, J/F:

193, Reynolds

VIDEOSADAM: Postillon de Lonjumeau (Rouen Opera) Naxos

112, N/D: ReynoldsBACH: Cello Suites (Ma) Cmaj 754408, N/D: MooreBELLINI: Norma (Devia) Bong 20041, J/F: AltmanHANDEL: Messiah (Concert Spirituel) Vers 13, M/J:

GatensJANACEK: House of the Dead (Bavarian Opera) BelA

573, J/A: AltmanKORNGOLD: Violanta (Turin/Steinberg 2020) Dyn 57876,

N/D: AltmanLANDI: Morte d’Orfeo (Rousset) Naxos 111, N/D: AltmanLEONCAVALLO: Pagliacci (Florence May Festival) Dyn

37863, J/A: AltmanMONTEVERDI: Coronation of Poppea (Les Arts

Florisants) HM 8902622, J/F: AltmanMONTEVERDI: Vespers (Pygmalion) Vers 5018, S/O:

ThomsonMOZART: Magic Flute (Glyndebourne) OpArt 1304, N/D:

AltmanOFFENBACH: Orpheus in Hades (Salzburg Festival

2019) Cmaj 803104, N/D: FischOFFENBACH: Tales of Hoffmann (Dutch Opera/Rizzi)

Cmaj 752606, S/O: FischPAER: Agnese (Turin) Dyn 37850, J/A: AltmanPUCCINI: Il Tabarro (Florence May Festival) Dyn 57872,

N/D: Reynolds


PUCCINI: Turandot (Madrid/Luisotti) BelA 170, N/D: Alt-man

PURCELL: King Arthur (Jacobs) Naxos 2110658, S/O:Altman

RESPIGHI: Bella Dormente (Cagliari) Naxos 2110655,S/O: Altman

SAINT-SAENS: SPONTINI: Fernand Cortez (Florence May Festival) Dyn

37868, S/O: AltmanVERDI: Domingo Gala (Verona Arena) Cmaj 755104,

N/D: ReynoldsVERDI: Due Foscari (Parma/Muscato) Dyn 37865, S/O:

AltmanVERDI: Simon Boccanegra (Salsi/Gergiev) Cmaj 802608,

N/D: AltmanVERDI: Traviata (Bouffes du Nord) BelA 156, M/J: AltmanVERDI: Trovatore (Verona 2019) Cmaj 754608, N/D: Alt-

manWAGNER: Meistersinger (Bayreth/Jordan) DG 735453,

J/F: AltmanWAGNER: Walkure (Royal Opera/Pappano) OpArt 1308,

S/O: AltmanWEBER: Euryanthe (Vienna Radio) Naxos 2110656, J/A:

AltmanZEMLINSKY: Der Zwerg (Berlin/Runnacles) Naxos

2110657, S/O: Altman

Bavarian State Opera: Naxos 2110660, S/O: ReynoldsCoronation of Louis XIV: (Ens Correspondences) Vers 17,

J/A: BrewerEnglish Organ: FSF 12, J/A: DelcampGalerie Doree: Versailles Concert (Concert de la Loge)

BelA 171, M/J: BrewerStravaganza d’Amore—Medici Court (Pygmalion) Vers

19, J/A: AltmanVerona Operas: Turandot, Aida, Romeo (Carelle) BelA

621, J/F: Altman

BOOK REVIEWSBach’s Musical Universe (Wolff) J/A, BrewerExperiencing Mahler (Ashby) S/O, HechtJanacek Conpanion (Simeone) J/F, HechtKarl Muck Scandal (Burrage) J/F, O’ConnorLoving Music Till It Hurts (Cheng) M/J, VroonOpera Coaching (Montgomery) M/J, ReynoldsPeggy Glanville Hicks (Robinson) J/F, BeckerPlowed Time (Huber) N/D, LockeRough Ideas (Hough) J/F, VroonSegovia Manuscript (Fuhrmann) J/A, Brewer

WORD POLICE 2020anticipate J/Adiffering J/Adrop M/AFestival of Stupidities J/Ffraught J/Fgender N/Djell J/Alegacy J/Flanguage changes J/Amajorly J/Fpartially M/JPublicity Stupidities S/Orobotic speech N/Dsanction J/Asilent letters S/Ospoken language M/Jvirtual S/Owoke M/J

CRITICAL CONVICTIONSJ/F: Christmas at the Symphony; YouthM/A: Sexual HarrassmentM/J: Beauty; Irrational Feminism; EpidemicJ/A: Criticism; Concert Cancellations; Epidemic;Piano Performance: Scientific Perspective (Repp)S/O: Writing & Journalism; Artist BiographiesN/D: Music Critic and Reader (Locke); Why?


Word Police: Festival of Stupidities

Summer publicity promotes “an immersivewalk-through experience”, and a few minuteslater “an in-home hi/lo-tech experience”.

The 1970 dictionary defined “campus” as “thegrounds of a school or college”. In 2020 we gotpublicity that said “the Lincoln Center Cam-pus” had suspended public performances forthe rest of March “to prioritize the health ofour communities”. No one my age could thinkof Lincoln Center as a “campus”, and none ofus would use that miserable word “prioritize”,either. As any good usage book will tell you,“prioritize” smells of bureaucracy.

A publicity notice told us about a famousactor who “commentates a film documen-tary”. (Obviously an illegitimate back-forma-tion from “commentator”. But note that thelatest dictionaries accept it.)

“The process of compromise achieved fromour diversity as individual artists can createdeeply impactful experiences for our audi-ences.” —an all-white musical group, promot-ing their concert (Ah, but some of them arewomen!)

From liner notes: “Originally written forstring quartet, the composer always believedthat (it) could be reorchestrated and expand-ed”. So the composer was written. This kind ofstupid sentence is everywhere now. All itneeds is “it was” at the beginning and “but”after the comma to be rational. Apparently noone edits liner notes.

From an obituary: “He died sadly....” How dothey know how he felt about dying? Maybe hewas glad to be free of this miserable world.What they were trying to say was that it is sadfor us that he died and that’s not at all the wayto say it.

Satement from a medical school about thenew virus: “The evidence for these measuresare not as strong as we would like it to be.”

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216

he points out harmonic progressions and payseven more attention to rhythm relations,which are important if the line is to moveseamlessly. That is true with most operas fromthe Romantic era on, but so much so withTristan that Rescigno provides rhythm tablesfor each scene.

The author makes it clear that such seam-lessness is not really possible with operasusing recitative or spoken dialogue because ofall the stopping and starting. Enter Gounod’sFaust, an opera where such flow is importantand difficult to execute. The reason is that theoriginal version of the opera contained speak-ing parts, and it is difficult to maintain flowover breaks for speech or recitative. Absentthose parts in Faust, a long line is difficult tocreate. Faust also comes up in discussing thereliability of metronome markings—Gounod’sare usually unreliable.

Rescigno writes that the first version ofBizet’s Carmen (“the first verismo opera”) alsoused dialogue. The better known version, withrecitatives, was produced posthumously byBizet’s friend Ernest Guiraud. Rescigno notesthat the action is moved mainly by the soloists,that the voices of Carmen and Don Joseshould match (the opposite is true in manyoperas), and that Escamillo’s baritone mustproject without the conductor having to tonedown the orchestra too much. He discusseshow to treat woodwind solos and notes thatthe final duet will not respond well to relating

the rhythms mathematically and must be han-dled otherwise.

The Puccini chapter tells us that the com-poser’s use of motifs “advances Italian operabeyond where Verdi had taken it”. Puccini’stempos “tend to correspond to the speed ofspeech” (Richard Strauss too, the authoradds)—one reason not to fool too much withthe sung tempos of these composers. Rescignoeven identifies `First Noel’ references in LaBoheme. Some of his points may be contro-versial, e.g., that the tutti passage at the opera’send should be its loudest music. I alwaysassumed that honor went to parts of the Act IIcafe scene, but now I think he has a point. Asfor the cafe scene being held outdoors atChristmas time in the middle of winter,Rescigno tells us that Paris had a climate likePuccini’s native Lucca, Italy, so the compos-er’s setting is not far-fetched. In discussingTosca, Rescigno claims that Scarpia’s solo inthe `Te Deum’ of Tosca is “the finest scenePuccini ever wrote for baritone”.

There is plenty of technical analysis clear-ly written, peering into the mind of an experi-enced opera conductor. Many of Rescigno’scomments about various passages are subjec-tive—conductors are interpreters, after all—but his ideas are often compelling. The bookshould appeal to any young opera conductorand to a devoted opera lover. The bibliogra-phy, notes, and detailed citations of relevantscores are all useful.

HECHT

Continued from page 189

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American Record Guide · Bach Guild labels. They issued Bach cantatas, Haydn masses, performances...

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Transcript of American Record Guide · Bach Guild labels. They issued Bach cantatas, Haydn masses, performances...