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Home , Albert Ferber, Alonso Lobo, Anton Coppola, Boris Christoff, Brandenburg Concertos, Bruno Canino

American Record Guide independent critics reviewing classical recordings

Critics’ Choice: Best of 2020 Over 375 CDs Reviewed

US $7.99 January/February 2021 Index to Overviews

OVERVIEW ...... FORMAT OVERVIEW ...... FORMAT American (J/A 1995) ...... Book ONLY Mahler (J/A 2012) ...... Book / PDF American Symphonies (J/A 2007) ...... Book / PDF Mendelssohn (N/D 2008) ...... Book / PDF American Music (N/D 2007) ...... Book / PDF Mozart (M/J 2008) ...... Book / PDF (N/D 1997) ...... Book / PDF Mozart (J/F 2002) ...... Book ONLY Bach Keyboard (J/A 2005) ...... PDF ONLY Mozart Symphonies (N/D 2001) ...... Book ONLY Ballet (N/D 2012) ...... PDF ONLY Music since 1975 (S/O 2001) ...... Book ONLY Bartok (M/A 2001) ...... Book ONLY Nielsen (M/J 2004) ...... Book ONLY Beethoven (M/J 2002) . . . .Book ONLY Operetta, Part 1 (S/O 2017) ...... Book / PDF Beethoven Quartets (N/D 2006) ...... Book / PDF Operetta, Part 2 (N/D 2017) ...... Book / PDF Beethoven (J/A 2003) ...... Book ONLY Overtures, Part 1 (J/F 2011) ...... Book / PDF Berlioz (M/J 2007) ...... Book / PDF Overtures, Part 2 (M/A 2011) ...... Book / PDF Brahms (S/O 2006) ...... Book / PDF Overtures, Part 3 (M/J 2011) ...... Book / PDF Brass (S/O 2005) ...... Book / PDF Piano Trios (M/J 2009) ...... Book / PDF British Orchestral (J/F 2010) ...... Book / PDF Program Music (S/O 1999) ...... Book ONLY Britten (M/A 2012) ...... Book / PDF Prokofieff (J/A 2004) ...... Book ONLY Bruckner (M/J 2006) ...... Book / PDF Rachmaninoff (M/J 2019) ...... Book / PDF (M/A 2009) ...... Book / PDF Respighi (J/A 2010) ...... Book / PDF Cello Concertos (N/D 1998) ...... Book ONLY Russian Favorites (J/A 1996) ...... PDF ONLY Chopin (J/A 2011) ...... Book / PDF Russian Music beyond Tchaikovsky, Choral Masterpieces (N/D 2000) ...... Book ONLY Part 1 (J/F 2004) ...... Book ONLY Debussy & Ravel (J/F 2000) ...... Book / PDF Russian Music beyond Tchaikovsky, Part 2 (M/A 2004) ...... Book ONLY Dvorak (S/O 1998 ) ...... Book ONLY Russian Operas (M/J 2003) ...... Book ONLY English Symphonies (S/O 2010) ...... Book / PDF Saint-Saens (M/A 2000) ...... Book ONLY Favorite Concertos (S/O 1996) . . . .Book ONLY Schubert (N/D 2003) ...... Book ONLY Favorite String Quartets (S/O 1997) . . . . .Book ONLY Schumann (S/O 2004) ...... Book ONLY Film Music (M/A 1998) ...... Book ONLY Shostakovich Symphonies (N/D 2009) . . .Book / PDF French & German Operas (M/A 2008) . . .Book / PDF Shostakovich other (M/A 2006) ...... Book / PDF French Favorites (N/D 1999) ...... Book ONLY Sibelius (J/A 2014) ...... Book / PDF Great American Symphonies (M/J 2015) .Book / PDF Spanish Music (S/O 2002) ...... Book ONLY Music (S/O 2003) ...... Book ONLY R Strauss (M/J 2005) ...... Book / PDF Handel Orchestral & Messiah (N/D 2002) .Book ONLY Stravinsky (M/J 2001) ...... Book ONLY Handel Operas (J/F 2003) ...... Book ONLY Tchaikovsky (J/F 2001) ...... Book ONLY Haydn (M/A 2019) ...... Book / PDF Verdi (M/J 2000) ...... Book ONLY Historic Conductors (M/J 1998) ...... Book ONLY Wagner (J/A 2002) ...... Book / PDF Italian (S/O 2000) ...... Book ONLY Woodwinds (N/D 2005) ...... PDF ONLY Liszt (J/A 2016) ...... Book / PDF American Record Guide Vol 84, No 1 January/February 2021 Our 86th Year of Publication PAST EDITORS www.AmericanRecordGuide.com e-mail: [email protected] Peter Hugh Reed 1935-57 Reader Service: (513) 941-1116 James Lyons 1957-72 Milton Caine 1976-81 Editor: Donald R Vroon John Cronin 1981-83 Layout: Ray Hassard Doris Chalfin 1983-85 Grace Wolf 1985-87 RECORD REVIEWERS Paul L Althouse Allen Gimbel Peter Loewen Allan Altman Todd Gorman Joseph Magil Alan Becker Philip Greenfield Catherine Moore Stephanie Boyd Patrick Hanudel David W Moore Charles Brewer James Harrington Robert A Moore Robert Delcamp Rob Haskins Don O’Connor John Dutterer Roger Hecht David Reynolds Stephen Estep Sang Woo Kang Bruno Repp Nathan Faro Ned Kellenberger Jack Sullivan Elliot Fisch Barry Kilpatrick Michelle Thomson Gil French Bradley Lehman Donald R Vroon William J Gatens Ralph Locke Contents

Here & There: News from the Books 188 Classical World 2 Index to Reviews 2020 190 Critical Convictions 5 Back Issues 216 Critics Choice 2020 6 Word Police: Triage 37 CD reviews by 10 Word Police: Dis 107 Collections 123 WordPolice: The Newest Music 175 Festival of Stupidities 215 Videos 181

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Copyright 2021 by Record Guide Productions. All rights reserved. Printed in the USA. American Record Guide January/February 2021 1 Here & There Appointments, Awards, & News

Latvian conductor , 42, music director of the Boston Symphony since 2014, extended his BSO contract an additional three years until 2025. At the same time he also extended his contract as director of the and the continu- ation of the Boston Symphony-Gewandhaus Orchestra Alliance through 2025—a unique partnership in the orchestra industry.

Branwell Rafael Payere, 39, music Tovey, 67, director of the San Diego artistic Symphony since 2019, ex- director of tended his contract C alg ary another four years to Opera since 2026. J anuary 2019, resigned in October. He Bruce Lamott, director was just a of the Philharmonia few months Chorale of San Francis- into his con- co’s Philharmonia Bar- tract when oque Orchestra, is retir- he was diag- ing at the end of this nosed with season after 23 years. cancer. His He departs at the same compromised immune system plus health and time that Music Direc- pandemic travel restrictions made travel tor Nicholas McGegan between Calgary and Vancouver (where he turns the reins over to lives and is being treated) difficult. Richard Egarr.

Thierry Fischer, 63, who said in May 2019 that he would leave as music director of the Utah Symphony at the end of his contract in 2022, announced in October 2020 that he will stay an additional year while the orchestra searches for his successor during diffi- culties caused by the coronavirus pan- demic. Also, he began as music director of the Sao Paulo Symphony last March.

2 American Record Guide January/February 2021 , 66, gen- English clarinetist and con- eral music director of the ductor Michael Collins, 58, German Opera in signed a two-year contract since 2009, renewed his to become artistic dir- contract for five more years ector-in-residence of the to 2027. He is also music Mozart Players director of the Grand Teton starting in September. Music Festival in Jackson, From 2010 to 2017 he was Wyoming, and principal principal conductor of the guest conductor of the City of London . As Atlanta Symphony. a clarinetist his recordings are legion. Conductor Jun Märkl, who turns 62 on Febru- Erica Muhl, 59, will ary 11, will succeed become the next president Taiwanese conductor of Boston’s Berklee College Shao-chia Lü as music of Music in July. The com- advisor to the Taiwan poser and conductor Philharmonic in August. comes from the University Lü, who turns 61 this of Southern year, was the orchestra’s after a 30-year career as music director from dean and founding execu- 2010 to 2019. Märkl was tive director of the Acade- chief conductor of the my for Arts, Technology, Basque National Orchestra (2014-2017), prin- and the Business of Inno- cipal conductor of the MDR Symphony in vation. She will succeed Leipzig (2007-2012), and music director of the Roger H Brown, who is Lyon Orchestra (2005-2011). He becomes prin- leaving after 17 years. The cipal guest conductor of the Hague Philhar- college is best known for the study of and monic next summer. His father is German, his modern American music from rock and mother Japanese. hip-hop to heavy metal and bluegrass.

Minnesota Orchestra approved a two-year extension of their current contract to August 31, 2022 with a COVID-19 amendment effective starting October 1, 2020 that calls for a 25% 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. The amendment will expire on August 31, 2121, if the orchestra is able to resume concerts with a full compliment of musicians and without limitations on audience size. Also, Music Director Osmo Vanska (inset photo) agreed to a 35% salary reduction.

American Record Guide January/February 2021 3 Russian conductor Alex- Obituaries ander Vederkinov, 56, died on October 29 of COVID-19 in . At the time of his death he was chief conductor of the Royal Danish Opera. From 2001 to 2009, as music director and chief conductor of the Bolshoi Theatre, he helped renew its artistic reputa- tion. From 2009 to 2018 he was chief conduc- tor of ’s Odense Symphony.

Coloratura soprano Chris- tiane Eda-Pierre, one of ’s first black opera stars, died at 88 of natural causes on September 6 at her home in Deux-Sevres. Born in Martinique, she made her professional debut in in 1958, her American debut at the in 1966, Canadian soprano Erin Wall, 44, died on her debut in October 8 at a hospital in Mississaugua, 1974 with the Opera Orches- Ontario, from breast cancer. A member of the tra of New York, and her young artist program at the Lyric Opera of debut Chicago, she first drew national attention in in 1980. She also was the 2004 as a last-minute replacement there as original angel in Messiaen’s Donna Anna in Mozart’s . St Francis of Assisi

at the Opera in Although she went on to starring roles at the 1983, before retiring in the mid-1980s. Santa Fe Opera and the Metropolitan, she con- centrated more recently on concert work, per- Maynard Solomon, forming until the return of cancer and the 90, who with his bro- COVID-19 pandemic shut down performanc- ther Seymour found- es. Her most recent recording is as Massenet’s ed Vanguard Records Thais on Chandos. in 1950, died on Sep- tember 28 at his apartment in Man- Saxophonist and com- hattan from Lewy poser Jon Gibson, 80, body dementia. May- died on October 11 in nard was especially Springfield MA from a famous for his books brain tumor. He was and writings on well known as a mem- Beethoven, Mozart, ber of the Philip Glass and Schubert; they have been described as Ensemble from its start psychological biographies. Seymour, who died in 1968 until 2019. He in 2002, was linked more to the Vanguard and also played in the world Bach Guild labels. They issued Bach , premieres of Terry Haydn masses, performances by Alfred Deller, Riley’s In C and Steve and one of the first complete sets of Mahler Reich’s Drumming. symphonies with Maurice Abravanel and the Utah Symphony. They also released important of jazz, , and folk music. The brothers sold the label in 1986. 4 American Record Guide January/February 2021 Critical Convictions

Critical Convictions: Pandemic & Rap This is a mild disease that is apparently very plained before how stupid it is to teach pop contagious. The World Health Organization at music of any kind in schools. If it’s popular it’s the UN issued a statement in November that everywhere already. the worldwide death rate of people who have And the symphony orchestra is a European had the disease is 1%. That came a week after product. US composers have built on that the Health Department said the foundation, as have a few South American same thing: the entire number of deaths from ones and even fewer Asian ones. But the core Covid since last February amount to 1% of all repertory is European. Making a big deal out of who were infected. Death rates can only go the exceptions to show how “inclusive” we are down and have been (as I predicted in July/ is ridiculous. No matter what the do Aug). The death rate will eventually go below in their marketing, the audience will be mostly half a percent. If the US had tested from the immigrants or children and grandchildren of beginning, the death rate would already be immigrants. It is obvious since the 1970s much, much lower and people would be less (when all this diversity nonsense started) that afraid. orchestras are never going to attract many We have come to the point in all this fear that “people of color”, except Asians—and they people are terribly concerned about sheer sur- don’t count, because the marketing and “ini- vival—at the expense of their whole culture tiatives” are aimed at blacks; and our orches- and economy. I repeat what I have already tras already have lots of Asians on the stage— said: is it worth surviving when life is so miser- mostly string players. I suspect those string able? Is it worth surviving without weddings players are not thrilled at the idea of accompa- and funerals, concerts, worship, restaurants, nying “hip-hop”. bars, travel, exercise, sports, libraries, even Some musicologists call it “racist” to despise education? Quality of life matters more than rap music (hip-hop). Well, it is certainly easy quantity. The virus will continue to spread; it’s to hate and hard to like if you are at all musi- a normal trajectory, and it is stupid to panic cal. Is it racist to hate the thought of our great and demand that politicians do something— orchestras wasting their talents on such junk? which they really can’t. You can’t stop Mother Boston is only the latest and the biggest name Nature. Lockdowns are foolish—they just orchestra. Dallas Symphony has been doing make the whole situation more miserable. this sort of thing for a long time. I had hoped Taking “drastic action” may be impressive that with no audiences in the halls they would politically, but we are practically helpless. all drop such nonsense—but the propaganda is strong, and the “politically correct” lobby is The Boston Symphony has apparently joined powerful. Every year or two you can read the list of “politically correct” idiots. A Novem- vicious attacks on our orchestras for playing ber publicity release from the BSO announced the music of “dead white males”. (I remember a “partnership between the Boston hip-hop two such diatribes against the Cleveland group STL GLD, Thomas Wilkins, and BSO Orchestra before Covid-time.) But that just musicians” to “explore the synergy between happens to be the best orchestral music. What artists of different genres” in a “special six are they supposed to do? Ignore quality in video online series”. The same press release favor of identity? Why? went on to mention a streamed concert that I dearly wish those people would give up on included music by James Lee III (who is black) our orchestras. The orchestral culture is dying, and a radio broadcast that includes music by along with . They are hastening Unuk Chin (a Korean woman). It also speaks its death. It may be years before we return to of “being open to music of all kinds”. full concert halls—or we may never. But I suppose “being open” is “cool”. But do peo- adding “hip-hop” to the mixture and playing ple attend the Boston Symphony for “music of composers because they are NOT white males all kinds”? Can’t they get “all kinds” of music is just suicide—and more than a little ridicu- elsewhere—except classical? I have com- lous. American Record Guide January/February 2021 5 Critics Choice 2020

We 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 list music we really like, even if there were great recordings of music we like less. Paul Althouse Cantica Obsoleta (Acronym) Old Focus 917, BRAHMS: Symphonies 1+3 (Gardner) Chan- N/D: 149 dos 5236, M/A MENDELSSOHN: Early Violin ; Robert Delcamp (Kuchar)Brilliant 95733, M/J BACH: Organ Pieces (Latry) La Dolce Vita 69, VAUGHAN WILLIAMS: Symphonies 3+4; J/F Helen (Brabbins) Hyperion 68280, M/J DURUFLE: Requiem; DEBUSSY: Nocturnes MOZART: Piano Concertos 5, 15, 16 (McDer- (Ticiatti) Linn 623, J/F mott) Bridge 9523, J/A Like to the Lark (Phipps) Chandos 5255, M/J: BACH: Concertos (I Musici) 175 Urania 121386, S/O BAIRSTOW: Anthems (Bell) Regent 543, J/A Nordic Journey 9 (Hicks) ProOrgano, S/O: 126 Allan Altman Jean-Baptiste Robin, organ—Brilliant 96134, KARCHIN: Jane Eyre (Karchin) Opera Rara S/O: 126 59, J/F Sephardic Songs (Malkin) Brilliant 95652, M/J: John Dutterer 180 WEBERN, SCHOENBERG, ZEMLINSKY: PURCELL: King Arthur (Jacobs) Naxos 109, Quartets (Arod Qt) Erato 542552, M/A: 168 S/O, vid ELSNER: Chamber Pieces (Vista Qt) Dux RESPIGHI: Sleeping Beauty (Renzetti) Naxos 15555, S/O 106, S/O, vid SINIGAGLIA: Quartets (Archos Qt) Naxos ZEMLINSKY: Der Zwerg (Runnicles) Naxos 574183, S/O 108, S/O, vid HUBER, GOETZ: Trios (Trio Fontaine) Solo Musica 336, S/O Alan Becker BEETHOVEN: Bagatelles (Lewis) Harmonia Stephen Estep Mundi 902416, N/D BARTOK: Piano Quintet; VERESS: String BEETHOVEN: Piano Pieces (Rosenbaum) Trio (Lonquich+) Alpha 458, J/F Bridge 9517, J/F DESCARRIES: Chamber Pieces & Songs BRIGHT, GIPPS: Piano Concertos (Ward/ (Rancourt, Charest-Beauchamp, Fournelle- McLachlan) Somm 273, J/F Blain, Hochelaga Trio) ATMA 2799, S/O GERSHWIN: Rhapsody in Blue (Mahan) Rapid Movement: Kapustin, Shostakovich, Steinway 30132, J/A Tsfasman (Masleev) Melodiya 2624, J/A: 136 LISZT: Piano (Moog) Onyx 4195, M/A SHOSTAKOVICH: Violin Concertos (Ibragi- Peggy Glanville-Hicks (Robinson) J/F: books mova) Hyperion 68313, S/O SORABJI: Sequentia Cyclica on Dies Irae Stephanie Boyd (Powell) Piano Classics 10206, S/O LEVY: Unis Vers—HM 902506, J/F: new BOYLE, CONVERY: Voyages—Innova 28, Nathan Faro J/F: new Silenced Voices: Kattenburg, Kuti, Krasa, Hush (Papagena) Somm 608, J/A: new Klein, Hermann, Frid (Black Oak Ensemble) Cedille 189, J/F: 159 Charles Brewer LOPEZ: Symphony 1; Bel Canto (Harth- VICTORIA: Gaudeamus Mass (Rees) Signum Bedoya) MSR 1737, J/F: new 608, S/O DZUBAY: Quartet 1; All Water Has a Perfect Lost Voices of Hagia Sophia (Lingas) Cappella Memory; Producing for a While;50 Delicious Romana 420, M/A: 197 Silence; Lament; Volando; Lullaby; Double Sablonara Concionero (Ars Atlantica) IBS Black Diamond; Kukulkan II; &Violin 12020, S/O: 146 Concerto—Innova 11 [2CD] M/A: new 6 American Record Guide January/February 2021 AVANESOV: Quasi Harena Maris; Frenzied LINDBERG: Accused (Lintu) Ondine 1345, Flames; ZOHRABYAN: Novelette; PET- S/O ROSSIAN: A Fiery Flame, A Flaming Fire; LUKASZEWSKI: Very Best—Dux 1515, S/O KARTALYAN, AR: Tekeyan Triptych; KAR- MACMILLAN: Symphony 5 (Christophers) TALYAN,AS: Saxophone & Percussion Coro 16179, S/O — New Focus 244, M/J: new SCHNITTKE: Works (Rozhdestvenky) Melo- HUGHES: Cuckmere; Media Vita; Sinfonia diya 2630, N/D (Smith; Hughes) Metier 28597, J/A: new Todd Gorman MIHAJLOVIC: Bagatelles; Melancholy; Fa- CASTEREDE: Pieces 1 (Cobus du Toit) mi(ly); Elegy; Memento (Griffiths) CPO Naxos 573949, M/A 555296, N/D MOZART: Wind Trio (Roseau Elliot Fisch Trio) MDG 9032144, S/O BARBIERI: Little Barber of Lavapies (Robin- 19th Century Salon Pieces (Surulo & Plawska) son) Cameo 9115, M/A RecArt 27, M/A: 177 HAYDN: Canzonettas; Lieder (Horak) Gramo- , fl: Busoni, Mozart, Pen- la 99212, J/A derecki, Reinecke, Takemitsu—Warner 95392, LEHAR: Merry Widow (Mallwitz) Oehms 983, M/A: 176 J/F Flute Trios (Boyd-Doane-Snyder) Bridge 9539, POULENC: La Voix Humane; Babar (Mazzu- N/D: 120 cato) Brilliant 96030, 105 Follies and Fantasies (Cavatina Duo) Bridge 9541, N/D: 121 Gil French Philip Greenfield VAINBERG, PENDERECKI, SCHNITTKE: BRAHMS: Requiem (Harding) HM 902635, String Trios MOLIQUE: Quintet; Introduc- J/F tion, Andante, Polonaise; Duo Concertant; BRUCKNER, STRAVINSKY: Masses Quartet (Parnassus Academy) MDG 3032132, (Leenars) Pentatone 5186774, N/D J/F DANIELPOUR: Passion of Yeshua (Falletta) BEETHOVEN, SIBELIUS: Violin Concertos Naxos 559885, J/A (Tetzlaff) Ondine 1334, J/F KULJERIK: Croatian Requiem (Repusic) BR RAUTAVAARA: Lost Landscapes; Nocturne; 900331, N/D SCHUBERT: ; Fantasia (Kame- SMYTH: Mass (Oramo) Chandos 5240, M/A narska) Urtext 299, M/J TCHAIKOVSKY: Liturgy; Vigil (Klava) KHACHATURIAN: ; Concer- Ondine 1336, J/F; 1352, S/O to Rhapsody (Weithaas) CPO 555093, J/A Czech Concertos: Feld, Flosman, Bodor- Patrick Hanudel ova (Hosprova) Supraphon 4276, S/O: 138 Piano & Winds (Hadland, Oslo Chamber Aca- ARNOLD, C: Piano Concerto; Sextet (Torg- demy) LAWO 1187, M/J: 167 ersen) Simax 1344, S/O POULENC: Wind Pieces (Fernandes, Sourna- tcheva, Pires, Benoit, Pointet, Engeli) MDG William Gatens 903 2152, M/J PALESTRINA: Lamentations 2 (Cinquecen- DODGSON: Music for Winds II (Magnard to) Hyperion 68284, J/F Ensemble) Toccata 499, J/A BACH: in E-flat, 63 (Tour- Concertos (Plath) Genuin 20683, S/O: net) Versailles 9, M/A 118 HAYDN: Mass 5 (Doyle) HM 902300, M/A BEETHOVEN: Piano & Winds (Becker, HANDEL: Concerti Grossi, Op 6:7-12 (Forck) Maalot Quintet) Avi 8553110, N/D Pentatone 5186 738, M/J BACH: St Matthew Passion (Suzuki) BIS 2500, James Harrington J/A ALKAN: Sonata; 3 Pieces (Viner) Piano Clas- The Call of (Christophers) Coro 16178, sics 10209, S/O S/O: 145 FARRENC: Etudes & Variations (Polk) Stein- Allen Gimbel way 30133, J/A PETTERSSON: Vox Humana (Hanssion) CPO KABALEVSKY: Preludes (Korstick) CPO 999 286, M/J 555272, N/D ROSNER: Homme Arme Mass (Campbell) MOZART: 2 Piano & 4-Hands (Badura-Skoda Convivium 53, M/J & Demus) Gramola 99214, J/A American Record Guide January/February 2021 7 RACHMANINOFF: Concerto 2; Symphonic Mystery of the (Kovats) CPO Dances (Lim, Argerich) Warner 545551, J/F 555 144, N/D: 138 RAVEL: Miroirs; La Valse; STRAVINSKY: Constellations (Canadian National Brass Pro- Petrouchka & Firebird Movements (Rana) ject) Analekta 8924, J/A: 137 Warner 541109, M/A SCRIABIN: Piano Sonatas (Maltempo) Piano Bradley Lehman Classics 10168 [2CD], J/A BACH: Art of Fugue; 4 Duets; Ricercars SHOSTAKOVICH: Piano Sonatas & Preludes (Belder) Brilliant 96035, J/F (Gugnin) Hyperion 68267, J/F BACH: Concertos 1, 2, 4, 7 (Corti) Pentatone 5186837, J/A Rob Haskins Organic Creatures (Vicens) Consouling FELDER: Jeu de Tarot (Ensemble Signal) Sounds 139, J/A: 147 Coviello 91913, M/J 2 With Grace (Lewon & Kieffer) Naxos LERDAHL: There and Back Again+ p 573854, J/A: 162 JANACEK: Piano Sonata+ (Ades) Signum Filippo Dalla Casa Collection (Zapico) Winter 600, S/O & Winter 910258, S/O: 123 Recent Harpsichord (Esfahani) Hyperion Fitzwilliam Virginal Book 7 (Belder) Brilliant 68287, S/O: 125 95648, S/O: 124

Roger Hecht Ralph Locke VEPRIK: Ghetto Dances & Songs; Symphonic HANDEL: Agrippina (Emelyanchyev) Warner Songs; 4 Little Pieces; 533658, J/A Pastorale; 2 Poems (Mueller) MDG 9012133, GRETRY: Raoul Barbe-Bleue Aparte 214, J/F M/A ALWYN: Miss Julie (Oramo) Chandos 5253, BERLIOZ: Damnation of (Nelson) N/D Erato 541735, M/A SPONTINI: L’Olimpie (Rhorer) Bru Zane MAGNARD: Symphonies 1+2 (Bollon) Naxos 1035. M/J 574083, M/J LISZT: Dante Symphony; Tasso; Kunstler- Peter Loewen festzug zur Schillerfeier (Karabits) LYMBURGIA: Gaude Felix Padua (Miroir de Audite 97760, J/A Musique) Ricercar 402, J/F STRAUSS: Rosenkavalier Suite; Death and BUXTEHUDE: Solo Cantatas (La Reveuse) Transfiguration; Macbeth (Shui) Mirare 442, J/A BIS 2342, N/D Spiritual Songs from Finland (Utopia Chamber ZEMLINSKY: Die Seejungfrau (Albrecht) Choir) Alia Vox 9932, J/A: 163 Pentatone 5186740, N/D Art of the Diminution (Leonor de Lera) Chal- lenge 72843, J/A: 164 Sang Woo Kang KAPSBERGER: Villanellas (Les Kapsbergirls) To a Camia: Romantic Manila (Pinkas) MSR Muso 37, S/O 1645, J/F: 177 Double Concertos (Giuliano Carmignola, v; Versailles (Tharaud) Erato 538642, M/J: 160 Mario Brunello, vc) Arcana 472, S/O: 148 MOSKOWSKI: Piano Pieces (Hirose) Dana- HOMILIUS: Advent & Christmas Cantatas cord 866, S/O (Cologne Academy) CPO 555278, N/D Opera for Piano (Dichamp) Brilliant 96067, S/O: 127 Joseph Magil SILVESTRI: Piano Pieces; KURTAG: 2 Piano BRAHMS: Viola Sonatas (Zhang) Centaur Pieces; ENESCO: Concerto (Borac) Profil 3686, M/A 20028, N/D BRAHMS: Viola Sonatas (Berthaud) B 23, M/J BEETHOVEN: Violin Sonata 9 (St John) Barry Kilpatrick Ancalagon 144, J/A GREGSON: Brass Pieces (London Brass) SZYMANOWSKI: Quartets; Violin Sonata Chandos 20127, S/O (Carmina Quartet; Kim) MDG 6502167, S/O HOLST: Planets; Perfect Fool (Stern) Refer- French Violin Sonatas (Pietsch) Audite 97.751, ence 146, M/A S/O: 140 Preludes, Rags, and Cakewalks (London Sym- SCHUBERT: Violin Sonatas (Skaerved) phonic Brass) MPR 5, J/A: 138 Athene 23208, N/D 8 American Record Guide January/February 2021 Jim McCutcheon GAARD: Antikrist Prelude (Dausgaard) Seat- Friedemann Wuttke, g—N/D: 126 tle Symphony 1023, J/F BACH: Suites (Halasz, g) N/D Bruno Repp BUXTEHUDE: Stradal Transcriptions (Ai) Catherine Moore Toccata 534, M/J RORE: (Blue Heron) Blue Heron SCHUBERT: Piano Sonata in B-flat; 1009, J/F , D 899 (Vanden Eynden) Palais 9, Sephardic Italian: Early Jewish-Italian Spiritu- M/J al Music (Ensemble Bet Hagat) Stradivarius SCHUMANN, C: Piano Pieces (Codispoti) 37124, S/O: 144 Piano Classics 10193, M/A BRAHMS: David Moore Late Piano Pieces (B Berman) Palais 18, M/J BEETHOVEN: Cello Pieces (Berger) Solo FEINBERG: Piano Sonatas 1-6 (Hamelin) Musica 338, N/D Hyperion 68233, M/J BEN-HAIM: Cello Concerto (Wallfisch) CPO Nordic Light (Sobon-Wakarecy) Accord 267, 555 273, M/J S/O: 131 BOISMORTIER: Gamba Sonatas (Noeldeke) Antes 219305, J/A David Reynolds GUNNING: Cello Concerto, VC; Birdflight— Fritz Wunderlich: 20th Century—SWR 19075, Harwood/Gunning—Signum 621, N/D J/F: 195 Sheku—Decca 31491, J/A: 139 GOUNOD: Faust (Rousset) BruZane 37, J/F Haydn & Friends (Eckert, gamba) Hanssler Ruby Hughes: Mahler, Berg, Samuel—BIS 17064, N/D: 119 2408, M/J: 179 HOVHANESS: Across the Ages (Gullans, vc) —Naxos 2110660, S/O: Albany 1805, J/A vid ADAM: Postillon de Lonjumeau (Rouland) Robert Moore Naxos 112, N/D: vid SCHUBERT: Schwanengesang; BRAHMS: 4 MASSENET: Thais (Davis) Chandos 5258, Serious Songs (Finley) Hyperion 68288, J/F N/D Saga (Krimmel) Alpha 549, J/F: 193 LINDROTH: Wilfred Owen Songs (Eleby) Jack Sullivan Sterling 3005, M/A IVES: Songs & Chamber Pieces (Wagner) SCHUMANN: Songs 2 (Gerhaher) Sony MDG 6132178, N/D 94536, M/A FAURE: Piano Quintets (Mozart) MDG 943 BOULANGER, L & N: Songs (Phan) Avie 2162, N/D 2414, M/J PRADO: Piano Concertos (Machetti) Naxos SCHUBERT: Songs (Richter) Pentatone 574225, S/O 5186839, J/A LUTOSLAWSKI: Symphonies 2+3 (Lintu) Songs and Ballads (Degout) Harmonia Mundi Ondine 1332, J/A 902367, J/A: 171 Solitude (Gilchrist) Chandos 20145, N/D: 155 Michelle Thomson HAYDN: Quartets opp 20:5, 33:5, 50:6, 54:2, Don O’Connor 76:2, 77:2 (Hanson) Aparte 213, M/J BRIAN: Vision of Cleopatra (Brabbins) Dut- HAYDN: Quartets op 76:1-3 (Chiaroscuro) BIS ton 7348, N/D 2348, S/O ELGAR: Falstaff; CHADWICK: Tam MACMILLAN: Viola Concerto; Symphony 4 O’Shanter (Power) Hyperion 68317, S/O (Constantine) Orchid 100 103, J/F SCHOENBERG: Violin Concerto; Transfig- JOHANSEN: Pan; Piano Concerto (Aadland) ured Night (Faust/Harding) HM 902341, M/J CPO 555 246, N/D Pas de Deux (Rowland & Bogdanovich) Chal- KORNGOLD: Symphony; Variations (Wilson) lenge 72833, N/D: 143 Chandos 5220, J/F LITTA: Concert Trilogy (Then-Bergh, Donald Vroon Schafer) Genuin 20690, S/O BACH: arrangements for strings—Chelsea RUBBRA, BLISS: Piano Concertos (Botstein) Festival, J/F Hyperion 68297, S/O BEETHOVEN: Symphony 3 (Herbig) Berlin STRAUSS: Alpine Symphony; LANG- 301492, J/A American Record Guide January/February 2021 9 BRUCKNER: Symphony 2 (Ballot) Gram MOZART: Piano Concertos 5+13 (McDer- 99291, J/A mott) Bridge 9518, J/F CHOPIN: Piano Concertos (Yundi) Warner POULENC: Sinfonietta; Piano Concerto (Ros- 532018, M/J ner) Odradek 364, M/J FRANCK: Redemption (Fournet) Brilliant PROKOFIEFF: Alexander Nevsky (Fischer) 96002, N/D Reference 735, J/F KREISLER: Violin Pieces (Park) Centaur RACHMANINOFF: Moments Musicaux; 3816, N/D Piano Pieces (Soldano) Divine Art 25155, M/J Guide to Records

showing off his extraordinary technique. The DAMS,JL: A Lines Made by Walking; work’s title comes from the name of a Finnish Untouched minority found in northern Finland, Norway, Jack Quartet—Cold Blue 58—55 minutes Sweden, and . The piece is filled with Two related pieces for by John scales derived from their folk music, providing Luther Adams. scaler material for Aho’s postmodernist lan- Lines Made by Walking (2019) is a spec- guage. The concerto is for a wide variety of in- tralist tone poem built on overtones emanat- struments, some from far-flung sources (the ing from a low C on the cello and transformed djembe and sarabuka) and some from tradi- into midrange pitches progressing in tempo tional sources (vibraphone, tam tam, etc.) The canons to create a moving web of hallucino- percussionist must navigate the variety of in- genic texture. The result was imagined from struments, moving from one technique to an- walks in the Mexican desert, mountain ridges other as the piece progresses while the orches- in Chile, and hills and canyons in Montana. tra sounds supply backdrop. The result is These canons are in slow motion and create thrilling. We are told that the piece has be- the visions experienced with psychedelic come a standard repertoire item because of its drugs where time and reality congeal into a astonishing demands on percussion players. cosmic stasis. The piece is in three parts (Up The early Symphony 5 (1976) is more the Mountain, Along the Ranges, and Down demanding for the listener, inspired by “the the Mountain), the segments proceeding from incoherence of our existence”. He calls this the opening register and gradually climbing “maximalism”, produced by simultaneous and back down to its original state. apparently unrelated gestures resulting in a simmering mess. The incoherence is fatiguing. Untouched (2016) began with the compos- This became prominent apparently because of er holding a small Aeolian on top of his the social and political matter expressed in the head and allowing it to vibrate with the wind. fashionable modernist language of the time, Like the earlier piece, the three sections (Ris- though Aho does not succumb entirely to the ing, Crossing, Falling) are played with open serial-clotted dissonance so beloved of the strings only (the fingers not touching the academic composers. Forbidding fanfares, instruments), hence the title. The location funeral marches, wild hysterics, and an atmos- here is the tundra of Alaska, where the com- phere of death are prominent. It will be a a poser lives. The result is achingly beautiful. chore for most listeners. Readers familiar with this composer’s work Half of this is an important release. Sym- will find this rewarding. Newcomers will find phony 5 has a number of competing record- this of value if they are in the right attentive ings, but this will be its benchmark. Notes by space. the composer. GIMBEL GIMBEL

AHO: Sieidi; Symphony 5 ALBENIZ: Iberia; Colin Currie, perc; Lahti Symphony/ Dima Slobo- GINASTERA: Milonga; Malambo; deniouk—BIS 2336 [SACD] 61 minutes Danzas Argentinas Pola Baytelman, p—Elan 82288 [2CD] 109 min Kalevi Aho’s Sieidi (2010) is a concerto for per- cussion and orchestra written for Colin Currie, Baytelman presents one of the best perform- one of the world’s great percussionists, here ances of Iberia that I’ve heard in a long time. 10 American Record Guide January/February 2021 This is a beautiful . `Evocation’ sets the Armenian composer tone with lovely nuances, tone, and balance. (basically tonal and influenced by his coun- `Fete-Dieu a ’ is passionate, with shim- try’s folk music). Russian conductor Dmitri mering effects. `Almeria’ has a lovely spectrum Yablonsky moves the music forward with such of sound, which is quite noticeable in the deli- sustained lyricism, strong drama, and infec- cate section towards the end of the work. tious rhythms that I really would love to hear it Ginastera’s `Malambo’ and `Milonga’ are played by a major symphony orchestra. The not as well known as his Danzas Argentinas liner notes’ description of the Kiev Virtuosi and are beautifully played here. Baytelman is seems fair: “With an average age of 30, this not only a powerhouse of a player, but also a youthful orchestra unites talented musicians performer with a sense of narrative. from all over , most of whom are win- KANG ners of various competitions.” The problem is that the strings are the weakest section. They ALLEN: Music for Woodwinds play with good ensemble, and Yablonsky is a Michael Waye, fl; Allan Meyer, cl; Katherine Wal- solid disciplinarian; but their tone quality is pole, bn; David Wickham, p inferior (probably poor instruments). Metier 28607—67 minutes Where the orchestra sounds really fine is in After studying chemistry and geography at the suite from the ballet 1001 Nights. The Oxford, composer Geoffrey Allen (b. 1927) winds, brass, and percussion must encourage moved to Perth, Australia and worked as a the strings to really put out in this 36-minute music editor, publisher, and librarian. Here, 4 suite, arranged by Yablonsky and getting its Perth-based musicians record 5 of his compo- first recording here. No wonder the musicians sitions for woodwinds and piano. 3 of the are giving it their all! And the engineers deliver pieces are for bassoon: the Sonata (1964), the a more resonant sound, better than in the Sonatina (1998), and the Pastorale (1998). The symphony. The 12 excerpts, mostly with titles Outback Sketches (2005) for and like Orgy, Shahriar’s Anger, Execution, Cele- piano is a substantial three-movement pro- bration, Ali Baba and the 40 Thieves, grammatic work; and the Fantasy Trio (2007) Scheherazade’s Triumph, and the 6-minute for flute, clarinet, and piano is the longest Chase, are mostly rambunctious—highly selection, broken into 4 movements and rhythmic and loud. Only Scheherazade’s Love requiring 20 minutes. Theme and the Interlude are more soothing. Allen wraps attractive lyricism and witty The slapping drums that open and close the virtuosity in a congenial extended tonality; suite are terrific fun. Yes, “It sounds like film and though his writing is hardly groundbreak- music”, my spouse remarked. No, it doesn’t ing, he aims to emphasize the best elements of sound like Swan Lake or Romeo and Juliet. But each instrument. The renditions here have there it is, solidly written and well orchestrat- good energy; but they are also very rocky. The ed. Leopold Stokowski had good judgment flute is too breathy and hollow; the clarinet has back about 1960 in recording Amirov’s Azer- a likable earthy timbre that spreads a bit at baijani Mugam with the Houston Symphony loud volumes; and the bassoon routinely (on an Everest CD). With Armenia and Azer- sports dreadful tone, control, and intonation. baijan in the news recently, you might want to The piano handles the tricky scores well; but give it a try. the sonics are boxy and unrefined. The com- FRENCH poser deserves better. HANUDEL ASCENCIO: Guitar Pieces Alberto Mesirca—Brilliant 95806—56 minutes AMIROV: Symphony to the Memory of Niz- From a composer who never played the guitar, ami; 1001 Nights Kiev Virtuosi Symphony/ Dmitri Yablonsky this music is astounding! It is rich in melody Naxos 573803—57 minutes and harmony, with moments of technical bril- liance and romantic expression; and it has Azerbaijani composer Fikret Amirov (1922-84) found a sympathetic voice in the hands of an wrote the symphony in 1941, the 800th excellent artist, Alberto Mesirca, who contin- anniversary of the birth of Nizami Ganjavi, a ues a trend among classical guitarists of pro- 12th-Century Azeri Muslim epic poet. Written ducing recordings of the complete works of for strings, it’s 22 minutes long, in 4 move- composers, giving us the opportunity to hear ments, and in a style somewhat akin to more than just their “hits!” American Record Guide January/February 2021 11 Ascencio, a , developed an interest French Suites for L’Oiseau-Lyre in 1961, when in the guitar when a young guitarist named he was 39. For the rest of his short life (he died Narciso Yepes studied with him—not the gui- at 49), he was proud of this as one of his best tar, but music in general. Ascensio would ask records. Yepes to imitate pianistic sounds and would To fit everything onto a single LP, he delet- not take “not possible!” for an answer! This ed all the repeats. He used much more bebung desire to make the guitar sing in new ways is (clavichord vibrato) in his right hand than evident in his compositions, such as the Col- would be fashionable now, making the quaint lectici Intim with its variety of moods. Mesirca effect of a quivering tone in almost every makes the technically challenging moments of phrase. His articulation was almost all legato, the concluding `La Frisanca’ sing with a musi- where I’d like to hear more variety in phrases; cal effortlessness that conceals the challenges. but it probably sounded normal enough to afi- This recording brings to light works that cionados in the 1960s. He made full use of the are not often recorded, such as Suite de Hom- clavichord’s dynamic range with crescendos enajes and Suite Mistica. Mesirca excels at and diminuendos. The strings sound bringing out the musicality of these works. closer to the microphones than the treble. More time between some tracks could The performance has been available on have benefitted the listener, especially after CD before. The limited edition by the British major works like Collectici Intim. Please give Clavichord Society (1998) had these suites me time to process what I have just heard—it plus 12 minutes of music by Purcell and Croft. is so lovely; allow me the space to enjoy the It was mastered more quietly than this new feeling before taking me somewhere else. I’m one, and it had only one track per suite (rather really in no hurry when hearing an artist of this than the 39 short tracks here). Both that old stature playing great music. issue and Eloquence’s new one reproduce Sonically, this recording is a pleasure. Dart’s original liner notes from the 1962 LP, Mesirca’s control of tone color adds to engi- mildly re-edited. The BCS’s booklet notes were neer Andrea De Marchi’s technical acumen to more extensive, describing Dart’s clavichord make a disc worth hearing repeatedly. and giving a biographical sketch of him. MCCUTCHEON According to those notes, this instrument was one of about 50 clavichords built by Thomas ASHEIM: Muohta; see HAGEN Goff (1898-1975). This is good to have back in the catalog in ACH: B Eloquence’s attractive budget issue. Robert Max—Guild 7822 [2CD] 152 minutes LEHMAN Cellist Max plays the first five suites on a Stradivarius cello made in 1726, as he tells us BACH: Goldberg Variations in his entertaining and informative liner notes. Lang Lang, p—DG 32442—80 minutes For the final suite, written for a cello with an When a couple of excerpts from Lang Lang’s extra E string added above the A string, he recording of the Goldberg Variations appeared brings in a Chinese instrument. He plays with a few months ago—as I recall, the aria and clarity and sensitive phrasing, perhaps with Variation 7—I was enchanted. Both move- more use of the open strings than usual, but ments were a bit on the slow side, but Lang’s delicacy and accuracy cover the music well. All beautiful tone demonstrated what, over the repeats are observed, and the recorded sound years, I’ve cried out for again and again from is fine. Vibrato is employed sometimes but not today’s players: a true singing quality, which overdone. Bach himself identified (in his preface to the Max has made a fine career as teacher and Inventions and ) as a most important conductor, as well as cellist. He lives in Lon- goal of his teaching. Cantabile tone, long-lined don, and these interpretations are worth hear- phrases, sudden moments of unexpected ing. rubato: these are the main things in Lang’s D MOORE Goldbergs. They are long overdue. The histori- BACH: French Suites cally-informed keyboard epigones laugh at Thurston Dart, clavichord these things, as do modern who have Decca Eloquence 482 9398—52 minutes been bludgeoned into accepting an unemo- tional Bach. But I rejoice. There is no one right Tht urs on Dart recorded this set of Bach’s six way to play this music—fortunately!—and per- 12 American Record Guide January/February 2021 formers need to restore to Bach the immense Variations, she calls Bach’s music “singing expressivity of his music, as Lang Lang has mathematics” in general, which makes no shown us. sense for the vocal or . She says The long road downward began, I believe, she didn’t want to play these variations in the with : not Gould himself, because first 30 years of her career, but she decided to he had a great technique, beautiful tone, and a learn them to support the curriculum at her great mind that made it possible to accept son’s school. (How many mothers do that? even his wackiest readings (the Mozart sonatas Wow!) She worked on this for ten years while come to mind). No, it was later pianists who often suffering from insomnia and physical either tried to imitate Gould (without having and emotional exhaustion after her husband the mind to pull it off) or who took to absurd died. She found this music therapeutic, and lengths the purity of Gould’s approach, leach- she offers it as healing for others, “a musical ing the music of any heart it had. Readers who affirmation of life”. have followed me for a few years know who I I like the way she conveys energy, joy, and mean. I’m tired of giving them airspace. hope. Her technique is flawless, and her inter- Lang Lang gives me hope. Are there some pretation carefully organized. Many of the oddities, infelicities? Yes, among them the tempos, staccato articulations, and rigid inter- addition of a third voice in Variation 7, 32nd- pretations of ornamentation are recognizable note improvised flourishes in Variation 5 (oth- from the handful of recordings by Glenn erwise played flawlessly with Gould’s tempo), Gould and Rosalyn Tureck. She plays all the a mislearned note in Variation 8. But the great repeats except in the very long variation 25 moments outnumber them: I love the leisurely and in the reprise of the Aria. She adds no Variation 11, rich with rubato; the powerful ornamentation of her own. Within her analyti- quasi non-legato in Variation 12; the playful cal blinders of “singing mathematics”, empha- Variations 17 and 23; the ten-minute, beauti- sizing structure over free musical whimsy, this fully agonized, Variation 25. Lang brings this performance works well. listener along a memorable journey; and the The weakest points are the slow variations return to home at the end—the ca capo per- 13 and 25, which plod without an Adagio “at formance of the Aria—actually feels like a new ease” character of flexibility. The stiff literalism place rather than a dutiful, symmetrical clos- misses the Baroque expressivity implied ing off of cold, calculating musical architec- beyond the notation (the same failings are in ture. In short, this recording belongs at the top Gould’s and Tureck’s interpretations). The rest of a very short list of the greatest examples of of the time I was often reminded of the Time Bach keyboard playing, and I hope other magazine quote on the front of the old Gould future players take his example to make music LP: “Bach as the old master himself must have with such individuality and courage. played—with delight in speeding like the HASKINS wind, joy in squeezing beauty out of every phrase.” It could have included more spon- BACH: Goldberg Variations taneity. Jimin Oh-Havenith, p Overall, this is recommendable as a joyous Musicaphon 56981—80 minutes way to hear the piece. Take care not to lose the thin cardboard sleeve on a shelf between more It’s outstanding for the fast variations, conventionally packaged CDs. mediocre for the slow ones. LEHMAN According to the biography of Jimin Oh- Havenith on the back cover, her piano playing ACH: (6) is “characterized by an exceptional sonority B with BERTOLUSI: Osculetur Me Osculo Oris and faithfulness to the text.... The synchronici- Sui; GALLUS: Ecce Quomodo Moritur Justus; ty of sound and rhythm, not arbitrary changes GABRIELI, G: Jubilate Deo in tempo and dynamics, inform the clarity of Pygmalion/ Raphael Pichon her interpretation.” That’s a fair way of saying Harmonia Mundi 902657—78 minutes she makes a beautiful tone while taking few interpretive chances beyond a literal reading This recording combines the standard six Bach of the notes. Isn’t such supposedly “arbitrary” motets with three motets of the 16th Century work the art of interpretation—crafting a com- found in the two-volume collection Flori- municative performance? legium Portense first published in 1618 in In her brief remarks about the Goldberg Naumburg. The collection contains 365 Latin American Record Guide January/February 2021 13 motets by 58 German and Italian composers. It instance, some of the dynamic inflections in was regarded as indispensable by many Ger- `Es ist nun nichts’ from Jesu, Meine Freude man schools and choral foundations in the come dangerously close to “cute”. Choral disci- 17th and 18th Centuries, including St Thomas pline is indispensable in any performance, but and the other principal churches of Leipzig. As I submit that its purpose is to produce the Peter Wollny points out in his notes to this impression of spontaneity, of the gestures recording, there is documentary evidence of emerging inevitably from the music itself. I do its daily use in Leipzig and the frequent need not find that to be the case here. The director’s to replace worn-out copies. The motets by Vin- idiosyncrasies seem to hold sway. cenzo Bertolusi (c1550-1608), Jacobus Gallus There are many fine recordings of the Bach (also known as Jacob Handl, 1550-1591), and motets, and I do not claim to have heard them (c1554-1612) barely scratch all. Among the recent recordings that have the surface of the collection, but offer speci- impressed me are the Berlin Vocal Consort mens of the music that would have been sung under Marcus Creed (Harmonia Mundi alongside the works of contemporary Leipzig 902079; J/A 2011) and the Chamber composers before, during, and after Bach’s Choir under Frieder Bernius (Carus 83.298; tenure. M/A 2013). Another fine recording is by the Performance practice in the Bach motets Bavarian Radio Choir under can vary extremely from the unaccompanied (BR 900523; M/A 2019), but it omits Lobet den one voice to a part of the Hilliard Ensemble Herrn. (ECM; S/O 2007) to the lavish instrumental GATENS doubling of La Petite Bande under Sigiswald Kuijken (Accent; M/J 1993). Most recordings BACH: Major Preludes & Fugues fall between these extremes, as does this one. (S 548), C (S 545+547), C minor (S 546), Here a choir of 28 voices is supported by a G (S 541), A (S 536), D (S 532), (S 544) continuo ensemble selected from cello, double Ullrich Böhme, organ bass, archlute, , organ, and harpsi- Rondeau 6178—80 minutes chord. The singers of Pygmalion are a mixed choir (with both male and female altos) who This recording brings together eight of JS are undaunted by the challenges of Bach’s Bach’s most celebrated preludes & fugues in vocal writing or Raphael Pichon’s sometimes performances on three historic instruments blistering tempos. The opening section of and one modern organ. The early instruments Lobe den Herrn, Alle Heiden (S 230) and the were built in the final decade of Bach’s life. conclusion of Singet dem Herrn ein Neues Two prelude & fugue sets are played on each Lied (S 225) will leave the listener dazzled. The and are heard in the following order: technical performance standard leaves noth- Zacharias Hildebrandt organ at St Wenceslaus ing to be desired. Church in Naumburg (1746), Johann Andreas Pichon takes an almost romantic approach Silbermann organ at St Thomas Church in to the motets, not in the sense of 19th-Century Strasbourg (1741), and the Joachim Wagner performance ideals, but a highly subjective organ at St Mary’s Church in Angermünde interpretation that stresses feeling above all. In (1745). One of the curiosities of the Anger- his booklet essay, he says that “Bach under- münde instrument is a pair of kettledrums that stood better than anyone else our need to feel. are struck by mechanical angel figurines. They That is to say, he knew how to instill in us an can be heard here to reinforce the recurring emotion that is at once intellectual and sensi- pedal figure in the “nine-eight” Prelude in C of ble, but also and above all else physiological.” S 547. The modern instrument is the Gerald Pichon insists on the dance-like quality of the Woehl “Bach Organ” (2000) at St Thomas music, stating that “dance lies at the heart of Church in Leipzig. It was designed by Ullrich Bach’s language: it irrigates and organizes his Böhme, who was appointed organist of the musical thought”. In terms of the virtuosity church in 1985. Its baroque tonal design involved, these are exuberantly physical and makes it a worthy companion of the 18th-Cen- incisive performances; but I would not say that tury instruments. It contrasts with the church’s they sound spontaneous. Pichon knows what large romantic organ (1888) by Wilhelm Sauer. he wants and seems to micro-manage the per- Böhme’s playing is always rock solid and formance to get it. Every gesture seems to be free from annoying eccentricities. Perhaps his carefully calculated and sometimes imposed most audacious gesture is a flashy on the music rather than growing out of it. For towards the end of the fugue in G from S 541. 14 American Record Guide January/February 2021 One of the intrinsic and probably insoluble G-minor Flute Sonata (S 1030), the organ tim- problems of this repertory is that pieces of this bre sounds like a at first. weight and scope demand large chorus regis- The program ends with the posthorn solo trations with mixtures and sometimes chorus from Capriccio on the Departure of a Beloved reeds. All of the organs here can supply this Brother (S 992), the contrast- sonic grandeur, but the bigger the sound, the ing nicely against a bassoon-like organ stop. harder it is to hear Bach’s intricate musical Organ aficionados might be interested in a details. A lively reverberation further com- tiny, easy to miss note that says that the organ pounds the difficulty and reduces a complex is tuned to Kirnberger temperament. I had to fugue to a blur. For example, I found it very dif- look that up. Unfortunately, the note doesn’t ficult to follow the fugal argumentation of S say if it’s Kirnberger I, II, or III. 545 in this recording, and it is a piece I have KILPATRICK played many times over several decades. To his credit, Böhme uses lighter registrations for BACH: Well-Tempered Clavier II some of the pieces, but they are still substan- Steven Devine, hpsi tial chorus combinations. Resonus 10261 [2CD] 149 minutes It is up to the listener to decide whether Devine has completed what he started this is a pleasingly designed program. In one (Sept/Oct 2019). He has played Book II with sense, these pieces belong together. They rep- the same harpsichord and same ad hoc tem- resent the mature summit of Bach’s formidable perament strategy (based on “Kirnberger 3”, artistry as a composer of free organ works. The but slightly adjusted to dodge some of its earliest pieces (S 532 & 536) are from Weimar, roughest spots). The booklet layouts and art- but the others apparently date from the early work are almost identical, but here he has Leipzig period. At the same time, I find it tiring written about the second book and updated to listen to them all at a sitting. Nearly an hour his own resume. and a half of mostly full organ can be too The performance virtues are consistent, as much. I prefer programs that combine stento- expected: good moderate tempos (a few are rian works like these with more understated driven too fast), well-practiced fingering, and pieces for contrast. clear delineation of the . The D- GATENS major Prelude is the only place where Devine breaks his , slowing down for some pas- BACH: For Trumpet and Organ sages that sound labored. There are a few mis- Andrew Balio & Bruce Bengston read left-hand notes in the C-sharp minor Delos 3560 [2CD] 114 minutes Fugue. He brings interesting experimental ideas An all-arrangements collection that opens about the rhythmic figures in the with organist Bruce Bengston’s powerful set- Fugue, E minor Prelude and Fugue, F-sharp ting of Gottfried Reiche’s `Abblasen’, the fan- minor Prelude, and Prelude (under- fare trumpeted for years by television’s CBS dotted into weak triplets). Everything else is Sunday Morning. This two-hour program “by the book” and straightforward. As I said in offers numerous chorale settings, plus tran- that review of Book I, he lets the music make scriptions of three flute and two violin sonatas. its own way without much emphasis. Because Trumpeter Andrew Belio varies things by Bach used less rhythmic variety here than in playing different instruments (E-flat trumpet, Book I, there is always some danger of relent- , and piccolo in G, A, and lessness in long passages. Devine falls into that B-flat). He plays forcefully much of the time, trap, relying on his fluency and the listener’s but there is also brilliance and warmth. Organ- patience with firm tempos. ist Bengston creates plenty of variety with the About the intonation: the affekt of simple organ of Reyes Organ and Choral Hall, Univer- beauty is spoiled for me in C minor, F minor, sity of Notre Dame. and A-flat, among some other keys with more Playing flute and violin sonatas on trumpet than three sharps or flats. These melodic and changes their character, of course, but so does harmonic intervals don’t have to be that playing the keyboard parts on organ. Here rough, having such different sizes from one there is much more color—and much more another inside different major or minor scales. solo- equality—than would be The differences here all stem from Kirnberg- heard with harpsichord. In III (Presto) of the er’s extremist expectation of having the C-E American Record Guide January/February 2021 15 major third beatless in his temperaments, the set to have for piano music by the leader of making everything else lopsided to compen- the Mighty Five. sate for that. Bach had taught him explicitly HARRINGTON not to make any major thirds that small, but Kirnberger went his own way. (Kirnberger’s BALMAGES: Wind Band Pieces; published temperament that he heavily pro- see Collections moted is even more misshapen than this one, EETHOVEN: which he mentioned only in a private letter in B Diabelli Variations; 32 Variations 1779.) Here we are now, more than 275 years Idil Biret, p—Naxos 8571407— 66 minutes after the compositions, listening to Kirnberg- er’s intervals, which don’t really belong to the As Volume 20 of the pianist’s Beethoven Edi- music. I know some people are content with tion, this presents a collector with an inexpen- hearing such an exotic range of dissonances in sive, yet very good choice. Biret, who appar- this repertoire, either savoring them or not ently can do anything and usually does, offers noticing them. a reading of lively impetus. All is clear, forward Colin Booth, who built the harpsichord moving, and refuses to dawdle. Those are used here, is also well worth hearing for his plusses in most anyone’s book but maybe a bit own ideas about articulation and rhythmic short in spiritual nuance. alterations. He went farther than Devine with While a technical force to be reckoned those, and he used this “Kirnberger 3” tem- with, Biret holds you on the edge of your seat, perament more boldly without modifications yet I am not so sure that is the place you’d (Mar/Apr 2019 & May/June 2020). want to be for the better part of an hour while LEHMAN listening to this music. Things move relentless- ly forward when the ear demands an occasion- BALAKIREV: Islamey plus al release or repose to quell the inner rage. Nicholas Walker, p—Grand Piano 846—80 min Don’t get me wrong. I will want to retain this for moments when my body demands to W alker saved Balakirev’s most famous piano be thoroughly wound up and kept on edge. For piece for the last track of the final volume in other times I will turn to alternatives. I do sus- his six-disc series of the complete piano music. pect some of this response may be owing to Islamey, composed in one month in 1869, is the way the piano is recorded. While the sound subtitled `Fantasie Orientale’ and quickly is very good, it is up front and forceful, allow- became recognized as a true showpiece. ing for little variation in texture. Pianists from Liszt to the present day perform The 32 Variations were recorded in 1975, this work, and it is the Balakirev piece most but the sound is similar and of the grab-you- often heard in concert. Walker plays it here with all of the requisite technique and excite- by-the-throat kind. At this point I need a rest. BECKER ment along with an unusual feel for its figura- tions and compositional style. He does not aim EETHOVEN: Piano Concertos; to be the fastest or most brilliant (Simon B Piano & Winds Quintet Barere or Horowitz probably take this honor), Jean-Efflam Bavouzet, Swedish Chamber Orches- but he is very likely the most musical. tra—Chandos 5273 [3SACD] 189 minutes The rest of the program is a hodgepodge of pieces. There are several little ones composed The Beethoven piano concertos have never from 1859 to 1902: `La Fileuse’, `Au Jardin’, Toc- been lacking for recordings. As of late, they cata, Polka, and `Tyrolienne’. Walker con- have drawn the attention of many pianists, all tributes world premiere recordings of his com- wishing to display their prowess by doing pletions of two short works (`Elegy on the complete cycles, demonstrating their ability to Death of a Mosquito’ and `Witches’ Dance’) come to terms with the master from Bonn. and a large-scale transcription of his sym- Besides doing the standard five numbered phonic poem, Tamara. Transcriptions by Bal- concertos, many include the piano version of akirev are also included: Glinka’s Kamarin- the violin concerto. Some include the Triple skaya and `The Lark’ plus Proydyot’s `Do Not Concerto or the Choral Fantasy. Some use a Say Love Passes Away’ and Zapolsky’s Reverie. fortepiano. Others show the artist in the dual As with other discs in this series, Walker role of pianist and conductor. A few make use contributes an informative, well-written essay; of a chamber orchestra. and the recorded sound is quite good. This is While a few readers automatically reject 16 American Record Guide January/February 2021 the pianist-conductor idea, believing that an Bavouzet can be proud of his accomplish- artist’s full attention must be given to the role ment; there is much satisfaction for the dis- of soloist, that really depends on the person’s criminating listener. abilities. Some do better than others. Even BECKER with the use of fortepiano, the results really depend on the choice of instrument and the BEETHOVEN: Concerto 5; artist’s ability to control it. The use of a cham- Elizabeth Sombart, p; Duncan Riddell, v; Richard ber orchestra does not make much of a differ- Harwood, vc; Royal Philharmonic/ Pierre Vallet ence if the recording sounds rich and full. Signum 637—78 minutes Bavouzet chooses the dual role and shows himself to be a master of both. His use of a French pianist Elizabeth Sombart, 62, sounds chamber orchestra is of little concern; Chan- more spirited in the Triple Concerto than she dos offers a forward recording projected with does in the Emperor. In Concerto 5 her richness and power. There is no need to numerous mini-retards and stretching out of lament the absence of the converted violin result in an unsteady pulse with too concerto since most of our readership will many dainty touches. Nor does she articulate already have acquired that less than fully satis- the left hand clearly, especially in thicker pas- factory transcription. The Op.16 Quintet is a sages. Vallet too is less than acute. Passages nice addition—and this is the only recording without the pianist like the orchestral intro- to add it. duction are foursquare and literal, without Classic cycles such as Fleisher/Szell, character—just the notes. Even the motto Ashkenazy (both), Uchida/Sanderling, Rubin- theme (the dotted tam-ta-tah) is not incisive stein (several), Perahia/Haitink, Brendel/Rat- much of the time, and the octave passages tle, Kovacevich/Davis, Bronfman/Zinman, with contrary motion in the piano versus Arrau/Davis, Gilels/Szell, and Serkin (several), orchestra are really prosaic. II is very nice, but will always have a place of honor on the not the last word in shading. III is weakest of shelves of collectors. The recent Andsnes also all, running out of rhythmic spunk with fluctu- made a positive impression, as did the enjoy- ating tempos. Even in the final measures the able set with Howard Shelley. So will Schn- piano is blurry and the orchestral chords abel/Sargent, despite the monaural sound. spongy. More recent cycles such as the misguided set Once French conductor Pierre Vallet, who with Olie Mustonen should be avoided at all conducts a lot of opera (including at the Met), cost. While I was impressed with what I have gets past his spongy orchestral introduction to heard of the single issues from Elizabeth Som- the Triple Concerto, the Philharmonic’s con- bart and Inon Barnatan (S/O 2020) final judge- certmaster Duncan Riddel is the one who ment must await completion of their sets. takes charge. As the music moves right along Bavouzet is blessed by having no weak with fine pulse, even Sombart becomes as links. Even the recording shows off the orches- strong as the trio’s leader. I wasn’t especially tra to best advantage, and the playing has a aware of the English cellist. Too bad the sparkle that does not preclude depth when orchestra constantly seems just a hair behind called for. Phrasing is of paramount impor- the trio. II is lovely and, mirabile dictu, a tance in these concertos, and Bavouzet joins tempo. And III is really lively, but it’s too late to other masters in his ability to make the con- save the performance. certos live and breathe and move the listener. Balances between soloists and orchestra Acquisition will be a must, especially if you are fine. have already purchased his fine sonatas. FRENCH There are also many fine individual per- formances of each concerto. Long gone are the BEETHOVEN: Piano Sonatas days when a reviewer could hold up a mere Jonathan Biss handful of recordings and be familiar with all 5, 11, 12, 26: Orchid 100118—74 minutes of them. Choosing just one of the sets is a near 4, 14, 24: 100119—61 minutes impossible task so just be prepared to reach 15, 16, 21: 100120—70 minutes for your credit card and start denying yourself those extra carbs and other unhealthy vittles. These three discs seem to be part of a re- You may even be happy with the physical release of Biss’s 9-year Beethoven sonata proj- results and live a while longer to fully appreci- ect; they were originally recorded on Onyx ate what really matters in life. Meanwhile from 2012 to 2015. Mark Koldys reviewed Vol. American Record Guide January/February 2021 17 1 (May/June 2012) and said that “Biss himself reading the pianist’s pretentious and self-serv- will almost certainly change and grow over ing liner notes would surely have done it. time, and may have a different view of the I almost forgot that I reviewed Volume 1 music than when he began a decade earlier.” (N/D 2017)—perhaps had purged that fact Koldys also characterizes Biss’s playing in from my memory. I wrote a longer paragraph Vol. 1 as “Intimate, light, somewhat dry, and then but arrived at similar conclusions. small scale”, even “bland”. I agree. Sonata 11 is REPP restrained and precise, but does not have enough contrasts, and the melody needs to be BEETHOVEN: Quartets 1-6 brought out more in I and II. While I appreci- Dover Quartet—Cedille 198 [2CD] 155 minutes ate the understatedness of Sonata 12, as well Before I remembered that I have encountered as its grace in the opening, the variations drag, the Dover Quartet before, I took one look at and the middle of the work felt too weighty. this two-disc set and assumed it was a reissue. The left hand had some jagged edges, and the The packaging is dark, with text in bronze all- work plods. The is excellent, though— caps lettering alternating with the dying art- light and delicate. Still, I wanted more con- form known as cursive. It is so far from eye- trasts. catching that it simply had to be part of a It doesn’t look like we reviewed Vol. 2 Beethoven cycle by some British group that I before, but his playing is well paced—sensible had never heard of, probably on CD for the tempos. I would have liked more contrasts for first time. But no. The Dover Quartet is young, Sonata 6, again, and his touch on the pedal attractive, and quite talented, so it seems com- seems too light sometimes. In the Appassiona- mendable that the cover doesn’t have a picture ta he builds drama, but listeners will certainly of them mugging for the camera, or a random- find it restrained. While I appreciate his con- ly chosen 19th Century painting—nor is it trol, I would have liked more spontaneity and plastered with accolades. Their previous passion. recording is Voices of Defiance, an inspired I reviewed Vol. 3 in May/July 2014, and I program of Shostakovich, Ullmann, and Laks commended his authority and ease and (J/F 2018). praised Sonata 16 for its wit and droll humor. I I criticize musicians for allowing them- found the contrasts in the first movement selves to run down the “mandatory recording” effective. But I noted too that his playing is checklist, even though it is a given that quar- more on the intimate and dry side. The Wald- tets that stay together for a few decades will stein was reserved and never quite built check most of the boxes. That wouldn’t be fair towards the grandeur that the piece demands. in this case, because these musicians do have Some of the transitions feel a little labored. something special to offer. This is Volume 1, Listening to the same recording 6 years later, and there can be no doubt that they are going Biss seems much smoother and more fluid the distance. than in Vol. 1; but one wonders how he’d inter- In Quartet 2 II (allegedly inspired by the pret it now. tomb scene in Romeo and Juliet), you can hear KANG modernism in the distance. Nonetheless, what distinguishes both of these albums is their BEETHOVEN: Piano Sonatas 11-18, 21-23 adherence to the norms of the classical era. Giovanni Bellucci—Brilliant 95131 [3CD] 3:50 This is music written on the heels of Haydn; these quartets aren’t gauntlets thrown down This is Volume 2 of a complete recording of for Schumann and Brahms. Beethoven’s piano sonatas (though perhaps The opening Allegro of Quartet 2 is a bit without Nos. 19 and 20). There is a lot of music lackadaisical and the sound thins out a bit. here, but I am sorry to say I heard only a few Power is sacrificed to beauty, finally. Probably minutes of it. Immediately, at the beginnings most listeners love Beethoven for his passion of several sonatas, a mannered distortion of and pathos, but—to agree with Glenn Gould— the rhythm was evident that was positively I enjoy it best when he is playful, creative, sickening, and I quickly stopped listening. unconcerned with making the big splash. Why are such important projects offered to That’s what you get here, with IV resembling a pianists who are totally unsuited to the task? folk dance. Quartet 3 also sounds a bit down- Does this honor Beethoven in his anniversary sized, which occasionally distracts, even as it year? If my stomach had not been turned yet, serves the larger vision. 18 American Record Guide January/February 2021 In the second half of the Opus 18 set, the utes) and the Opferlied (Op. 121, 5 minutes), artists settle in, completely owning their ideas both beautifully done. about the Haydnesque dynamics. The fifth As for other recordings, the Segerstam on quartet is a particularly choice example, with Naxos is much longer (82 minutes); and Paul its muted gaiety and the quiet gasp that ends Althouse, who reviewed it (July/Aug 2020), the piece. Impetuous and a bit flashy, Quartet tells me it is not a matter of tempo at all 6 hews the closest to a standard performance, (though Segerstam is noted for slow tempos). though IV plays to their strengths. Apparently Beethoven wrote 30 minutes more The liner notes are truly substantial, run- music for a occasion (not the same ning seven pages plus a group bio, and there’s play). The Naxos has at least 15 minutes of only one photo. Again, these musicians are in narration, with 3 narrators and 5 roles. Mr Alt- it for the long hall. Everyone has a favorite house found it rather boring. The Beecham recording of these pieces, but make room for (EMI, March/April 1993) takes 22 minutes and another. has been reissued by Warner. It is the best DUTTERER recording, though it has less music than here (a short duet is the main item missing). BEETHOVEN: The Ruins of Athens; Calm Beecham also does the three choruses in Eng- Sea & Prosperous Voyage; Opferlied lish. Carl Bauman praised the Dennis Russell Sidonie von Krosigk, narr; Valda Wilson, s; Simon Davies recording (also EMI, March/April bailey, b; Brunn Philharmonic Choir; Cappella 1991), but that may not be available. Aquileia/ Marcus Bosch VROON CPO 777634—53 minutes EETHOVEN: Serenades, opp 25+41 In 1811 Beethoven wrote this as incidental B Luisa Sello, fl; Myriam Dal Don, v; Giuseppe music to a play by August von Kotzebue, who Mari, va; Bruno Canino, p in turn wrote the play to open a theatre in Pest Dynamic 7886—59 minutes (Budapest). The play has never been heard since, but Beethoven’s music has lived on. wrote, or at least com- The premise is that the goddess Athena, pleted, his Serenade for flute, violin, and viola daughter of Zeus, awakens after 2000 years of around 1797 and it was published in 1802. In sleep and finds Athens completely changed. the notes, Danilo Prefumo describes it as “one The city is in ruins, and the remaining inhabi- of the lightest and sunniest compositions of tants are oppressed by their Turkish rulers. Beethoven’s chamber output”. Who made an Athena and Hermes travel to Pest, where the for flute and piano is uncertain, culture is pictured as similar to Greek antiqui- but the author at least revised the transcrip- ty. At the end the emperor is praised for his tion that was published with a different opus enlightenment. number by Hoffmeister and Kuhnel of Leipzig Besides the overture (about 4 minutes) in 1803. To these two selections have been Beethoven wrote mostly vocal music—sopra- added the Adagio of Piano Concerto 1, no, bass, and chorus. The music itself lasts arranged in 1871 for flute and piano by Bavari- about 30 minutes. Only one piece is a “melo- an-German performer, instrument maker, drama”—spoken narrative over the music. Kai goldsmith, mining engineer, industrialist, and Wessler created that, based on Kotzebue and composer Theobald Boehm (1794-1881). Schiller. (A Schiller ode is substituted for Boehm in fact made 8 Beethoven arrange- Kotzebue’s final monolog, which was appar- ments, mostly with piano: 4 for flute and 4 for ently even sillier than the rest of the play.) The alto flute. They included the Opus 8 Serenade narrative, like the music, is in German; the for violin, viola, and cello in 1876; any of them booklet supplies texts and translations. could have gone well here. The famous Turkish March is way too These Italians play modern instruments: a fast—who can march that fast? The chorus is 14k gold Miyazawa flute, a Steinway piano; the excellent, especially as dervishes. The orches- makers of the bowed strings are not specified. tra is also fine. They are a chamber orchestra, The sound is consistent and perhaps too close which is fair enough, since the original was a for comfort. As a result, anything marked forte . They are not “period instru- comes across merely as loud and unpleasant. ments”, and their playing is not stiff or bumpy. The playfulness in the Allegro molto move- With the chorus on hand it made sense to ments is too harsh. add Calm Sea and Prosperous Voyage (7 min- The tone quality of the players is superla- American Record Guide January/February 2021 19 tive. A rich, relaxed, and expressive flute dove- perfect pitch, you’d never know they tune to a tails and converses with two fine strings for concert A of 430. half the program, and the other half with a Nor did I ever reflect, “I’m listening to peri- robust piano. All the supporting players come od instruments”. Vibrato or no vibrato? Never across as consummate professionals. Honor- even thought of it, so rich and full are the 32 able mention goes to Giuseppe Mari on viola. strings (10-8-6-5-3), especially the and Not Luisa Sello, unfortunately, though her basses. Only the sound of the 18 winds high level of accomplishment is clear. Jean- reminds me that they are period instruments. Pierre Rampal had a term of affection that we I had high praise for Bernhard Forck’s should give short notes in contexts that are recording of Beethoven’s Symphonies 1 and 2 appropriate: “living staccato”. These 8th notes with the Berlin Academy for Ancient Music don’t live; they’re just short. In the variations (Sept/Oct 2020). Comparing it to Savall’s of the Andante this approach comes across as recordings, Forck’s tend more toward the peri- rather soulless. At best it’s chirpy. I’m also not od-instrument cliches of flatlined woodwinds, impressed by the need to break phrases and no vibrato, a pattern of swelling and ebbing breathe on bar lines in the Minuet with piano, with every phrase, thinner strings, and lighter or the unclean, uneven flute playing both weight—and, in this instance, fine perform- times, especially when done with the strings. ances but not as infectious as Savall’s. It’s a pity Bruno Canino had to waste his While I was listening to Symphonies 1 and talent on this project. James Harrington 2, I noted that I heard no revelations in the enjoyed his Chabrier in Jan/Feb 2014; he has performances—sort of a required justification also recorded with violinist for producing yet another early-instrument set and cellist Lynn Harrell. of complete Beethoven symphonies. Then a Our flutist has a Doctor of Arts degree in friend-pianist phoned while I was listening to performance from the Bratislava Academy and 2. When he described his favorite pianist as “a a PhD in linguistic and literary sciences from highly educated mind and a very natural play- Udine University in . She has also record- er”, I replied, “You just gave me the words to ed on the Italian label Stradivarius and Chi- describe Beethoven”, nese label Millennium. Helen Dabringhaus making the “no revelations” bit irrelevant. Let’s has recorded the Boehm arrangement on take Symphony 1: Savall says he’s religious in MDG 9032135 (May/June 2020). Kazunori Seo using Beethoven’s own metronome markings and Makoto Ueno have recorded two discs of (faster than we’re used to), yet the orchestra Beethoven for Naxos (573569, July/Aug 2018 & makes its superb articulation of rapid 16th 573570, Nov/Dec 2018), but the quintets by notes sound relaxed and easy but vigorous. Kuhlau and Reicha far surpass anything else Vivace never feels rushed. Bright and ener- written for flute around this time. getic never becomes frantic. Yes, the tempo in GORMAN II normally would make it feel upbeat; here it is graceful. III is brisk and energetic, yet light BEETHOVEN: Symphonies 1-5 on its feet and with a trio that is just an edge Concert of Nations/ Jordi Savall slower, for perfect relief. And in IV the rapid AliaVox 9937 [3SACD] 171 minutes articulation of 16th notes is clear but never frantic. In fact, IV became an ear worm that Jvordi Sa all planned four sets of concerts, had me singing for several days. around which the Concert of Nations would Savall makes 2 feel like another world. record Beethoven’s complete symphonies: 1, What an adagio introduction to I! All those 2, and 4 in Spring 2019, and 3 and 5 in Autumn many expression marks, contrasts, dotted 2019. The others were planned for 2020, but notes, etc. are made meaningful. He slips the coronavirus pandemic put that on hold. seamlessly into the Allegro con brio with its Each set of performances and recordings sudden ff marking and explosive . And are based on Savall’s study of the original who ever wrote a better coda to a movement scores and performance notes, followed by than the ending of I, which Savall projects in two “academies” in which 35 professionals its full glory. II has a lyrical flow, crisp and alert from his Concert of Nations and 20 young yet graceful and beautifully contoured. Same instrumentalists became—based on what I with the Scherzo. IV reveals at brief moments hear on this album—a consummate ensemble how creamy Savall’s cellos and basses are. And with tuning so exquisite that, unless you have what wonderful rage he summons at the end! 20 American Record Guide January/February 2021 Yes, no “revelations” on the first disc in the 4’s introduction so transparent that Bee- album, but what stunning performances! thoven’s very textures are enriched, especially I had recently listened to Herbert von with the rich, resonant cellos and string bass- Karajan’s 1962 recording of Beethoven 3 with es. The slow tempos are tightly paced, making the on DG, as magnifi- the transition to the Allegro Vivace bracing cent a modern performance as I know. What a (quarter-note 150). Also, the superb engineer- revelation (that word again) came with the first ing and Savall’s conducting make me realize two chords in Savall’s performance. Like rapid for the first time how the music’s strong char- cannon fire (quarter-note 150)! Would he stick acter is reinforced by the timpani. In II the syn- to the tempo? Yes! And without the music ever copation in the perfectly balanced second vio- feeling rushed! Once again, the orchestra’s lins defines the movement’s pulse. The final powers of articulation make the music sound two movements are the only places on this clear and unforced. In I contrary motion in the album where Savall doesn’t adhere to strings’ harmonies becomes clear for a change. Beethoven’s tempo; the Scherzo feels a bit less Timpani beats attain special character. When than Allegro Vivace. He takes IV at about quar- the winds have the lead, the character of the ter-note 70 instead of 80, but it does seem to subordinate strings changes from lyrical to flow naturally from the pace taken in III. I pungently rhythmical. And Savall makes the mention this because Savall himself stresses in development section a revelation in itself with the liner notes the importance of following the the many shifting woodwind tone colors, a composer’s metronome markings. lyrical bass motif under all the dotted fuss in In Symphony 5, where Savall honors all the treble winds, and the terraced levels of Beethoven’s tempos, he takes the opening developmental activity. Following the devel- eight notes—the motto theme—rather deliber- opment’s peak with those unresolved trumpet ately. But once the charge begins, it is integrat- and French chords, this is the first time ed into the set tempo, except at the beginning I’ve actually heard the contrary motion in the of the recapitulation, where it is the same as at woodwinds, the pulse created by the ostinato the opening. Savall makes even this sole liber- strings, and the importance here of a full, clear, ty fit into the charged, exciting, seamless rich bass. And that’s just I. sweep he creates in I. In II the gorgeous, calm- The Funeral March (quarter-note 45) is ing and cellos offer some relief, as Savall precisely that—a march, start to finish. Even maintains a steady pace. In III he maintains when it swells with lyricism, the 32nd-note the tempo right into the trio, which is quite triplets and resonant timpani maintain the exciting. The only problem here is that, in the beat. Savall never lets the tempo get away from pizzicato section, all the plucked strings over- him. Even in the fugue, the funereal mood whelm the first , which means the remains steady. The Scherzo is taken at 180; melody can’t be heard. But the finale is really no revelations here except that the French something! Beethoven wrote an assault with horns barely manage to make their instru- just a few moments of relief. People at the 1808 ments’ just (or harmonic) tuning (tempera- premiere must have felt pummeled to death— ment) fit into the orchestra’s equal tempera- he even had to add a piccolo to cut through all ment. Only in IV does Savall allow the tempo the sound! Today we’re used to more extrava- (quarter-note 120) to verge toward rushing. gance, but Savall comes as close as I’ve ever But he’s saved by the fugue, which is absolute- heard to re-creating how it must have felt back ly steady, played with perfect ensemble. In IV then. And for the icing on the cake, he takes the high resonance of the hall, which normally the coda at the tempo marked—whole note poses no problem, sometimes obscures the equals 112 beats per minute! Oxygen, please. instrumentation, as if quick dialoguing figures In brief, this is the most enlightening, reve- in the winds and strings tend to swallow each latory, exciting, best performed, and one of the other. At the end Savall honors Beethoven’s best recorded sets of Beethoven’s symphonies Presto by practically grabbing the speakers I’ve ever heard. The notes by Savall, translated and shaking them. As he says in the liner into easy-to-read English, are superb; and the notes, “In Beethoven’s case, the act of creation photos and the packaging are first-class. Here’s often takes the form of a combat. Beethoven hoping they’re able to complete this project. often struggled with himself in order to create, FRENCH and his work is the result of a creative process that bears witness to a new conception of art.” Savall makes the harmonies in Symphony American Record Guide January/February 2021 21 but they quickly forget the inner turmoil and EETHOVEN: B Violin Sonatas 1-4 conflict as he indulged in the beginnings of Frank Peter Zimmermann; Martin Helmchen, p while his venerable, musically BIS 2517 [SACD] 70 minutes conservative and business-minded teacher Sometimes I wish that Beethoven violin sonata Haydn lived nearby. These sonatas are full of cycles would start at the other end, with the drama enclosed in strict classical idioms dreamlike Op. 96 and the ferocious Kreutzer, handed down by Mozart and Papa Haydn. and work backwards. It’s much easier to infer Beethoven displays counterpoint mastery, the beginning from the end than the reverse. sophisticated formal transitions, subito Be that as it may, here we have the first four dynamic explosions, and a host of characteris- sonatas from yet another Beethoven-year tic sforzando accents. The timings are execut- cycle. Zimmermann and Helmchen’s way with ed well by the performers, but the dynamic the Op. 12 sonatas and with Op. 23, their suc- palette is too limited when the music is stormi- cessor, is nippy, brisk, and occasionally est. Beethoven releases seething inner fury at brusque—sassy good humor that lapses some- the end of 7:I, but the performers unnecessari- times almost into sarcasm. It’s a reasonable ly restrain themselves—especially Libeer. This approach to this music. I like particularly is one of the most virtuosic and grim passages Helmchen’s playing, which brings out all that in all the violin sonatas; he should wage war; must have confounded listeners in the young there is no Enlightenment in this passage— Beethoven’s own pianism. Zimmermann only raw emotion. In 3:III I was struck by thin- matches him well, too, diving into the wild ness in Gatto’s sound. The music itself is swirls of figuration in tight unison with his sparse; a non-vibrato sound is too pale; listen- partner. ers would welcome more warmth and sweet- THOMSON ness. Their style fits perfectly in 8:III wherever sparkle is needed and iridescent passagework BEETHOVEN: Violin Sonatas 3, 6-8 appears. Counterpoint passages are disci- Lorenzo Gatto; Julien Libeer, p plined and performed in the style of Bach, Alpha 565—81 minutes allowing firm pulse to dictate sound. Phrasing and dynamics are thoughtful but not as artifi- This is the last of three installments of cial as many performers. I appreciate that the Beethoven violin sonatas. A previous disc in pianist does not over-pedal, and the violin’s this cycle was reviewed by Joseph Magil sound is not pressed. Balance and engineering (Nov/Dec 2016). Gatto recorded the violin are excellent. One could easily fall in love with concerto and romances (2014), so he has now both the sound and ensemble skills of this recorded all Beethoven’s major compositions duo. This is an excellent recording. Gatto and for violin. A section on his website is called Libeer are among the best interpreters of “My focus on Beethoven”—his thoughts about Beethoven right now. The music feels alive. Beethoven performance. A billing no doubt KELLENBERGER would label him a “champion” or “advocate” of Beethoven. In the spirit of full disclosure, BEETHOVEN: Violin Sonatas 4-6 my doctoral research centered on the Lucy Russell; Sezi Seskir, p Beethoven Violin Concerto, so I especially Acis 2958—70 minutes appreciate his breadth of knowledge and dedi- cation to this great composer. I was a big fan of the Fitzwilliam Quartet—of I will never forget a question during oral which Lucy Russell is the current first violin- examinations for my Master of Music degree: ist—back in their Shostakovich-and-late- “Is Beethoven’s Violin Concerto romantic or Beethoven Decca days, and so I honestly want- classical?” This inquiry is akin to asking if the ed to like this. Unfortunately, there’s not much baptism of John is from heaven or of men. to admire here. Russell is a good though not Gatto and Libeer believe these sonatas are flawless “period” player (the Fitzwilliams now classical; romanticism is expunged from their play both “period” and modern instruments, interpretation; personality does not play a cen- depending on the repertoire), decently if not tral role. An Enlightened Mozartean purity infallibly in tune, with all the usual instincts in persists through the most astonishing all the right places—but nothing here sings (or moments. zings, for that matter) as it might. This is most People now speak of Beethoven as if his noticeable in the lyrical Spring Sonata, where ascendance as revolutionary genius was fated, the competition is even more formidable than 22 American Record Guide January/February 2021 in the other works. But all three pieces suffer 12 sonatas begin with an Adagio—and delicate by it. passagework in Sonata 7 to lovely gravity-defy- Russell plays a Gagliano violin with a Dodd ing upward in the final move- bow; Seskir a modern copy (by Thomas and ment, Tempo Di Gavotta Presto, of Sonata 9, Barbara Wolf) of a fortepiano by Johann and nice echo effects with the violin replying Schranz. The latter is an unusual and colorful to itself in the scampering Presto finale of instrument (I wish there were photos), and Sonata 11. Seskir gets around it most deftly. Russell uses It took me a while to get the playback vol- an unwound gut D string in addition to the ume and balance right, so you may have to usual plain gut A and E, enabling her, so she experiment. In some sections I found the vio- writes, “to bring out the contrasted vulnerabil- lin too much in the foreground and sounding ity and robustness of Beethoven’s sound harsh. This might be caused by the instru- world”. Whether it does that or not, I couldn’t ment’s sound or a close microphone. Lower- say; but from the sound it’s solid gut, not ing the volume didn’t help, because then the roped—that means it has a clearer sound, and other instruments (viola da gamba, archlute, one less amenable to wooliness, but is also and harpsichord) were too soft. In time my harder to keep in tune. ears did adjust somewhat to the sound, and I I imagine there are a great many did find that the balance was much better Beethoven discs like this floating around this when I switched to headphon:es. year. Composers’ birthday parties rarely bring C MOORE out only the best in musicians, and this is a big one. Fortunately, with such music there are BIBER: Requiem in F minor; ridiculously many choices; my own favorites TUMA: for the sonatas are the sets by Arthur Grumi- Pluto-Ensemble/ Marnix De Cat; Hathor Con- aux and Clara Haskil (monaural); Augustin sort/ Romina Lischka—Ramée 1914—61:34 Dumay and Maria Joao Pires; Pam and Claude After the 54 voices and instruments needed for Frank; and Isabelle Faust and Alexander Mel- the Mass, which has had at least six nikov (though I haven’t heard all of the last). recordings, Biber’s F-minor Requiem is the Don’t forget the very old but still inimitable “low-budget” alternative with only five voice Kreisler and Rupp. parts (doubled by strings and the three lower THOMSON voices also by ) and an independent BEETHOVEN: Septet; see REICHA first violin part. This profound work has been BEN-HAIM: Violin Sonata; see Collections recorded six times (see Mar/Apr 2005), so this new release faces some serious competition. BESSEGHI: Violin Sonatas, op 1 The Pluto Ensemble on this recording includes Opera Quinta—Tactus 670290 [2CD] 109 minutes 10 singers (5 soloists and 5 ripieni for the tutti passages), and the Hathor Consort consists of These are chamber sonatas with violin as the single players for the 5 string parts, 3 trom- lead voice. Although it is not clear where Ital- bones, and organ. It’s not a large group, but the ian composer Angelo Michele Besseghi (1670- photos in the booklet show everyone circling 1744) was born, we do know that at some point the microphones—and the resulting sound is he went to France and came under the patron- both full and blended. age of Louis Fagon (1680-1744) who served in I believe the overall direction is by Marnix King Louis XIV’s private council and support- De Cat, who is also the alto soloist; he leads an ed Besseghi for the rest of the composer’s life. effectively paced and dramatic performance. We also know that Besseghi was a highly My main problem with this recording is that skilled violinist and played a violin. the single first violin is often overshadowed in With the title Sonate Da Camera A Violino Solo the mix by the rest of the ensemble—a fault Col O Cembalo and published in also in the Paul McCreesh reading (Mar/Apr 1710, Besseghi’s Opus 1 collection of 12 son- 2005), and both De Cat and McCreesh omit atas is modeled in some ways on Arcangelo the original bassoon parts. The main reason Corelli’s widely known and very effective Opus for the balance problem is that De Cat ignored 5 (also 12 violin sonatas, from 1700). the indications in the original parts that the The performances and the sonatas have first and second violins were to have at least many attractive qualities ranging from lyrical two players in the tutti sections and only one vocal phrasing in slow movements—10 of the would play with the soloists. Two of the other American Record Guide January/February 2021 23 comparison recordings with larger forces are Angelus (2008) is a tone poem depicting much less subtle: (Nov/Dec bells heard in the churches around , 1993: see VALLS) and a recent release led by where she was visiting at the time. Gregorian Antonio Eros Negri (Halidon, available only as chant-like phrases are developed. The King- a digital download), where the sopranos are a dom of Silence (2003) bit too shrill. De Cat is much closer in style to opens with more bells and moves into Erik van Nevel (Ricercar 81063, 1990) and more sinister territory; it progresses to a lyrical (L’Oiseau Lyre 436 460, 1994); pastoralism until fanfares introduce more but whre Van Nevel is perhaps too slow, Pick- vigor and things disperse into more bells and ett is lethargic—De Cat is just about right. I still peace. return to the 1969 recording with the Vienna Before the Mountains Were Born (2005) Choirboys and Concentus Musicus (reissued takes Genesis as inspiration. It opens with rel- on Teldec in 1998). The violins sound above ative chaos depicting the earth before God’s the full ensemble; and though the soprano intervention. The world is saved by the soloists from the Choirboys may be a bit appearance of heavenly forces and nature. earnest, the anonymous boy alto soloist is still Creation of the Hymn was originally for more expressive than the countertenors on the quartet and is adapted for string orchestra. It other recordings. has a Vaughan Williams-type texture and fla- Alongside ensemble sonatas by Johann vor. Open Ground (2006) was inspired by Heinrich Schmelzer and Biber, and Andreas Salman Rushdie’s novel Ground Beneath Her Christophorus Clamer’s Partita I in E minor, Feet, about an earthquake and its noble and the significant bonus on this new release is spiritual aftermath. Frantisek Ignac Antonin Tuma’s 18th Century All told, this is a worthwhile introduction setting of the Stabat Mater. Tuma had studied to a composer not as well known here as she with in Vienna, and all of should be. She is well served by these excellent his sacred music demonstrates his countra- forces. Notes by the composer. puntal skill (see May/June 1997). The 15- GIMBEL minute Stabat Mater divides the stanzas into sections with varying combinations of voices BOYER: Chansons & Airs de Cour and instruments and is given its first recording Ratas del Viejo Mundo here. Ramée 1910—53:51 The booklet includes an acceptable essay, yJean Bo er (before 1600-1648) was a singer excellent for learning more about Tuma, who was first mentioned in 1611 as cantor of though there are some inaccuracies about King Louis XIII’s Chamber and Chapel, and in Biber. The “sung texts” with incomplete Eng- 1629 was promoted to Ordinary Secretary of lish translations (at the moment) are available the King’s Chamber. Aside from the many as a download; but both the Requiem and Sta- anthologies of serious airs de cour that include bat Mater are the customary texts. While I his, three separate collections devoted to would not highly recommend this new release Boyer were published by Pierre Ballard in for the Biber, it is still important for the Tuma. Paris. He also published two collections of BREWER chansons !@! boire et danser (drinking and dancing songs) with lyrics much more popular ORISOVA-OLLAS: Angelus; Kingdom of B (if not outright ribald). Silence; Before the Mountains Were Born; This is the second recording by the Ratas Creation of the Hymn; Open Ground Stockholm Philharmonic/ Andrey Boreyko, Mar- del Viejo Mundo I have reviewed (July/Aug tyn Brabbins, Sakari Oramo 2019: 193) and I am glad to note that the quali- BIS 2288 [SACD] 82 minutes ty of the recording has improved. These airs and songs are clearly chamber music and do Victoria Borisova-Ollas (b. 1969) was born in not require the resonance of a church (which Russia and moved later to Sweden. Debussy seems to be a fashion among and Vaughan Williams are major influences, recordings, even for secular chamber music). but she does not shy away from more contem- The performances work through the permuta- porary orchestral language when called for by tions and combinations of voices and instru- the subject matter. The music is essentially ments, which along with a harp, gut-strung tonal and lushly orchestrated. Religious con- harpsichord, various lutes and notations are prevalent. includes, anachronistically, a kankles—a 24 American Record Guide January/February 2021 Lithuanian . The most effective tracks are textures are, naturally, thicker than before, and the ones sung by the four singers, with excel- the idiom much more chromatic. It is good to lent diction and balance and a rhythmic elan see Leonor Braga Santos, one of the compos- as vivacious as the instrumentalists, though er’s two daughters, playing second viola here. some of the sound a bit (Her sister, Piedade, wrote the general pro- more impressionist than baroque. Full texts gram note.) and idiomatic translations are included, Toccata is candid in acknowledging that though they are sometimes slightly bowdler- these aren’t first recordings; the quartets were ized in the drinking songs. recorded in 1990 for an LP long since deleted, BREWER and the Sextet more recently, in 2015. Both labels were Portuguese, so this is the music’s BRAGA SANTOS: Quartets 1+2; Sextet first shot at wider distribution. The perform- Quarteto Lopes-Graca; Leonor Braga Santos, va; ances aren’t ideal, though they’re quite good. Irene Lima, vc—Toccata 207—79 minutes THOMSON

This dip into the chamber music of Joly Braga BRAHMS: Cello Sonatas; Santos, possibly ’s best composer MARTUCCI: 2 Romances since the , but better known for Luigi Piovano; Antonio Pappano, p his orchestral music than his string quartets, Arcana 479—59 minutes comes courtesy (again) of Toccata Classics, which has done more than any other label in Here we have a fine recording of two of my recent memory to ... well, I was going to say favorite cello sonatas played by two musicians “revive fascinating but little-known music”, but who have been working together for 13 years the condescension involved in saying any such and have much to say to us. Piovani studied thing gives one pause, yes? It doesn’t need to with the well-known Radu Aldulescu and is be “revived” by or for us; it was always there, first cellist with the Santa Cecilia Orchestra as and we were just utter chumps for not looking well as conductor of the Magna Grecia Orches- at it. Anyway, here it is—this tranche, any- tra. Pappano is well known as a conductor. way—and here is what I have to say about it. They put the depth and drama across with a The first things that strike me, on listening clear understanding, and the instruments they to either of the quartets, are their modal har- play contribute to the depth and discernment monies and their characteristic texture: long- of their interpretations. Piovano’s cello is a limbed, arched lines over restlessly rhythmical Gagliano made in 1710. They balance with accompaniments. It doesn’t “sound” Por- care and conviction. All repeats are observed. tuguese, to the extent that phrase even means What more can we ask for? anything; for me the first referent was Vaughan Well, the liner notes consist partly of an Williams and the rest of the British Isles “cow- interview they had with Carlo Cavalletti that pat school”, only with a greater fount of energy. covers pleasant territory. The music is further The First Quartet is nominally in D minor, but described by Guido Salvetti. All this is in Eng- lish, French, and Italian. And don’t forget that you don’t even sense the minor-ness, only the we also have two little Romances by Guido vague archaism and the living line. That one is Martucci (1856-1909). All is played with preci- mainly in D Aeolian (i.e., natural minor); but sion and warmth of tone and grace of phras- the Second Quartet, which is without a formal ing. It is really rather special. key designation, ends up in a very pronounced D MOORE A Lydian. The Sextet, later than either quartet and BRAHMS: 14 Intermezzos indeed among Braga Santos’s last works, is a Christophe Sirodeau, p—Melism 22—63 minutes different sort of thing. For one, it’s a good deal more chromatic than its quartet predecessors, Christophe Sirodeau (b 1970) is a French and the textures aren’t nearly so clear. The pianist and composer. I have not encountered piece is said in the notes to have been inspired him or his music before, but his recordings of by a visit to by Alberto Lysy and his pieces by Feinberg and Ullmann have been Camerata Lysy—they played Schoenberg’s reviewed favorably in these pages (J/A 2004, Verklarte Nacht. This piece is not really very S/O 2008, J/F 2015). This appears to be his first much like that one, though, as its predecessor recording of standard repertoire. It is dedicat- was on the Lisbon occasion, it was premered ed to the memory of his recently departed by a string orchestra rather than a sextet. The father, which offers an appropriate motivation American Record Guide January/February 2021 25 for choosing the quieter pieces of Brahms’s RAHMS: Piano Sonata 3; Pieces, op 76; late piano cycles. They are not arranged B Rhapsodies chronologically but in a sequence the pianist Peter Orth—Challenge 72850—77 minutes considered pleasing; for example, the four Intermezzos from Op. 76 surround the three of Peter Orth, whose birth date seems to be a Op. 117 (the only integral opus here). The oth- well-guarded secret, is a seasoned American ers come from Opp. 116 (4), 118 (1), and 119 pianist who has been living in since (2). Brahms wrote 19 pieces with the title 1992. He has made only a few recordings, none Intermezzo, so five are not included, though of which have been reviewed by us; they there would have been room for some of them include Beethoven’s Diabelli Variations and (perhaps even all). Chopin’s Preludes. The liner notes, which are Sirodeau loves Brahms, as is clear both in form of an interview, show him to be a from his playing and his liner notes. The per- thoughtful and modest person, and the photo- formances are thoughtful, expressive, and ren- graphs confirm that impression. dered in warm sound. Given the outstanding So do his performances. His playing is quality of the music this is certainly an enjoy- solid and mature, expressive without any exag- able recording. Its misfortune is that quite geration, warm in sound and technically recently an excellent complete recording of the accomplished. He aims for clear articulation Brahms Intermezzos by Evgeni Koroliov and eschews virtuosity, but his tendency to be appeared (Tacet 256, M/A 2020), one of several especially deliberate in difficult pieces and close runners-up to my “Critic’s Choice” in passages results in some stodginess. In the this issue. The main reason why I did not sonata, which is a youthful composition, choose it is that I was not convinced by a pro- greater drive and brilliance in I, III, and V gram of only Intermezzos. There is a lack of would have been welcome; and II and IV are contrast in a succession of mostly slow pieces, too literal and short on poetry. Annie Fischer no matter how wonderful they are, and one in her 1961 Edinburgh recital (BBC 4054)—my misses the expected faster pieces from those direct comparison here—threw caution to the sets. While this reservation perhaps applies wind and made numerous technical mistakes less to the present release, for reasons already but achieved a more riveting interpretation. mentioned, Koroliov’s recording is not only In the Op. 76 Pieces, for which my bench- complete but also preferable in terms of inter- mark on this occasion was the excellent Walter pretation. Koroliov has a delicate touch, lets Klien (Vox 3612, M/A 2005), Orth tends to be the music flow naturally, and chooses ideal slower in the fast pieces and faster in the slow tempos. By comparison, Sirodeau sounds ones. No. 2 is not jocular enough, No. 5 is espe- somewhat heavy and deliberate, perhaps try- cially ponderous, and 8 is not grazioso, as ing too hard to squeeze the last ounce of marked; 6 is a little too fast and not sufficiently expression from the pieces. His rubato is expressive. In the two Rhapsodies, Orth does sometimes extreme, and his touch is rather not match Peter Rösel’s (Berlin 9032) energy, forceful in the occasional loud passages. and the lyrical second theme of the second Sometimes his tempo is too slow, and some- rhapsody is not sufficiently contrasted with the times his hands are not quite together. Koro- first. These are minor criticisms of perform- liov’s recording is the one to get if all you want ances that I quite enjoyed. REPP is the Brahms Intermezzos. Another minus point is that this release RAHMS: Songs 10 has a promotional character. Sirodeau’s B Sophie Rennert, mz; , va; Gra- already rather personal notes, which include ham Johnson, p—Hyperion 33130—79 minutes the dedication, precede a long essay by a col- league that praises the present performances This is the 10th and final volume in Graham extravagantly, a discography, a list of composi- Johnson’s decade-long project of recording all tions, and reproductions of other Melism CD the piano-accompanied songs of Brahms, covers. The booklet is more about Sirodeau each volume with a different singer. I’ve and the label than about Brahms. In the music, reviewed five of them with great delight. (ARG though, Brahms still comes through strongly. missed Volume 6 with Ian Bostridge.) This REPP brings the project to its conclusion with strong and glowing accounts of 30 songs. The ordering of songs in each volume is 26 American Record Guide January/February 2021 designed to present a sampling of Brahms’s Johnson’s commentary on each song is songs in roughly chronological order from exceedingly valuable not only in the details he early to late in his life. Like the previous vol- illuminates about the song but also about the umes, this program is a mixture of songs and challenges these songs make on the pianist. folk song settings, familiar and unfamiliar. The sound quality and engineering of `Liebestreu’, Op. 3:1, was Brahms’s debut these recordings has been first rate. The last as composer of lieder and shows him already three I’ve reviewed have been recorded in the in full flower. One of his most familiar songs, same place with the same engineer and pro- `Die Mainacht’, composed midway through his ducer, which produced a consistent sound career, shows him at the height of his expres- quality for the series. sive powers. The eight Gypsy Songs, Op. 103, The liner notes alone with texts and trans- come from his mature years. (Johnson lations are worth the price of this album. includes all the songs of a particular opus only R MOORE if there is evidence that Brahms intended them to be performed as a group.) BRAHMS: String Quintets As Johnson points out in his erudite liner Energie Nove Quartet; Vladimir Mendelssohn, va notes, it was the common practice for Brahms Dynamic 7883—58 minutes to have his songs sung in home gatherings “and discussed in an environment of lively and Brahms’s two string quintets were written in cultivated enthusiasm” rather than “listeners 1882 and 1890. They show the composer at his buckling down in respectful silence to a sub- very best, and both are rich-sounding, exciting stantial sequence of songs as if they were at a works when played and recorded properly— public concert”. With that in mind, I found it and they certainly are here. The first is in three beneficial to read his commentary about each movements, and the second is in four. As song, listen to the song, and then pause before beautiful as the first is, I slightly prefer the sec- going on to another. ond. Don’t think that this means that I skip the This valedictory volume presents some of first and proceed directly to the second! There the best singing of the series. Rennert’s is an hour of wonderful music here, and once smooth and creamy voice is close to a contral- it begins, I am captivated and must listen to to and is nicely mirrored in the viola obbligato both from beginning to end. What surprised of the songs with viola. She uses that tonal me most when I got this was the quality of the depth in `Die Mainacht’ to great effect as she , Switzerland-based Quartetto Energie conveys the “darker shadows” in the line “aber Nove. Drawn from musicians of the Orchestra ich wende mich, suche dunklere Shatten” della Svizzera Italiana, the group is interna- before opening into the surging emotion of tional. The violinists are Hans Liviabella and “und die Einsame Träne rinnt”. Johnson Barbara Ciannamea, the violist is Ivan Vukce- describes this moment as “weeping that starts vic, and the cellist is Felix Vogelsang. They are from deep inside the body—a tear as lonely as fortunate to have excellent instruments, and the protagonist [Brahms] himself”. It’s one of Liviabella plays a Stradivarius from 1708. The the most affectively powerful moments for me in all his songs, and she gets it just right. group has a very full sound and is well record- That is followed immediately by two set- ed. They play with plenty of enthusiasm but tings of Daumer texts: `Von Waldbekränzter don’t force the music, allowing the sound to Höhe’ and `Unbewegte Laue Luft’, with their blossom. libidinal eagerness of a woman to be united There are also excellent sets by the Takacs with her lover. Rennert consistently catches Quartet with violist Lawrence Power (Sept/Oct the affect of each song. She brings boundless 2014) and the Raphael Ensemble (July/Aug energy to the 8 Gypsy Songs and frolics in the 1996 & Overview Sept/Oct 2006). Mr Althouse czardas style that alternates the slow and fast reviewed the Takacs and liked it but preferred sections. the Raphael, which I have not heard. Maxim She makes these songs luminous with a Rysanov et al made a superb recording of smooth legato lyricism in some and a sprightly Quintet 2 that I reviewed and found “beyond rhythmic swagger in others. Her diction is criticism” (July/Aug 2011). But the present one clear and precise, her phrasing is elegant, her is just as good with expansive yet very detailed breath control is impressive, and her voice sound. Wow! maintains consistent beauty at all dynamic Quartetto Energie Nove is planning to levels. This is superb lieder singing. record Beethoven’s late quartets. Let us pray American Record Guide January/February 2021 27 that the current fuss with the virus does not before the two episodes where the low strings prevent that. play soft pizzicato, making things sound mys- MAGIL terious. Annotator Rainer Lepuschitz writes that the horn entrance sings an alphorn theme BRAHMS: Symphonies, all that Brahms heard in Switzerland. The trom- Vienna Symphony/ Philippe Jordan bone chorale is played as softly, darkly, and WS 21 [4CD] 162 minutes mysteriously as I have heard it, to eerie effect. When the chorale returns in full, it sings like a Here we have a set of echt German sym- choir before the symphony ends in triumph. phonies played by a Viennese orchestra led by Symphony 2 benefits from Jordan’s a French conductor on their label. In many approach. The second theme of I, introduced ways the set fits the stereotype, but there is by the violas and cellos, famously suggests the more to it than that. Jordan writes that he Brahms Lullaby. This performance makes the hears Brahms as a composer of great songs Second sound like a symphonic lullaby. It is and chamber music, and he applies those light-hearted, chamberlike, and balanced so qualities to the symphonies with song-like lyri- well that woodwind solos carry well without cism, chamber-like styling, and clarity of strain; the clarity of the low string lines sug- instruments and inner parts. He also notes gests a string quartet. In the loud section, the that Brahms often makes use of chorales and rising thirds are clearly and evenly passed song melodies in symphonic themes. To Jor- from high to low instruments, and the horn dan, the “earthy Brahms sound is...a cliche”. solo is nicely balanced. Often the horn “takes Rather than produce the “rich, thick Brahms over” in this passage, but here it is a partner to sound”, he hears Brahms as looking back to the other instruments. The Adagio is sweet, Beethoven, Schumann, and Mendelssohn relaxed, intimate, and gentle. The louder sec- (even as he notes Schoenberg’s admiration for tion gets its due but matches the general the composer). The result is a “more slender, approach. III is fairly quick, light, and folklike, more sensitive and intimate sonic image”. with the midsection nicely spirited. The Finale Tempos are on the fast side, and textures are opens softly, but when the music breaks out, it light for Brahms. That may suggest perform- does so with good speed and energy. The ances played by a chamber or a “period” woodwinds are stellar here. The passage orchestra, but neither is the case here. The before the final celebration is gentle and soft, sounds mid-sized and fairly and the “big tune” sings. The ending can be warm, and it uses vibrato. The winds and brass driven, but this one is not. sound like modern instruments, though the The Third Symphony maintains this style. trombones probably have smaller than usual The grand opening of I is on the fast side with bores and an alto on first. The difference light textures and plenty of woodwind color. between these readings and most performanc- “Gentle” appears often in my notes. All of this es is mainly in conception and style. They do moves along well, abetted by the sleek string not actually sound French, but there is justifi- sound. II is on the quick side, evoking the cation for thinking of them that way. impression of quiet singing; the add Nowhere is this approach more striking sweetness, the bridge before the low string than in the muscular First Symphony. The theme is intimate, and the horns and trom- introduction is the fastest I have heard. Tex- bones are dark and rich at the end. III feels tures are light, and the line sings. The orches- simple and heartfelt, with a clear-eyed mid- tral tone is darkish in color but light in weight. section. The soft passage before the main Where conductors lean heavily, Jordan flows. theme returns in the typically contained Vien- The result is different enough to justify his tak- nese-sounding horn to heavenly effect. There ing first movement repeats, which he does in is some rubato in all this but not as much as in the first three symphonies. (There is no such many performances. The finale seems to sneak repeat in the Fourth.) Tempos through I in, and the playing is sleek, strong, and never remain on the fast side but are not rushed. II is heavy or too powerful. There is a spirited halting in its way but keeps moving at a tempo piquance to the string accents before the pow- that is fastish but not hurried. Textures are full erful climax, and the ending is warm and but no more than that. III begins quickly and quiet. picks up speed without seeming rushed, and it No. 4 may be the weakest entry, but it is always feels that it is moving forward. Jordan’s still quite good. The opening violin figures are Finale looks back to I, plus very long pauses like caresses and set the tone. The tempo may 28 American Record Guide January/February 2021 be too fast, and the coloring could be a little I am not wholly pleased with Pentatone’s darker and more serious, but do not be too sonics, which are thick and bassy with insuffi- concerned about either point. All told, Jordan’s cient “air” around the music. approach—especially the lightness—does not This is not distinctive enough to recom- work as well here as in the other symphonies. mend if you already have a favorite perform- II is on the quick side, but it is fluid, really ance. As I’ve said before, if I could have only sings, and works better than the previous one performance, I would take Furtwän- movement. That Viennese horn sound and the gler’s—crusty 1951 sound and all! clarinet are very pleasing. III is terrific—fastish ALTHOUSE of course, but joyous and jubilant. IV enters after essentially no pause and is very extrovert- BRAHMS: Symphony 4; Tragic Overture; ed. The lyrical string passage before the slow Hungarian Dances 2,4,8,9,17-21 section is almost syrupy in a good way. The Swedish Chamber Orchestra/ Thomas Daus- famous flute solo could be fuller, but it fits the gaard—BIS 2383 [SACD] 73 minutes interpretation. The slight push and pull, The symphony has been recorded hundreds of phrase by phrase, of that slow section, works. times—and mostly better. It’s not the sound, The rest is quick, bold, and exciting. which is very beautiful, but tempos and Brahms afficionados will likely find these orchestra size. One of my earliest childhood performances fascinating or maddening. I like memories is that the orchestra had to get them for what they are and know of none like much bigger for Brahms—and I loved it. The them. The sound is excellent. Lepuschitz’s music was rich and majestic; it required a big thoughtful and comprehensive booklet notes orchestra. This is a chamber orchestra; I can relate and sometimes analyze Jordan’s ideas never accept that. and approach. Putting each symphony on its And every movement is too fast. The first own CD is convenient but results in a four-CD two movements are faster than any recording I box, though it appears to be selling at mid- know. The Scherzo (III) is not so bad this price. fast—and a few other recordings are similar. In HECHT IV I think the fast tempo ruins it (only Levine comes close). I can understand that it’s a big BRAHMS: Symphony 1; Tragic Overture theme-and-variations, and often it sprawls and Leipzig Gewandhaus Orchestra/ Herbert Blomst- fails to cohere. But I can’t accept the sheer edt—Pentatone 5186 850—63 minutes speed here. Coherence at the expense of Belomst dt has been with us quite a while, and expansiveness and warmth? we perhaps know him best from his years with The Hungarian Dances are Dausgaard’s the San Francisco Symphony (1985-95). He own orchestration. Dvorak orchestrated 19-21, has been music director of several European so it was unnecessary to do it again. But the groups and is still active. For this recording, others recorded here were orchestrated later, made in Fall 2019, Blomstedt was 92. He is still so there was no harm in trying. Still, Ivan Fis- a fine conductor, as these performances will cher recorded all the Hungarian Dances twice, testify; time has not slowed him down. Both of and both are better than this. Try this for a slightly different slant on them—less folk-like, these Brahms works are rich and full of expres- more string-oriented. sion, and the Leipzig orchestra sounds very The Tragic Overture takes a mere 12 min- good, with excellent contributions by the solo utes. Conductors as varied as wind players. All the movements are taken at and take 13:20 or more. I realize a conventional tempos, and I was very happy chamber orchestra allows faster tempos, but I with everything except for the very beginning don’t enjoy this lean and mean tragic music. of the symphony. The slow introduction is well VROON paced, but feels too metronomic for me, and then Blomstedt takes the exposition repeat, BRAHMS: Violin Sonatas which may please some listeners. After that John Fadial; Andrew Harley, p things are better. The slow movement is very Centaur 3711—72 minutes expressive; it oozes with little bulges. Blomst- edt does keep it moving—it is an Andante, not I do not believe in the concept of recording an Adagio. III has a delightful rhythmic flow, saturation. A good recording justifies its exis- and the finale has lots of weight and power— tence, and a bad recording does not. This is as does the Tragic Overture. not a top-tier recording of Brahms, but there American Record Guide January/February 2021 29 are moments that elucidate the pieces in a control over this exquisitely prepared perform- new way—an impressive feat considering their ance. His attention to sonorities and details of rich history. The opening of I in the first sonata articulation affords many pleasures, and he is too cheerful and enthusiastic. I miss the builds the opera’s tension with thrilling inten- peaceful serenity and pastoral qualities. sity. The ebb and flow of the orchestral accom- Brahms wrote the sonata in his beloved vaca- paniment to the Act I ensemble `I’ll give a tion locale, Portschach am Worthersee, in the hand, the tide is near the turn’, taken a little summers of 1878-79, and performers should faster than usual, keenly mirrors the pull of observe the gentle contemplations and restful- fate, as inexorable as the sea. Brisk tempos ness of the music. The piano swerves too far in also add frisson to the Grimes-Balstrode con- the other direction during the first theme frontation (`And do you prefer the storm’), above the violin’s pizzicato accompaniment, leading to a gloriously hair-raising rendition of stodgy and tired. They approach II with more the second `Sea Interlude’. It’s an approach delicacy and tenderness. I felt I learned more very much in the spirit of Britten’s own per- about the music—a sure mark of a good per- sonality as a conductor. formance. Clipping notes contribute to a mar- In the title role, Stuart Skelton’s somewhat tial style in the contrasting sections. Melodra- thick tenor has neither the biting clarity of ma enters near the end as the performers Vickers nor the impassioned elegance of Pears. commit to ominous stillness and coldness. But he does make a sharp contrast between The extreme contrast feels operatic and narra- Grimes’s brutish outbursts and the gentleness tive-driven; listeners will intuit a tale behind of his internal monologs. I’ve always found the music. Brahms rarely displays this much Ellen’s character one-dimensional, especially personal touch; the performers relish the raw in comparison with (or perhaps intentionally emotion. Warmth returns to finish the move- in opposition to) Peter’s complexities and con- ment. Unfortunately in III the performers tradictions. But Erin Wall, like the great rarely find the right sound. Heather Harper of a previous generation, The second sonata is unremarkable: a slow brings a powerful personal warmth to the role and languorous III, a slow and ponderous II that fully fleshes out the woman behind the with covered melodies, and an average I notes. Her soprano is radiant, phrasing and except that the stillness near the end is similar diction are direct and natural, and her per- to the hesitancy in II of the first sonata. formance serves as a remarkable testament to Brahms famously loves invoking Beethoven, her artistry—the final testament, since she has but here he quotes himself. just died at age 44. The choral forces and the The performers force transitions in I; it is entire supporting cast are excellent, including better to allow the transitions to happen. Too baritone Roderick Williams, whose ingratiat- much thought and nuance tarnish II. The beat ing vocal presence makes Balstrode a model of is over-emphasized, and there is not enough kind concern. lyricism. They misrepresent the style and ALTMAN sound in III. Sequences are too similar in IV. The development sounds dainty, and 8th BRONSART: Jery und Bätely notes poke like needles. But good playing Caroline Bruker (Bätely), Harrie van der Plas resides here. Does this recording deserve to (Jery), Laurence Kalaidjian (Thomas), Söhnke exist? Barely. Tams Freier (Father); Malmö Opera/ Dario Salvi Naxos 660476—67 minutes KELLENBERGER BRAHMS: ; see MOZART Ingeborg von Bronsart, née Starck (1840- 1913), was born to Finnish Swedes living in St BRITTEN: Peter Grimes Petersburg, Russia. By age 14 she was an Stuart Skelton (Peter), Erin Wall (Ellen), Roderick accomplished pianist and had begun to com- Williams (Balstrode), Susan Bickley (Auntie); pose. Four years later she went to study with Bergen Philharmonic/ Edward Gardner Liszt in Weimar and soon began performing in Chandos 5250 [2CD] 138 minutes major cities (including Paris). In 1861 she mar- ried a fellow composer, Hans von Bronsart, Leading the Bergen Philharmonic, of which he and soon after, when he became an official in is Chief Conductor, and presiding over what Prussia (at the royal theater in Hanover), she seems from the photos to be a semi-staged was required to cease performing publicly. concert, Edward Gardner enjoys a rare level of From that point on, she concentrated her 30 American Record Guide January/February 2021 energies on composition, writing four operas doubled at, say, the octave or the sixth. Was and many chamber works, piano pieces, and she influenced by Wagner’s model of largely songs. An early piano concerto is apparently avoiding any overlap in vocal lines? If so, this lost. (Don O’Connor greatly liked her hus- seems a miscalculation, given how simple her band’s piano concerto; Jan/Feb 2019.) musical materials are in the work. This is my first encounter with Ingeborg I admit that, when Jery and Bätely finally von Bronsart’s music. Jery und Bätely (1873) do get to sing together in their last duet, I felt a was apparently her biggest success as an opera rush of appreciation. It also helps that the composer. Its libretto derives from a “love in a music at that moment shows greater harmonic village” singspiel text that Goethe wrote in sophistication and fuller orchestration than 1779. The story, briefly, is that Jery, a wealthy anything previously heard. (Musicologist young farmer, has thus far failed to win the Melinda Boyd, in her booklet essay, argues love of the sturdy, principled milkmaid, Bätely. that the work reveals more complexity and He offers money to his friend Thomas to win richness as it goes along.) Bätely for him, but Thomas overdoes things: I suspect that Jery und Bätely might come ordering a glass of wine from her as if her alive with less dutiful performances, perhaps house were an inn, threatening the lass physi- especially if all the singers were native Ger- cally, and finally driving his herd of animals man-speakers highly experienced in operetta across her property and smashing her win- or cabaret and could enliven the spoken and dows. He then attacks Jery. Bätely, belatedly, sung parts with nuances, such as hints of men- recognizes that she is attracted to the wound- ace, pomposity, humor, and irony. Indeed, the ed, woebegone Jery. Thomas pays for the dam- most effective performer here, Laurence age he has done, and all is forgiven. (There are Kalaidjian (as the out-of-control Thomas), was brief roles also for Bätely’s father, a shepherd born in Hamburg. Although his voice is some- boy, and a chorus of herdsmen.) times unsteady, he conveys a wider range of Goethe’s highly condensed text had served emotions than do the others. Particularly lim- as the free basis for operas by Auber (Le ited here is American soprano Caroline Bruk- Chalet, 1834) and Donizetti (Betly, 1836, rev. er, whose non-native German pronunciation 1837). The Auber version was extremely effec- (e.g., in the crucial name “Jery”) is distracting tive, reaching 500 performances in its first 17 and whose vocal tone is thin, sometimes like a seasons. Other works using some version of child soprano. the text were composed by Peter Winter, It also would have helped if the singers had Johann Friedrich Reichardt, Conradin had a chance to perform the work on stage. I Kreutzer, and Julius Rietz. wonder if they even knew the opera’s full I don’t know any of them. Presumably the libretto, which includes frequent stage direc- composers were seeking to capitalize on tions. (I consulted a copy at the Library of Goethe’s renown. Bronsart’s style resembles Congress’s website.) For example, the libretto Weber, from 50 or 60 years earlier, but without makes clear that, in Scene 9, Thomas is stand- Weber’s itchy inventiveness. The singers do ing outside Bätely’s house and that she finally convey the basic thrust of the vocal lines. But slams the window shut. (The recording lacks the penny-plain harmony and foursquare sound effects.) Perhaps the singers only knew phrase structure give them little to work with. the sung and spoken words but not the stage It doesn’t help that the six arias (honestly directions. labeled “Lieder”) and four duets are all The latter are entirely missing from the extremely short—many shorter than two min- libretto that Naxos makes available online. utes. The final duet (recognition of mutual This is absurd for a little-known opera. affection by the title characters), the two trios, Might there be better vocal works by Bron- and the finale are somewhat more substantial, sart: her songs, perhaps? An otherwise incon- but not enough to salvage the whole thing. sistent composer can often find inspiration in One oddity compounds the lack of dramat- a touching or forceful poetic text, as can be ic development and interaction: in the duets demonstrated in songs by such composers as and larger ensembles the voices almost never Felicien David (Sept/Oct 2014), Regine Wieni- overlap. This allows Goethe’s verses to be awski Poldowski (July/Aug 2017), and Cesar clearly heard. But, since the composer then Cui (May/June 2017). often repeats some lines, she could have LOCKE allowed the singers to join their voices in simultaneous melodies or in the same line American Record Guide January/February 2021 31 BROSSE: A Symphonic Journey BRUCKNER: Mass 2 in E minor Philharmonic/ Dirk Brosse with motets: Ecce Sacerdos; Tota Pulchra Es; Antarctica 19—80 minutes Virga Jesse; Locus Iste; ; Christus Fac- tus Est Dirk Brosse is a Belgian conductor and com- King’s College Choir; Academy of St Martin in the poser who has written over 200 works, includ- Fields/ Stephen Cleobury ing film, television, stage music, and sym- King’s 35 [SACD] 57 minutes phonic compositions. He is currently Music Director of the Chamber Orchestra of Phila- Stephen Cleobury died from cancer just over a delphia and has conducted many internation- year ago (November 22, 2019) at the age of 70. al orchestras. The works here were composed This was recorded in March and June of that over several years and are making their record- year and became his last recording; the ed debut. Some of the music was written for poignant liner notes tell us that in his final films, but others are concert works. I was days he was concerned with making final edits impressed by the variety of music and musical for this recording and also listening to all of styles, and everything here is highly accom- Wagner’s Ring. plished. Brosse knows how to write music that Cleobury directed the Choir of King’s Col- meets the subject’s requirements while lege, Cambridge for 37 years and also served remaining wholly individual, melodic, and as Chief Conductor of the BBC Singers. This inventive. He is expert at introducing themes recording includes Bruckner’s Mass No. 2 (the and developing them in an interesting way. one with wind accompaniment since the pre- His orchestrations are colorful and beautifully miere took place on the square outside Linz enhance the music. You can hear the influence ) and six of the more popular Bruck- of Bernard Herrmann, John Williams, Rach- ner motets. Chief among these is the splendid, maninoff, and Prokofieff, but Brosse has devel- grand Ecce Sacerdos Magnus, which also uses oped a unique style that is appealing. wind accompaniment (three trombones plus The works here include the excellent and organ). propulsive Philadelphia Overture, the suite There are people for whom the choral sun Sea Life Aquarium, written after a visit to the rises and sets with King’s College, and for Antwerp Zoo, and the Radetzky Waltz a lively them no further recommendation is needed. and elegant dance using the music of Johann This is wonderful music, and everything is Strauss, Sr. The Adagio for Strings is an impres- expertly done. Others might argue, though, sive, reverent, and somber piece dedicated to that the King’s sound, the British boys’ sound, victims of the Syrian Civil War. isn’t ideal for Bruckner. Continental boys’ There is music written for the sound and choirs tend to have a warmer sound, and there silent films Back to Utopia and Amore also mixed choirs who can do a pretty good Pedestre, with memorable themes. The Grand job with Bruckner. A good comparison here Canyon of the Colorado is an ethereal piece would be Rilling’s recording of the Mass along beautifully scored to envision misty panora- with the Te Deum and Psalm 150 (Hänssler mas. The final selection, the Olympic Fanfare 98119, July/Aug 1998). What is impressive and Hymn, is appropriately magisterial. about the British singers, though, is the purity The only piece that I found disappointing of their sound, which makes the thick choral was the suite Fur Elise at the Movies; it sup- writing very clear—and their intonation is posedly uses Beethoven’s themes as an hom- almost perfect. age to various films. The music is quite good, A wonderful disc, all in all, and a wonder- but I didn’t hear the relationship of ful tribute to Cleobury, a who will be Beethoven’s music to the films. long missed. Texts, translations, and unusually The Brussels orchestra plays excellently fine liner notes with a good discussion of the and follows the conductor’s lead with preci- Cecilian movement. sion. The sound is demonstration quality. ALTHOUSE Brosse’s new disc demonstrates his accom- plishments as a composer, and the music is There is an inverse relationship between both compelling and enjoyable. The English- social status and the size of television only booklet offers information about the screens. The same applies to the number of selections and the composer. cars in the driveway. FISCH 32 American Record Guide January/February 2021 have a five-minute chorale prelude by Philipp RUCKNER: B Overture in G minor Maintz, a nice, colorful piece, quite modern in MAINTZ: with Symphony 0; Chorale Prelude LI style, that supposedly relates to Bruckner’s F- Hansjörg Albrecht, organ minor Mass (I don’t understand how.) For the Oehms 476—62 minutes Overture in G minor Albrecht uses Rudolf with Symphony in F minor; March in D minor; 3 Innig’s transcription; for Symphony 0 the tran- Pieces scription is by Erwin Horn. Rudolf Innig, organ—MDG 917 2174—70 min The organist in the other CD is Rudolf Innig, who has enriched the catalog over the Iv ha e often wondered why Bruckner, a years with the complete organ works of Barber, devoutly religious man, did not leave a large Brahms, Mendelssohn, Schumann, and Messi- corpus of organ music. His father was an aen. Now in his early 70s, he still plays excep- organist, and by the age of 10 young Anton was tionally well. Here he plays the Goll organ at able to deputize for his father at church servic- the Marktkirche in Hanover. The transcrip- es. He went on to play, assuming positions at tions used are his own, and his liner notes are the Augustinian monastery of St Florian, then unusually informative and interesting. Linz Cathedral, and finally at the Imperial Both of these issues are very well done and Chapel in Vienna. He gained international can be recommended to organ lovers. Both fame for his improvisations and was acclaimed instruments sound splendid, though the St in Paris (by Gounod, Saint-Saëns, and Franck) Florian instrument is a bit grander and the and London, where he gave a series of recitals building is more reverberant. Complete stop on the organ at Crystal Palace. In addition lists are given in the notes. Both players are many have felt that his symphonic music took first rate, and indeed, their performances of inspiration from the organ; his terraced the Overture in G minor (the only piece in dynamics and slow harmonic rhythm with fre- common) are quite similar (the timings 12:13 quent pedal points suggest organ style. Per- and 12:20). I confess, though, that once my ini- haps his interest in and skill at improvisation tial curiosity was satisfied, the music wasn’t made it unnecessary for him to write down his very interesting. The organs are capable of a efforts at the organ. In any case all we have is a lot of tonal variety, but they don’t substitute handful of preludes and a couple of fugues, for an orchestra. I would be curious to hear though it is certainly possible that many early what Albrecht will do with one of the later works have been lost. symphonies, where the music is stronger than Here we have two CDs of Bruckner’s sym- in these early works. Again, though, I suspect it phonic music transcribed for organ. The works will be a curiosity and not a serious threat to are early. There are nine numbered sym- the wonderful orchestral originals. phonies, written from 1865 to 1896. Preceding ALTHOUSE these by only a short time are two others: a Symphony in F minor, generally known as the BUSONI: Early Piano Pieces Study Symphony (1863); and another in D Holger Groschopp—Capriccio 5416 [3CD] 3:05 minor, which is given the number 0 or called Die Nullte (c 1863-64). With these two discs, Busoni is a composer whose works I do not then, we have both of the “pre-numbered” appreciate, and very few have remained in my symphonies, along with orchestral pieces, all collection. Thus I was not looking forward to from 1862-63. Everything pre-dates Symphony listening to 3 hours of totally unfamiliar piano No. 1. pieces composed in his teenage years. But I Hansjörg Albrecht is known primarily as was in for a surprise! the director of the Munich Bach Choir and This release is titled “Early Masterpieces”. Orchestra. His CD is the first of a project to Busoni was born in 1866, so he was between record all of Bruckner’s symphonies on organ; 11 and 17 years old when he wrote them. One this one is listed as Vol. 0 (cute). All are to be piece on CD 2 is even from 1873. There are 71 done at “original locations”, which in this case pieces altogether, with an average duration of is the splendid instrument at St Florian, where about 3 minutes, and 10 are recorded here for Bruckner was a choirboy and later the organ- the first time. The ones on discs 2 and 3 are ist. (The instrument has been updated since arranged chronologically according to the Bruckner’s time.) In addition, each of the ten Busoni-Verzeichnis (BV); their opus numbers discs is to be filled out by new compositions do not correspond to the order of composi- written specifically for each volume. Here we tion. At the end is a bonus track—a piece by American Record Guide January/February 2021 33 Anna Weiss-Busoni (1833-1909), the compos- Italian song with accompaniment, surrounded er’s mother. by virtuosic passages reminiscent of Liszt. On CD 1 there are two cycles: a set of 6 The excellent and indefatigable performer pieces called A Village Festival, Op. 9, followed of all this is the German pianist Holger by a march, Op. 32, that Busoni meant to sub- Groschopp, who also wrote the liner notes. His stitute for one of the pieces, and 24 Preludes, previous recordings of the technically and Op. 37, arranged into four books of 6 each. musically far more demanding Busoni tran- I listened to all of this with amazement and scriptions have been reviewed without enthu- unflagging attention. Busoni was clearly a siasm (M/A 2002, N/D 2009, N/D 2014), but prodigy of the highest order, as the famous here he seems to be in his element. His playing critic Eduard Hanslick (cited in the liner notes) is clear and engaging and shows the “extreme- already recognized in 1876—before the pres- ly even touch” praised by Brent Auerbach ent compositions. These pieces have nothing (N/D 2009). I tend to agree with Groschopp’s immature about them; even the one from 1873 judgement that the pieces on CD 1, especially measures up to the others. They are extremely the 24 Preludes, are the best here; but the dif- inventive and varied. Their thematic material ferences in quality are really slight and incon- is clever, they are rhythmically interesting, and sistent. This suggests to me that Busoni’s musi- their harmony, while conventional, is used in cal language and compositional skills did not unhackneyed ways. A single exception (Pre- evolve much in this period, and perhaps this lude No. 13) seems to point forward harmoni- offers a clue as to why he eventually had to cally in its chord sequences, anticipating come up with a “new aesthetic” that contami- Reger. With rare exceptions, the pieces are not nated his own style and made him turn virtuosic and playable by amateurs, and nearly increasingly to grandiosity, transcription, and all have dedicatees. philosophy. What is truly astonishing is that there is no REPP influence whatsoever from romanticism—not from Schumann, Brahms, or Liszt, nor even BUSONI: 2-Piano Pieces from Chopin in the Preludes—and really none Aldo Ciccolini, Aldo Orvieto, Marco Rapetti from the classicists either. A whole century was Naxos 574086—74 minutes lost on Busoni! Although his music sounds more “modern”, its roots are in Bach and his In 1910, (1866-1924), who period. It is linear and often polyphonic, had been working on a completion of Bach’s though not with Bach’s rigor and complexity. Art of Fugue, published the first version of his Its texture is generally light and transparent. Fantasia Contrappuntistica in a private edi- Many pieces have baroque titles such as Min- tion. There followed three different publica- uet, Gavotte, or Gigue—or even Preludes and tions of Contrapuntal Fantasy: Prelude to the Fugues. Nearly all pieces are dance-like rather chorale `Glory to the Lord in Heaven’ and than song-like, and rather abstract. Even the Fugue in four obbligato voices on a fragment few pieces with more specific titles do not dif- of Bach. In 1912 and 1916, Busoni published fer much in character from the others; there is two different “minor editions” of the Fantasia minimal “tone painting”. Giving some pieces Contrappuntistica. The final, definitive version descriptive titles (as in the Medieval Carica- of this monumental work came in 1921; it was tures, Op. 33) is Busoni’s only concession to for two . Here we get a stellar perform- romanticism, but his attempts to convey con- ance from March of 2000 by Aldo Ciccolini and crete characters or scenes actually diminish Aldo Orvieto. the musical substance. In several instances his Ciccolini student Marco Rapetti joins Orvi- titles do not match the character of the piece: eto for the remaining 2-piano works on this his Scherzo, Op. 4—one of the finest and most program, three of which are listed as world extensive pieces here—has a moderate tempo premiere recordings. These are two substantial and an even slower middle section; his Scène original works—Prelude and Fugue in C minor de Ballet, Op. 6, is a virtuosic exercise with (1878) and Capriccio in G minor (1879)—and chord sequences; and there is nothing noctur- a transcription of Schumann’s Introduction nal about his Danza Notturna, Op. 13. No, his and Concert Allegro. The Schumann is a stan- strength lies in “pure” music. dard second piano reduction of the orchestra The piece by his mother, called parts; the original piano solo part is unaltered. Improvvisata and composed 11 years before Two Mozart works complete the program. he was born, is quite different in style. It is an Duettino Concertante is a wonderful, quite 34 American Record Guide January/February 2021 original reworking of the Finale from Piano German School for CPO. I have reviewed sev- Concerto 19. Then there is Busoni’s transcrip- eral of those releases including works by Vin- tion of the Overture from The Magic Flute. cent Lübeck (CPO 777 198; N/D 2006), We get good recorded sound and informa- Hieronymus Praetorius ( 777 345; J/F 2013), tive notes very well translated from the origi- (777 716; J/A 2015), Jakob nal Italian (not usually the case). The piano Praetorius (777 959; M/A 2017), and Heinrich ensemble is top notch for both pairs of Scheidemann (777 562; J/A 2017). pianists. The technical demands of Busoni’s My praise for the performances on those writing are handled admirably, and this recordings was often qualified. Sometimes should be considered a must-have for anyone (but not always) Flamme employs a detached interested in the composer or 20th Century 2- articulation to the detriment of phrase coher- piano music in general. ence. That is less the case in these perform- HARRINGTON ances of Buxtehude than in some of the earlier North German masters. Some registrations BUSONI: Violin Sonatas rubbed me the wrong way, but more about Ingolf Turban; Ilia Scheps, p that later. There is no question that these CPO 555213 recordings constitute a valuable document of an important chapter in the history of baroque Busoni (1866-1924) was one of the last musi- organ composition by an artist who knows that cians who was just as important a composer as repertory from the inside out. he was a performer. What is remarkable is that For this opening volume of Buxtehude, this had been the norm for hundreds of years, Flamme has chosen the three-manual but beginning in the 20th Century, it is rare. Christoph Treutmann organ at the abbey Busoni wrote two violin sonatas, the First church of St George in Grauhof near Goslar, an in 1889 when he was 23 years old and the Sec- instrument used for some of the recordings in ond in 1898 at age 32. Entering middle age the North German series. It was completed in occasioned a big change in his artistic person- 1737 and is the best preserved of that builder’s ality, and he later referred to this Sonata, Opus instruments. The most recent restoration was 36a, as his true Opus 1. It is easy to hear why. carried out from 1989 to 1992. Gerhard Sonata 1, in the conventional three move- Aumüller points out in his detailed essay on ments, is unimaginative and not memorable; the instrument that it combines characteristics but Sonata 2 sounds like it comes from a dif- of the North and Central German schools of ferent world. Conventional form is jettisoned, organ building, particularly in its use of gamba and the nearly 35-minute work extends across stops of a kind common in Silesia and its 11 sections. Busoni’s inventiveness is remark- smooth blending of registers. Its well-tem- able. Just as remarkable is that he would con- pered tuning makes it better than meantone tinue to evolve as a composer and soon come for pieces in relatively remote keys, such as the to look down on this work as conventional. Prelude in F-sharp minor (K 146) and the Pre- Ingolf Turban and Ilia Scheps are excellent lude in E (K 141)—both here. A considerable musicians, fully up to this music’s technical amount of action noise may be annoying to and expressive demands. Good sound. some listeners, especially in the quieter pieces. MAGIL Fans of the baroque organ tend to regard that as just part of the territory. BUXTEHUDE: Organ Pieces 1 The plan for the project is to structure the Friedhelm Flamme—CPO 555 253 [2SACD] 2:16 contents of each CD as a recital program that draws on the variety of genres found in Buxte- Dietrich Buxtehude (1637-1707) marks the cli- hude’s organ works. Thus we have a mix of the max of the North German tradition of organ large-scale preludes (sometimes erroneously playing and composition in the 17th Century. called preludes & fugues), individual chorale He was widely admired in his day, and more of preludes, liturgical verses, chorale variations his organ pieces have come down to us than of and fantasias, a pair of canzonettas (K 167 and any other German composer before JS Bach. 225), the Chaconne in E minor (K 160), and Organist Friedhelm Flamme is a noted author- Passacaglia in D minor (K 161). The contrasts ity on this music, and it is appropriate that his in style and volume are certainly welcome to series of the complete organ works of Buxte- the listener, far more so than hearing all the hude should follow closely on the heels of his examples of a given genre in succession. comprehensive recorded survey of the North Choices of registration and tempo can vary American Record Guide January/February 2021 35 extremely from one artist to another. For the fellow Italian Arturo Toscanini, himself already most part, I found Flamme’s choices, whether an emigre, and fellow Jew for in the grandeur of the preludes or the delicacy help immigrating to the . of some of the chorale preludes, to be admir- The Adriatic Nocturne (1924) is from his able and a fine exposition of the colors avail- Italian period. Castelnuovo-Tedesco was a sort able on the Treutmann organ. A few registra- of very conservative impressionist, and listen- tions struck me as odd. For example, the Cha- ing to this I can imagine myself some evening conne in E minor (K 160) is bombastic, with an on the shore of the Adriatic enjoying the sea everything-but-the-kitchen-sink registration. breeze. There are also arrangements by Heifetz There is just too much sound; the effect is of two selections from the Shakespeare Songs oppressive and tends to obscure the details of of 1932, `Sea Murmers’ and `Tango’. They are Buxtehude’s contrapuntal writing. I have long very brief trifles suitable for encores. thought of this as a piece for mezzo-forte foun- After the composer arrived in America in dation stops with perhaps some brighter 1939, he sought employment writing commis- sounds towards the end. Most of the other sions, and he wrote Violin Concerto 3 for recordings I have heard share my outlook. Jascha Heifetz. He had already written his Vio- At the other end of the spectrum, Flamme lin Concerto 2, The Prophets, in 1931—Heifetz treats all but the final section of the Prelude in recorded it later. Heifetz was not satisfied with F-sharp minor (K 146) as a vehicle for quiet this new concerto, perhaps because it is not flute tone with tremulant rather than the more very imaginative, so he never performed it. conventional principal chorus with or without Fulvio Luciani gave its premiere in in chorus reeds. In the end, Flamme’s playing is 2016. always authoritative, and his skillful rhythmic The rest of the program includes arrange- flexibility ensures that the music never sounds ments of the Op. 117 Intermezzos by Brahms stiff. With the help of a registration assistant, and 12 of Chopin’s Preludes. The Brahms he varies the sound between the sections of arrangements were published in 1953; the the larger free pieces. This promises to be an Chopin never were. Both sets of arrangements impressive set of recordings. pale compared with the originals. GATENS Castelnuovo-Tedesco was a mediocre composer who ended up working mainly in CASTELNUOVO-TEDESCO: Songs Hollywood, and perhaps his greatest accom- Caroline Helton, s; Kathryn Goodson, p plishment was training three of the best film Blue Griffin 549—65 minutes composers: John Williams, Henry Mancini, and Andre Previn. It seems that his great gift This is Volume 3 in Helton’s series, Songs from was teaching. a Lost World of Italian Jewish Composers. Vol- Luciani plays a violin built by the Cre- ume 1 is L’Infinito (Equilibrium 123, July/Aug monese master Lorenzo Storioni around 1810 2014, p202) and volume 2 is La Tregua (Blue or 15. Griffin 425, Nov/Dec 2017, p246). Our review- MAGIL ers enjoyed the program but commented that the performances weren’t the best. Others’ CHAUSSON: Symphony; tastes and tolerances vary, especially where HONEGGER: Symphony 3; rare repertory is concerned, but I had to stop TCHAIKOVSKY: Symphony 4; after a handful of songs. Helton’s care for the BERLIOZ: Benvenuto Cellini & Beatrice music comes across in her phrasing, but I and Benedict overtures found her voice intolerably wobbly and lack- Paris Conservatory & Suisse Romande orches- ing a solid core. Texts and translations. tras/ Robert Denzler ESTEP Decca 4840262 [2CD] 127 minutes

CASTELNUOVO-TEDESCO: Violin Pieces Robert Denzler was born and died in Zurich Fulvio Luciani; Massimiliano Motterle, p (1892-1972). His recordings with Decca came Brilliant 95927—60 minutes about because of his friendship with Ernest Ansermet in Geneva. The Berlioz and Tchai- Mario Castelnuovo-Tedesco’s (1895-1968) kovsky were recorded with Ansermet’s orches- career can be divided into two halves. He tra, the Suisse Romande. began in his native Italy, but after the passage I have always thought that the most beauti- of the Italian Racial Laws in 1938, he turned to ful recording of Chausson’s symphony is this 36 American Record Guide January/February 2021 one. It is lush and velvety and string-dominat- can dances along the lines of Roberto Sierra, ed—and the Decca sound is simply gorgeous. brilliantly orchestrated and flawlessly crafted. It was recorded in 1956! Decca at that time This is a welcome enterprise that will put a (London in the USA) was simply way ahead of smile on your face—certainly needed these other record labels in sound. This is stereo, days. I loved all of them. too! Song of the Amazon (2019) is a colorful There used to be quite a few recordings of and moving piece illustrating the sound and this symphony. I have Fournet, Ansermet, and atmosphere of the region, where Chesky and Dutoit; and I think the first two are deleted his family spent much time. It is beautifully now. I really like Fournet in French music sung by Ms Martinez. Descarga 1 and 2 (also (Jan/Feb 2011), but his sound is not as warm 2019) are dances in a similar style. and velvety as Denzler. The Ansermet is the Performances are enthusiastic and same label as Denzler, coupled with Fauré; but extremely well played. Text is included for the it disappeared more than 10 years ago. I song. One considerable flaw: the conductor is always liked Ansermet recordings, but the not credited. Notes contain helpful informa- Denzler Chausson is hard to beat. tion, but are not by the composer and need a The only symphony of Arthur Honegger magnifying glass to read. Nevertheless, this is a (Swiss composer born the same year as this terrific release. Don’t miss it. conductor) that I ever really liked is this one, GIMBEL the Symphonie Liturgique, and I think that is mainly for III, `Dona Nobis Pacem’. Karajan’s CHOPIN: Nocturnes, all; piano pieces Berlin recording is still the one to have. Den- Jan Smeterlin zler’s Honegger and Berlioz (1954) are not Decca Eloquence 4841308 [2CD] 138 minutes stereo. Honegger’s 5-minute `Song of Joy’ is This Polish born pianist (1892-1967) will be appended to the symphony; it’s a pleasant, remembered by readers of a certain age for his song-like piece that is seldom heard. warm interpretations of the music by his coun- The Berlioz overtures sound their record- trymen Frederic Chopin and Karol Szy- ing age (1954)—muffled and not very ener- manowski. As a friend of the latter he main- getic or vital. tained a close relationship for many years. That leaves the 1961 stereo Tchaikovsky During his time under scholarship in Vienna 4th. I can think of many better recordings, so I he studied with Leopold Godowsky. He and would never recommend that you buy this set his wife Didi lived in New York for a while and for the Tchaikovsky. Denzler sounds much like recorded much Chopin for several labels. Beecham from the same period—but Sir The Nocturnes are presented complete, Thomas was always unique, and I wouldn’t and we also have a BBC London recital from give up his Tchaikovsky 4. They sound simi- 1949 with two Ballades and several Mazurkas. lar—that is, I think their engineers had a simi- lar approach to recording an orchestra. It is blended, homogenized sound. Nothing stands Word Police: triage out (except perhaps an obtrusive breath taken This word has only recently entered diction- by the horn around 14 minutes in and an aries. It means a system to allocate benefits or abrupt splice near the beginning of II). The scarce commodities. So it is a bureaucratic conducting here is confident but convention- and political word. Also, recently it has been al—never moving or startling. I think used as a verb. To triage is to decide who gets Tchaikovsky demands more. the benefit or commodity. The implication VROON seems to be that such a decision is difficult CHAUSSON: Piano Quartet; see RAVEL and is bound to seem unfair to someone. Poem of Love & the Sea; see Collections I like to reject new and unnecessary words, but this one has colors and implica- CHESKY: Abreu Danzas; Song of the Ama- tions that no other word has, so it is serving a zon; Descarga 1-2 purpose. Still, it seems that people who use it Marisa Martinez, s; Descaregas Orchestra, are almost always bureaucrats. It would be Orchestra of the 21st Century sad if the word simply came to mean “difficult Chesky 456—47 minutes decision”. The latest usages of it mean “treatment”. David Chesky’s Abreu Danzas (2019) is a ballet Why? Stupidity. composed of catchy, interrelated Latin Ameri- American Record Guide January/February 2021 37 In addition there is the Etude Op. 25:3 and a should insert an improvisatory section Mazurka made for Decca in 1946 that were between the first and second movements. never issued. C MOORE All of these recordings are in good monau- ral sound, with only an occasional tinge of COOKE: Pieces; 2-Piano Sonata boxiness, and should present no impediment Melinda Maxwell, ob; Harvey Davies, Helen to enjoyment for our ARG readers. They all Davies, p; Sarah Ewins, v; Susie Meszaros, va; show the pianist as a fine, highly nuanced Heather Bills, vc—MPR 108—76 minutes artist with a natural sense of rubato, and The British composer Arnold Cooke (1906- should be enthusiastically gobbled up by any 2005) may not have the name recognition of reader who cares about the world of fine his contemporary ; yet he pianism. remains an important figure in 20th Century The notes are good and the presentation English music. He studied at Cambridge with further enhanced with several photographs. Edward Joseph Dent (1876-1957) and in Berlin BECKER with (1895-1963); and in 1938, after five years as a professor at the Royal Man- COLISTA: Sinfonie a 3 chester College of Music, he moved to London Ensemble Giardino Di Delizie/ Ewa Anna to further his career as a composer and Augustynowicz—Brilliant 96033—75 minutes teacher. During World War II he served as an I had high praise for this ensemble’s Lonati officer in the Royal Navy, and in 1947 he program (Brilliant 95590, J/A 2019), and I’m obtained his doctorate from Cambridge and about to do the same here. Composer and an appointment as composition professor at lutenist Lelio Colista (1629-80) was hailed in Trinity College in London. He retired from Trinity College in 1978; and he wrote music Rome as “an Orpheus” and even as a boy he until he suffered a stroke in 1993. was on stage—as a dancer—amidst the opu- Cooke’s catalog includes one ballet, two lence of the Barberini court’s theatrical pro- operas, keyboard music, vocal and choral ductions. Later he performed as a musician at works, orchestral music, and a considerable the highest churches and courts in Rome. volume of chamber music. His music com- These pieces date from Alexander VII’s bines the sweet lyricism of English nationalism papacy (1655-67), they are preserved in the with the intricate counterpoint of German Giordano 15 manuscript in Turin’s Biblioteca practice. This British project encompasses a Nazionale, and we know that some were per- half-century of his library, from the Sonata for formed in 1664 on Christmas Eve at Santa Two Pianos (1937) to the Intermezzo for Oboe Maria Del Popolo in Rome. They were com- and Piano (1987). In between appears the posed with the assumption that the finest Oboe Sonata (1957), written for Leon players were available to play them—the repu- Goossens (1897-1988); the Sonata for Oboe tation of Rome as having “the greatest instru- and Cembalo (1962), written for the just as mentalists of the time” spread well beyond renowned Evelyn Rothwell (1911-2008); and that city and beyond Italy. the Oboe Quartet (1948), written in response Their full noble sound belies the fact that to a commission from Cambridge music there are only 5 players in Ensemble Giardino patron Lys Hackforth and premiered by Di Delizie. Around half of the sinfonias have Goossens and the Mary Carter String Trio. harpsichord in the continuo, and others are Maxwell has a pleasant sound and good anchored by the historic organ where the fingers; and her declamations at the peaks of recording was made, St Francis Church in the musical landscape are heartfelt. Yet her Trevi, Italy. Its oldest pipes date from 1509. overall timbre is dry and sometimes chirpy, The playing is very fine, full of verve and her legato is a little wobbly, and her renditions panache. There’s a fine breadth of phrase as can be rather plain. Harvey Davies is a terrific the music is given time to breathe, and the ebb collaborator in the sonatas, offering a beautiful and flow in rapid passagework is nimble and touch, excellent technique, and keen artistic varied. Graceful dancelike sections alternate instinct and delivery. In the Sonata for Two with fluid fugues (a hallmark of the Roman tra- Pianos, he joins his mother Helen Davies for a dition), and in two of the sinfonias there’s an mesmerzing keyboard duet that sounds like indication in the score that if the players one mind. The string trio in the Oboe Quartet wish—and are up to the challenge—they differs a bit on sonic philosophy—the violin 38 American Record Guide January/February 2021 and viola are gossamer and the cello is rich— of the bass notes develop a distorted buzz as but on the whole the reading is effective. he plays them vigorously, especially noticeable HANUDEL in L’Intrepide and L’Arlequine. His recording is apparently deleted, but used copies occa- COUPERIN, A-L: Harpsichord Pieces sionally become available. Christophe Rousset—Aparte 236 [2CD] 101 min From 2004 (Nov/Dec 2005), Sophie Yates’s rhythmic profiles sound stodgy and prim next It’o s go d in isolation, but not great against to the imaginative characterizations by these tough competition. other players. Her touch is deftly controlled, Armand- (1727-89) was a but her interpretations don’t engage my emo- nephew of Francois Couperin. In his early 20s tions. She omitted Les Nations. Gustav Leon- he published this single book of harpsichord hardt in 1987 made a Philips recording that is pieces in Paris (1751). Half of the pieces are in terrific, but it includes only three of this com- either or minor, and the other half are poser’s pieces: L’intrepide, the Rondeau, and in B-flat major or minor (an especially L’arlequine. Dorota Cybulska-Amsler poignant key). The music is enchanting. (July/Aug 2020) included four selections in Rousset brings his usual technical polish good performances, but that recording is and straightforward powerful drive through spoiled by intonation problems. the given notes and rhythms. The virility of Rousset’s set costs more than twice as this interpretation is sure to please listeners much as either of the single CDs by Moersch who like such high energy, along with all the or Paul. Although it is perfectly played techni- notated repeats. He is better at the fast music cally, and in excellent sound with all the than the slow. L’Affligee and Les Tendres Sen- repeats, I can’t prefer it. The competition here timens could have had more delicate simplici- is that strong. The way out of this problem is to ty or more intensity. get as many of these as you can to hear the The recorded sound is excellent. The vastly different interpretations. instrument is a Paris original by J-C Goujon, LEHMAN from the first half of the 18th Century. J-J Swa- nen enlarged it in 1784. CRAMER: Piano Concertos 1, 3, 6 In the available older recordings, everyone Howard Shelley, else has trimmed some repeats to get the Hyperion 68302—78 minutes music onto a single disc. Some of the pieces are probably too long with the repeats, any- This completes Shelley’s Cramer Piano Con- way, going through the same emotional jour- certo Series. Like the earlier issues (the first neys twice. was on Chandos), this one is superbly crafted I concur with Rob Haskins (Mar/Apr 2014) and rewarding. Cramer could rightfully be said that Charlotte Mattax Moersch’s disc for Cen- to fill the gap between classical and romantic, taur has been among the best available. She though there is a tendency to look backwards brings more characterization and more rhyth- rather than forward. mic nuances to the music than Rousset does. Readers weaned on some of the compos- She omitted the four pieces of Les Nations at er’s technically aimed pieces will be pleased to the end of the book. find that there is nothing pedantic about any Jennifer Paul (Sept/Oct 1994) included all of these concertos. To the discriminating lis- the pieces. Her performances have gentle tener they will be an absolute delight, with grace and a pliant tempo rubato that I find flashes of Mozart’s influence appearing quite very attractive as a contrast to Rousset’s hard- often. While no one would claim that Cramer er-edged drive. She lets the music flow easily, was the equal of mature Mozart, the man cer- where Moersch takes a more cerebral tainly had taste, as well as the talent to absorb approach to bring out details. The tempera- the best from the music world of his time. ment on her harpsichord is more moderate, Shelley continues to be an excellent guide too. Paul’s wistful interpretation of La Gregoire to this world, and the London Mozart Players is exquisite. could not be bettered. The Steinway piano is Like Paul, Jean-Patrice Brosse (Pierre Ver- well reproduced, and Jeremy Dibble’s notes any 700026, 2001, not reviewed) included all are a model of their kind. Do not miss this the pieces. He has more rhythmic drive than one—or the earlier ones, for that matter. Rousset, and his 1774 Kroll harpsichord has a BECKER special tone in the bass. It’s exhilarating. Some American Record Guide January/February 2021 39 posers based on Chinese themes or styles. The EBUSSY: D Images II; Preludes II; ones that are closest to popular music (Abram Suite Bergamasque Alessandra Ammara, p Chasins’s `Rush Hour in Hong Kong’ or the Piano Classics 10210—72 minutes soundtrack to the movie Mulan) most resem- ble the piano pieces here. The Debussy pieces Ammara gives us a fresh take on Debussy, hit- give you a good idea of the pianist’s abilities: ting all the right notes in these familiar pieces. sensitive, well-shaped phrases and a nice lega- In Suite Bergamasque, her interesting use of to style that suits most of the works here. the damper pedal stands out—and also in HARRINGTON Images. She aims for clarity of sound with a blossoming melody. I was also impressed and DELLA JOIO: Trial at ; Triumph of St surprised by her rendering of `Clair de Lune’. I Joan Symphony was moved by her wide range and impeccable Heather Buck (Joan), Stephen Powell (Pierre timing. The pulsating rhythm in `Passepied’ Cauchon), Luke Scott (Father Julien); Boston and immaculate control are enchanting. The Modern Orchestra Project/ Gil Rose Images show that she has a brilliant technical BMOP 1073 [2CD] 120 minutes mind when it comes to sound. Her sound is The story of Joan of Arc has been the source transparent when needed, with a whimsical for many theatrical works, a story of a young bent. This approach may not work for other woman who believes God had called on her to composers’ works, but it certainly works with help her people, wins victory for them, and impressionists. Contender for 2021 Best of the then is betrayed and turned over to the enemy Year. to be mocked, humiliated, and finally execut- KANG ed. In spite of immense, crushing pressure by her persecutors, Joan never wavers in her faith, DEBUSSY: 2 Arabesques; Claire de Lune; going to her death certain that she was God’s Images I; Ballade; Feux d’Artifice servant and had acted as He commanded. with CHINESE MUSIC: Autumn Moon Over the Norman Dello Joio composed in just about Calm Lake; Dance of the Waterweeds; Spring Dance; Colorful Clouds Chasing the Moon; Little every genre imaginable: chamber music, Bamboo Raft; Liuyang River; Music at Sunset; choral, ballet, opera, piano, symphonic—and Ode to the Yellow River did it all very well. I remember singing his Sabrina Xiao He, p—Ivory 20190—71 minutes original choral music as well as any number of his arrangements in high school and college. It is surprising how well the Chinese pieces He won a Pulitzer Prize in 1957 for his Medita- (composed 1959-1980) go with Debussy (1888- tions on Ecclesiastes for string orchestra. In his 1913). The Chinese are well schooled in West- thorough notes, Robert Kirzinger tells us The ern piano writing as exemplified by Debussy, Trial at Rouen, set to the composer’s own and all of the works here have a certain libretto, originated as a television opera for impressionist flavor along with a Lisztian NBC and aired in April 1956. Dello Joio later vocabulary. All one has to do is listen to revised it for the stage and renamed it The Tri- Debussy’s `Pagodas’ to know the French mas- umph of St Joan. That was given its stage pre- ter was no stranger to elements of Oriental miere by the in 1959. music. Still, the compositional expertise Perhaps if I saw the opera I would like it between a group of contemporary Chinese more. This is not a “numbers” opera; every- composers and Debussy is as different as night thing flows from one scene to the next with lit- and day. tle interruption. The music is tonal and attrac- Sabrina studied at the Sichuan Conserva- tive, but the vocal lines never seem to go any- tory from age 13 and came to the US to earn where, written as they are mostly in the middle her Bachelor’s, Master’s and PhD. A Chinese- of the voice. The text is clearly articulated over US Cultural Exchange Ambassador, she is the orchestra, yet the music and therefore the quite active in both China and the US (as well drama never builds to any sort of climax. It all as having a number of European credits). Her begins to sound alarmingly the same, and en- Debussy is great music played quite satisfacto- nui sets in halfway through the central, lengthy rily. Without any comparative performances, trial scene. The final moments of the opera the Chinese pieces should be considered fairly depicting St Joan’s execution do supply a small predictable music played very well. I am famil- musical catharsis, but not enough to offset the iar with a number of pieces by Western com- blandness of the previous 90 minutes. 40 American Record Guide January/February 2021 The singers on this recording are all excel- these and date from the early 1780s. Three sets lent. Stephen Powell has sung leading roles at of trios are Opus 66. The earliest edition pub- almost all the major US opera houses, includ- lished in 1783 was a set of three in D, G minor, ing a number of Met appearances back in the and C, which we have. The edition published 90s. He is in great demand for master classes. around 1795 was a set of three in G, D, and D His rich baritone makes something ominous minor. Later there was published a set of six of Pierre Cauchon, though this is barely sug- around 1798-1801 in G, G minor, C, D, F, and gested by the music. Heather Buck sings Joan’s A—not composed of the two earlier sets. Like plain lines with lovely tone. The composer his contemporary Pleyel, Devienne’s publica- doesn’t give her any real vocal opportunities, tion history is complicated and his American but she conveys Joan’s faith and sincerity with biographer William Montgomery sorted this great conviction. Luke Scott displays another out as well as he could in 1975. warm, beautiful baritone in his role of Father The Opus 17 trios have two movements Julien. Ryan Stoll is heard briefly as the lecher- and the Opus 66 have three; repeats are taken. ous jailor and is effective—though his evil The writing differs between them. In the Opus laugh needs some work. 17 trios, a bassoon solo line is mostly offset by The chorus has more interesting music to the violinist and cellist, who form a duet. The sing than the soloists and is very good. Gil Opus 66 trios have three lines that are more Rose and Boston Modern Project deserve independent, with writing that offers plenty of praise for bringing this opera to a wider audi- interest, contrast, and imaginative exchange. ence. We are also given a performance of the The bass lines are always engaging rather than Triumph of St Joan symphony, which I found perfunctory, perhaps since Devienne, as more interesting than the opera. someone who played a bass instrument, was Notes and complete texts in an elegant, more attuned than usual to the need for inter- beautifully illustrated booklet. est here. The outer movements of the Trio in G REYNOLDS minor end in . The playing is entirely satisfactory and has DEVIENNE: Trios enough character to sound distinct from mod- Le Petit Trianon—Ricercar 416—72 minutes ern instruments. The bowed instruments do sound “stringy” without coming across as French bassoonist, flutist, and composer Fran- poorly played. The winds are capably com- cois Devienne (1759-1803) last appeared in manded through fairly difficult passages and these pages in a collection of flute sonatas always with excellent phrasing. Though there played on period instruments by Joanna Mars- are only touches of vibrato from the violinist, I den and Mark Edwards (July/Aug 2019). Here found the playing expressive. Alterations to the we have his Opus 17: 4 & 5 for bassoon, violin, rhythm on occasion add further variety. If you and cello published around 1782 and Opus 66: are willing to accept the essential qualities of 1-3 for flute, violin, and cello published in period instruments, you ought to enjoy this. 1783. They appeared amid a wealth of cham- The name of the ensemble comes out of ber music written in France by Pierre Vachon, French history. Between 1663 and 65, Louis Francois-Joseph Gossec, Giuseppe Cambini, XIV purchased the hamlet Trianon just outside and the Jadins. Versailles. A chateau called the Marble Tri- Other sources have Opus 66 as a set of anon was built in a park. Between 1758 and 68, quartets for flute and strings in A minor, B Louis XV had a smaller neoclassical chateau minor, C, and D recorded by the Kuijkens on built called the Small or Petit Trianon. From Accent or Naive (May/June 2005) and 1 & 3 by then on, the original building would be called Musica Reale in Super Audio sound for Chan- the Large or Grand Trianon. Olivier Riehl plays nel (2015, not reviewed). The complete set of a flute after maker August Grenser (1720-1807) six trios for Opus 17 was recorded with Cana- of copied in African blackwood; dian bassoonist-composer Mathieu Lussier on Xavier Marquis plays a modern copy of a bas- ATMA (S/O 2006). The Trio in G minor, Opus soon by Paris Prudent Thieriot (1732-86); 66:2 appeared on Eclectra with other trios by Amandine Solano plays a violin made by , , and Beethoven Aegidius Klotz in 1777, and Cyril Poulet plays a (Nov/Dec 1999: 251 and Jan/Feb 2000: 197). In cello by an unknown Eastern European maker July 2018 Brilliant released an album of six from the late 18th Century. trios for flute, viola, and cello with flutist Sara GORMAN Ligas (Jan/Feb 2019); all are distinct from American Record Guide January/February 2021 41 interruptions from the tape become more and ICKINSON: D Violin Sonata; Quartets 1+2; 4 more frequent; the quartet players start to Violin Solos; 2 Pieces Peter Sheppard Skaerved; Roderick Chadwick, p; show signs of disgust, the cello suddenly Kreutzer Quartet—Toccata 538—71 minutes thumping to a halt, and so forth. The piano interruptions keep increasing; the distress in Peter Dickinson, born in 1934, has apparently the quartet keeps growing. Formerly strictly- led both a calm life and an interesting one. tonal harmonies start to curdle, then grow Apart from a few years in America (as a gradu- entirely rancid. Finally the rag breaks forth ate student at The Juilliard School), he has entire, and the players try to keep up with it, lived in the UK, serving for a while as his only to remain (as the composer puts it) “com- mezzo-soprano sister’s accompanist, teaching ically out of synchronization”. As Dickinson at various universities, writing books on music continues: “This confrontation superimposes (Barber, Copland, Lennox Berkeley, Billy May- one of the most polished forms of black erl), and composing when he liked. The last music—ragtime—with Europe’s most sophisti- work here says “revised 2018”. cated development in chamber music—the Most of the music here, though, is earlier, string quartet.” That it is: a deliberately blurred much of it from the Juilliard years of 1958-61 simulacrum of racial “harmony”. and some earlier even than that. The 1950s The little pieces are mainly for violin solo, were a rather rough time to be a composer, four works spanning 1955-59. Two were origi- especially in the United States. It’s no great nally for flute. The other two pieces, with surprise that Dickinson both wrote some pret- piano, are in great contrast to the sonata ty thorny music at that time and simultane- above. One is a song to be sung by a young girl ously began studying the composers, like Bar- as hunters try to trap a unicorn in an unfin- ber and Copland, who didn’t. ished opera of Dickinson’s; the other is an out- There are three biggish pieces here, and take from Dickinson’s Violin Concerto, written many smaller ones. The 1961 Violin Sonata, in memory of violinist Ralph Holmes. It’s the almost the last product of his stay at Juilliard, is opening of Beethoven’s Spring Sonata, only an example of Dickinson at his knottiest: a reimagined as a 30s pop tune. quasi-serial composition, with `Greensleeves’ THOMSON (notes octave-displaced in the violin part) as the central movement and a finale that begins by running up against a wall at ever-tighter DUPONT: Songs distances until the violinist crashes through. Rachel Joselson, s; Bo Ties, p The movements are titled: 1. Fast; 2. Slow; 3. Centaur 3811—77 minutes Fast. Geddit? Oh, they must’ve loved this fel- low at J-school. Gabriel Dupont was a promising student of The First Quartet of 1958 appears to have Widor’s whose life was cut short by tuberculo- been greeted as “over-modernistic” by New sis; he died in 1914 at age 36. Even in his last York critics (!) on its first professional perform- decade when he was perpetually at death’s ance there. It seems only middling-gnarly to door, he continued writing. Most of the songs, me, though it is the only quartet I’ve heard to even the ones written before his illness, are date with actual runs of notes in upbow stac- imbued with melancholy. They are all well cato in the first violin part. (Correction: The crafted but lack the inspiration and charm of only quartet I’ve heard do so that wasn’t an Hahn and Fauré, or of the brilliant work of the arrangement of “Hora staccato” or some such; little-known Auguste Descarries that I I mean original music for the medium. My reviewed recently (ATMA 2799, Sept/Oct husband reminds me that the Mendelssohn 2020). Octet’s Scherzo does this. I don’t think it’s Joselson has a pleasing voice that is strong quite the same.) over her entire range, but her interpretations The Second Quartet (1976), meanwhile, are fairly straightforward; it wouldn’t hurt to falls into the realm of thought-experiment. A import more personality into the songs. The quartet is playing something or other, very distant acoustic tends to blur her consonants, slowly and quietly, while from time to time a but texts and English translations are includ- (taped) fragment of a piano rag breaks in. ed. Gradually it becomes apparent that what the ESTEP quartet is playing is just parts of the rag, mas- sively slowed down and de-rhythmicized. The 42 American Record Guide January/February 2021 tions with the Oslo Philharmonic and Mariss VORAK: D Cello Concerto & Pieces; Jansons.) The Tchaikovsky has many more Silent Woods Kian Soltani; Berlin Staatskapelle/ Daniel Baren- opportunities for virtuosic display than the boim—DG 483 6090—62 minutes Dvorak, and I confess I enjoyed Haga’s Rococo Variations more than her Dvorak. Cello Concerto In the Dvorak I would put Soltani in the with TCHAIKOVSKY: Rococo Variations (origi- select company of Casals, Rostropovich (with nal) Giulini), Ma (with Masur), and, to pick some- Sandra Lied Haga; Svetlanov Symphony/ Terje thing more recent, Zuill Bailey. Haga’s Dvorak Mikkelsen—Simax 1363—62 minutes is less impressive, but the original version of The trouble with the Dvorak concerto (if the Rococo Variations would make this a rea- indeed this is a problem) is its position at the sonable choice as well. top of Cello Mountain with few competitors ALTHOUSE (Elgar perhaps?). Every cellist who can get the VORAK: Symphony 7; Serenades; instrument out of the case and tuned up thinks D Slavonic Dances; about recording it. We, then, have to choose BRAHMS: Hungarian Dances among Casals, Rostropovich, Ma, Harrell, Hamburg Radio/ Hans Schmidt-Isserstedt Rose, Piatigorsky—and the list goes on. Decca Eloquence [2CD] 4840365 132 minutes Now we have two more from young cel- lists, both still in their 20s. Kian Soltani was A while back I reviewed an Eloquence reissue born in to a family of Persian musi- of a performance led by Hans Schmidt-Isserst- cians; he now holds Austrian citizenship. He edt where I somewhat praised the perform- came up through the ranks as first cellist with ance but thought the sound negated the point the West-Eastern Divan Orchestra under of reissuing it. There is an echo of that in play Barenboim’s leadership, but now he is (Covid here. The monaural sound for the Dvorak permitting) appearing with orchestras around symphony, Slavonic Dances, and the Brahms the world. Immediately apparent is his gor- will not win any rewards; but the performanc- geous sound, particularly on the A string. The es are excellent and in the spirit of all the warmth of his playing is matched by complete works, so they will do nicely for Schmidt-Isser- technical security that conquers any difficul- stedt fans. ties in the concerto. He is aided by the fine The conductor and his German orchestra playing of the Berlin orchestra and terrific produce a Dvorak Seventh that would do sound from DG. The program is filled out by Czech performers proud. I is energetic and five short Dvorak pieces, arranged (three by brilliant. II moves along well, but still manages Soltani himself) for solo cello and a cello to probe along the way. The opening clarinet ensemble—members of the orchestra. These solo is beautifully phrased, and the wood- pieces, all lush and romantic, are simply love- winds produce just the right sound. III is vigor- ly, and one (‘Lasst mich allein’) is the song that ous—perhaps a touch too much—and the trio is worked into the slow movement of the con- exhibits plenty of warmth. The finale is strong certo. and nicely set in the Czech tradition. Even younger than Soltani is Norwegian The four Slavonic Dances (3 from Op. 48 Sandra Lied Haga, who was born in 1994. She and 1 from Op. 72) go well with the symphony too is a fine player with the likelihood of a performances. I found the Slavonic Dances great future ahead of her. She plays the Dvorak boring if I listened to too many in one sitting at tempos almost identical to Soltani, but her until I heard the infectious complete set led by sound is more “stringy”—one might say more Jiri Starek. From the evidence here, a Dorati set nasal—and the Russian orchestra isn’t at the might have been interesting, too. The sound level of the Berlin Staatskapelle. This is cer- for the works covered so far is harsh enough in tainly a worthy performance, but not at the the violins to be bothersome. The performanc- level of Soltani’s. Her companion piece, es are still enjoyable, but they should not be though, is the wonderful Rococo Variations, your only recordings of these pieces. The which she plays with great feeling and securi- Brahms fares best in the sound department ty; and it’s the original version, not heard until because it does not often soar into the high 1941 nor published until 2004. (I also note she violin range. The Dvorak serenades are fine studied for six years with Truls Mork, who performances in decent stereo. What this made a well-regarded recording of the Varia- amounts to is another mixed-quality Elo- American Record Guide January/February 2021 43 quence that is hardly a must, but should be were altos, and their performances are worth welcomed by enthusiasts for the conductor. having, especially Ripley’s, which are in good HECHT sound. Most recordings from the stereo era have been made by mezzos. The best is Janet ELGAR: Cello Concerto; Baker’s first one, with Barbirolli (preferable to VAUGHAN WILLIAMS: Dark Pastoral her remake with Vernon Handley). Other good Dai Miyata; BBC Scottish Symphony/ Thomas ones are Della Jones for her rendering of the Dausgaard—MDG 6502181—40 minutes text delivered in a small voice that adapts well Japanese cellist Dai Miyata, who turns 35 this to the piece, and Brigitta Svenden’s lyrical and year, is in way over his head interpretively in flowing one. Among later recordings that I Elgar’s Cello Concerto. The introductions to I, have sampled are good ones by mezzos Sarah II, and IV are ponderous. He doesn’t give real Connelly with Simon Wright (M/J 2007) and sweep to portamentos. He doesn’t grasp the Kathryn Rudge with Vasily Petrenko (N/D form of II or give full voice to the climaxes. He 2020). treats III as if it’s tender and dainty rather than This is ’s second record- extravagantly passionate (or am I too wedded ing of the work after a decent one from the LP to Jacqueline Du Pré with John Barbirolli and era with mezzo (some say alto) Yvonne Min- the London Symphony?). In the finale he and ton. His present soloist, Latvian mezzo Elina Thomas Dausgaard can’t settle on a tempo, Garanca, is generally associated with lighter and after three minutes the pair simply lacks roles such as in Mozart and Rossini operas and intensity. Nor does Dausgaard draw out the Octavian in Strauss’s Rosenkavalier. She has inner voices of the orchestra. In fact, his tempo also taken on heavier roles like Delilah in the changes in the entire concerto relate so poorly Saint-Saens opera, Eboli in Don Carlo, and the that there’s no natural flow that unites the title role in Bizet’s Carmen. She has sung at the four-movements-in-one work. Metropolitan Opera and appears often at the What’s listed as Vaughan Williams’s Dark Vienna Opera. I have enjoyed her Mozart and Pastoral is really David Matthews taking mate- loved her performance of Wagner’s rial from what Vaughan Williams intended as Wesendonck Lieder from this year’s Salzburg the second movement of a cello concerto he Festival. Her new Sea Pictures makes her one started writing for in 1942 (and of the few non-native English speakers to never completed) and adding his own filler record it, and it is a very different interpreta- and orchestration. Matthews admits that the tion from the British singers mentioned above. piece is about one-third Vaughan Williams Her tone is rich, full, and burnished. The result and two-third him. (I’d make it even more.) is lyrical, warm, and subtle, sung in some ways The motifs are so sparce and so repeated that as if this were Strauss’s Four Last Songs. Her there’s practically no substance to the 11 min- mezzo is somewhat bright in color and light in utes, and the orchestration doesn’t remind me weight. The high register is strong and creamy, of Vaughan Williams at all. To use this as filler and the voice projects well enough below the for a 29-minute concerto is no reward at all. staff to produce decent low Gs in `Sea Slumber FRENCH Song’. Her fastish vibrato is noticeable but not too much. She sings with wonderful flow and ELGAR: Falstaff; Sea Pictures sensitivity. She does not project the English Elina Garanca, mz; Staatskapelle Berlin/ Daniel text as clearly or as dramatically as British Barenboim—Decca 4850968—59 minute singers do, but it is comprehensible. Baren- boim’s tempos are fast. His interpretation Sea Pictures, ’s only song cycle, is matches the singer’s style, and the orchestra based on five poems, one by his wife, Alice. He plays beautifully with a lighter color than wrote it for alto Clara Butt, whose wide vocal usual. Baker and Barbirolli are slower, darker, range allowed for a tessitura that was low for a weightier, and employ much more rubato. mezzo and high for an alto. The only docu- Baker is also closer to an alto than Garanca is. ments I know of her work with the piece are If the latter sings with more flow, Baker caress- two recordings of `Where Corals Lie’ from es notes expressively while keeping things 1912 and 1916. The first complete one I know moving. Ripley (my second favorite after of was with Leila Megane under Elgar’s baton Baker) and the other British singers lie in in sessions from 1922 and 1923. Maria Brun- between but lean toward Baker. Great as Baker skill followed in 1925, and Gladys Ripley in two and Ripley are, there is something hypnotic recordings from 1946 and 1954. Those singers and addictive about Garanca’s performance. 44 American Record Guide January/February 2021 Many Elgarians deem Falstaff the compos- LGAR: Cockaigne Overture; Introduction er’s best orchestral piece. It is unique among E & Allegro; Violin Concerto his output, and I wonder how many people , v; NBC Symphony/ Malcolm would recognize it as Elgar at a first hearing. Sargent, Arturo Toscanini The composer called it a “symphonic study”, Somm 5008—70 minutes but it is a work of remarkable descriptive pow- ers, perhaps even more than Enigma Varia- This is Volume II in a series of remastered tions, though not every conductor approaches 1940s Elgar performances from the US. Mal- it that way. Two of my favorites, Barbirolli and colm Sargent leads the overture and concerto, Boult, take a symphonic view. Solti takes the Arturo Toscanini the Introduction and Allegro. descriptive approach one better and treats it The performances are competent; the NBC almost as a comedy. ’s second Orchestra strings especially play with the recording, on Teldec, is symphonic; but his excellent ensemble and dexterity this music recent effort for Chandos, and one of the best, demands. Menuhin, of course had played the is dramatic. concerto as a teen with Elgar conducting. He This Falstaff is also a second recording for was 29 for this performance and plays the Barenboim, who falls firmly in the descriptive music with assurance and elegant phrasing. camp with a reading that is lively, light in tex- There is a small cut in II and a longer one in ture, and deft in movement. True, the opening III. Done for commercial, not artistic reasons, is somewhat lacking in vigor and a little heavy these shave about eight minutes off the playing on downbeats, but `Eastcheap’ picks things up time. They were all recorded in NBC Studio with added spark and a nice singing quality. 8H, aka the Acoustic Dead Zone Of The Ameri- `Boar’s Head’ maintains that approach with cas. The listener must make some sacrifices. In sneaky but high-spirited caper music. The the Cockaigne, the bass drum accents towards famous bassoon solos are expressive but could the end lack depth. People will buy this be more boastful. The solo work in `Dream recording primarily for its historical value. The sound has the immediacy of radio broadcasts I Interlude’ is excellent in the winds, sad in the remember pleasurably from childhood. solo violin, and beautifully wistful. `Falstaff’s O’CONNOR March’ is a nicely descriptive wake-up, fol- lowed by bustling, jaunty, and lively battle FAURE: 13 Barcarolles music. `Return’ is wistful, and the exchanges Namji Kim, p—Centaur 3820 — 53 minutes in `Interlude’ between the winds and covered string chords are very well done. `New King’ is Kim offers solid interpretations, if a bit limited urgent and hurried in a good way. `Progress’ in range. In the first Barcarolle, her melodic produces some real pomp and virtuosic sound can be a bit thin sometimes, especially orchestra playing, with Falstaff’s death sad and in cantabile sections and the sostenuto sec- sympathetic. This is a fine performance of its tion. When she blossoms into forte dynamics, kind, though I still prefer Boult, Barbirolli, and she could have a fuller sound. She is much Davis’s last one in no particular order. better in the second Barcarolle in terms of It is generally assumed that Elgar does not color and texture. Barcarolle 3 requires a bit travel well outside the British Isles, but the more imagination to come alive, and could be Staatskapelle Berlin sounds comfortable with more playful especially in its key changes. his music, lending it a suave, slightly dark Everything sounds a bit too much the same. color. It does not hurt that they are playing Barcarolle 13 is well played, but again shows under a devoted and experienced Elgar con- limited range, especially in the melody. There ductor. The sound is excellent. Anthony Bur- is no sudden drop of sound or large increase of ton’s notes are thorough for Falstaff, adequate sound in moments that need more build up for Sea Pictures, and include song texts in Eng- and dramatic energy. lish, German, and French. What they do not KANG include is biographical information about Gar- anca. I do not recall Barenboim’s earlier FELDMAN: Coptic Light; recordings of these pieces. String Quartet & Orchestra HECHT ; Vienna Radio Symphony/ Michael Boder, Emilio Pomarico Justice follows the pursuit of truth better than Capriccio 5378—53 minutes truth follows the struggle for justice. Coptic Light, Feldman’s final work, is quite dif- American Record Guide January/February 2021 45 ferent from his pianissimo chamber pieces. Proper Violinist and a Peasant Fiddler and Pal- The orchestral fabric—the work was inspired ace and Peasant Violinist Prepare to Play and by Coptic textile art—is fairly thick, with the Dance a Ballet by Johann Fischer (1646-1716). different instruments slowly weaving in and These are humorous works, and they have all out of each other. The entire ensemble sorts of rude noises added that would never be breathes slowly, or perhaps laps at the shore heard in a concert hall—perhaps to represent like a quiet lake. But the lake is in some alien farm animals. The refinement of the violin is world, and the atmosphere breathed is not of delightfully contrasted with the bold coarse- earth. There is always a feeling of foreboding, ness of the wooden shoe fiddle! Fischer was as if the listener is trespassing. In the last few the spiritual ancestor of PDQ Bach! These two minutes, the anxiety comes even more to the works are the real reasons to get this. I just fore with pointed yet bated warnings from the wish that the booklet gave more detailed notes brass. and photos of the instruments. Good sound. Michael Tilson Thomas’s recording (Argo MAGIL 448513, Nov/Dec 1999) is slower paced: 29:50 instead of 27:26. It breathes more naturally FREDERICK THE GREAT: Flute Sonatas; and has more subtlety. Boder’s is more overtly DE MARCHI: Preludes & Variations agitated from the start, lessening the contrast Claudia Stein; Andreas Greger, vc; Alessandro De at the end. Some things appear more clearly, Marchi, p—Naxos 574250—78 minutes though, including eerie low stirrings in the About half of these selections are unpublished final few bars. or recorded for the first time, including three String Quartet and Orchestra shares many of the six sonatas. Check our Index for other of the same lugubrious tone clusters but is recordings of music by Frederick, his court more static, hovering rather than washing over flutist Johann Quantz, their accompanist CPE you in gray waves. Although this is still not Bach, and the court’s director of music Carl music for the impatient, the ideas change Graun. Three military marches by the king more often; the writing is more pointillistic. appear on a 1994 collection from Capriccio. And are those microtones or approximate There was also a 10-disc set, Music of Old intonation? The performances are fine other- Cities and Royal Courts on EMI, covering Ger- wise. Feldman’s chamber music appeals to me man-speaking Europe in the 18th Century. It more, but I’m glad I’ve heard this. has the only recording of a Symphony 3 in D ESTEP from 1742. Similar collections came to us on Chandos 541 (Jan/Feb 1994: 174) and Harmo- ISCHER: Violin & Viola; F nia Mundi 902132 (July/Aug 2012: 261); a HASSLER: My Mood Is Confused Antoinette Lohmann, v, va; Furor Musicus; Furor flute-guitar program on Meridian 84558 was Agraricus—Globe 5274—65 minutes not reviewed. The notes by Detlef Giese of the Berlin This is one of the most unusual releases I have Opera point out that “almost his entire life’s had to review. Furor Musicus and Furor Agrar- work dates from before the Seven Years’ War in icus specialize in and play on 1756, which brought Prussia and its ruler to period string instruments with harpsichord. the verge of ruin...” What is interesting is that on the two tracks Claudia Stein plays a modern flute, and that include the aptly named Furor Agraricus Alessandro De Marchi plays a fortepiano that are instruments of the type used by peasant is a replica of the king’s Gottfried Silbermann musicians. These instruments are so low-class instrument. The preludes and set of variations that they are generally ignored by old-music come from our keyboard player; one prelude specialists. One of these is a fiddle made from by Friedrich Marpurg is added as well. The a wooden shoe! Another is the bumbass, first De Marchi prelude we hear is for solo which is a bass violin made from a large box, flute. The second is for cello. though it can also be made from a broomstick A considerable range of tempos and ideal with an inflated pig’s bladder attached as the balances among the three performers set any resonator. The kistegitarre is a guitar also further judgements on a favorable basis. Since made from a box. Of these peasant instru- the flutist is at the center of musical activity, ments, the hurdy-gurdy has the most sophisti- she carries the program. “Inflected” is the cated, complex construction. They can be word I’m going to choose to represent an heard on two tracks: The Difference Between a approach to musical interpretation that is fun- 46 American Record Guide January/February 2021 damentally rhetorical or conversational. This three concert-length fanfares: `From the Field is not “historically-informed performance”. to the Sky’ (2012), `United Artists’ (2008), and This approach is based on smoothness of line `Forever Free’ (2013). and evenness among notes. It is never insensi- The big pieces are Christina’s World (1997) tive but could be called conservative. The and Rush (2012). The 14-minute Christina’s vibrato varies from gentle to strong, and World—inspired by the Andrew Wyeth paint- although I never object to what I hear, I would ing—attempts to portray “her world of sea and characterize it overall as dated from our stand- pasture, of yearning for home, and a sense of point. I think you would like this if you had, loss and fulfillment”. Here Fuchs’s ability to say, a recording of Bach sonatas by a modern depict in sound a visual image and the ideas it instrument player such as David Shostac brings to mind is quite evident. At least it is in (July/Aug 2001) or Laurel Zucker (Mar/Apr the opening minutes, where breathy wood- 2002). Her sound is just not consistently as winds seem to conjure the sight of the grassy lovely as Shostac’s. However accomplished her hill. As for the bombastic sections, though, I playing might be, sometimes it is ungraceful, don’t know what they have to do with the even brusque. painting. I suppose that in the end, it is more a After Frederick died, Graun’s successor, piece of music than a sonic portrayal of visual Johann Reichardt (1752-1814), set a Latin text art. based on one of Horace’s odes (What man or Rush is a 2-movement, 15-minute concer- hero—Quem virum aut heroa) by recently- to for alto saxophone and band. Greg Case, married court chamberlain Marquis Girolamo one of the USAF Band’s co-principal saxo- Lucchesini, spelled Luckesini when the work phonists, is the soloist. The opening of I was published the next year. This funeral can- (`Evening’) begins almost inaudibly, Case’s tata was published again in 1912, recorded in very quiet note seeming to grow out of noth- 1983 and issued on LP. ingness. The movement is entirely for wood- In the late 1830s and early 1840s Adolf winds, harp, and quiet percussion. II (`Morn- Menzel worked on 379 woodcut illustrations ing’) begins almost like I, with a very quiet sax- for Franz Kugler’s History of Frederick the ophone cadenza. There is a hint of blues, and Great (1840-42). His later oil painting, “The then the brass join in with energy. I greatly Flute Concert at Sans Souci” (1850-2), enjoyed this fascinating work and the excellent appeared on an ARG cover (Sept/Oct 2013). performance. GORMAN KILPATRICK

FUCHS: Discover the Wild; Point of Tran- FUCHS: Violin Sonatas 1-3 quility; From the Field to the Sky; Rush; United Hyejin Chung; Warren Lee, p Artists; Christina’s World; Forever Free Naxos 574213—86 minutes Greg Case, sax; US Coast Guard Band/ Adam Williamson—Naxos 573567—59 minutes Robert Fuchs (1847-1927) was a much- admired composer and teacher: a friend (and Kenneth Fuchs, composition professor at the occasional imitator) of Brahms, and mentor to University of , has compiled a list a rather astounding bevy of later composers of very good recordings by the London Sym- including Enesco, Mahler, Zemlinsky, and phony with JoAnn Faletta conducting. Here his Sibelius. He wrote in most genres—his string wind music is played by the US Coast Guard serenades are tolerably well-known—but Band, and I must say that after hearing school chamber music seems to have been his pri- band after school band—regardless of their mary line, a fine line if these three sonatas are competence—it is a pleasure to hear one at a anything to go by. (There are at least three professional level. When hearing new works more where they came from, and Chung and played by school bands, one doesn’t always Lee plan to record them all.) know what one isn’t hearing, or what one The first thing one notices in this music is should hear. With a band like this, we hear how easily it slips into and out of third-related everything quite clearly. All of the musicians keys. The first sonata, in the unusual key of F- are excellent, all instrumental sections work sharp minor, spends most of its time some- together beautifully, all contribute to a whole. where else; in fact, there is almost as much F- `Discover the Wild’ (2010) is a rambunc- sharp minor in the following D-major Sonata tious overture, Point of Tranquility (2017) as in this one, because that work, too, con- quite the opposite. The program includes stantly modulates to third-related keys. The American Record Guide January/February 2021 47 effect is at once startling and charming, Galynin also had a strong grasp of how to because the utter naturalness of the moves write for strings, evident on this album. In the mutes their ordinary shock value. 21-minute Suite (1949) Ivan Nikiforchin The slow movement of the First Sonata, shapes I’s energized lines into expressive like the other two in this set (these are all phrases of intensity and tenderness. Accents three-movement works) is wistful and a little have character. The Scherzo has the fleetness sad; the finale brings a return to affirmation, of Mendelssohn and the playfulness of though neither here nor anywhere else does Shostakovich. The Intermezzo, almost a study Fuchs assert any mood with brute force. or etude with hypnotic repetition and a melan- Here as elsewhere, there are one or two choly emotion, is unexpectedly intense. The intensely Brahmsian passages in the piano Finale is almost obsessive as Nikiforchin writing, but for the most part the piano is thin- expands the strings (5-5-3-3-2) to their full ner and more transparent that you’d expect of range; it opens with tightly bound harmonies Brahms. The violin writing is fairly low-key, promising a bright resolve. avoiding the upper regions almost entirely and The five-minute Scherzo (1966) and seven- sticking to the lyrical middle, where it works to minute Aria (1959), which open the album, are best advantage. for violin and string orchestra. It is immediate- The Second Sonata is the real charmer of ly clear that both the orchestra and concert- the three, with a lovely slow movement and a master Anastasia Latysheva are superbly tun- chipper finale that begins almost like a Kreisler ed and perform with tight rhythm and ensem- character-piece, and ends—winningly and ble. The forward motion in the Scherzo is pro- unexpectedly—very quietly with a last pizzica- pulsive but never feels pushed. They also cap- to. The Third is rather different. Unlike the ture the lovely melancholy in the clear harmo- First, it tends to take its minor mode seriously, nic movement of the Aria. The Scherzo was the and so the first movement is tempestuous, last piece the composer wrote. He never heard even blustery. The slow movement is a set of it performed, and this is its first recording. variations—nominally in B-flat, but in fact the The two string quartets are performed by many third-related modulations in the initial the orchestra’s principal players. Quartet 1 (21 theme (replicated in each later variation) minutes) has four clear voices, whose tuning mean that, once again, the music is seldom in and ensemble are flawless. I hear echoes of any one key for long. In the finale the bluster is both Shostakovich and Prokofieff in the music, back, but even that has a sort of rightness yet Galynin combines all elements into his about it. There is nothing in any of this music own voice or style. It’s not the melodies or har- to suggest genuine disquiet. monies but the rhythms and gait that give I its Sibelius is quoted as describing Fuchs identity. Following a short Vivace, the Andante thus: “a clever orchestrator, professional to his is a theme and variations with a difference. It fingertips, and very happy as a composer”. takes work to be conscious of the evolving Damning with faint praise, perhaps—and yet, theme because, as voices enter, they become woven into a denser texture, as if the threads an ideal hopelessly out of reach of most com- are tightening. It’s a haunting trip. The Presto posers. How many, really, could you describe is motive, urgent, pressing, almost a chase, as “very happy”? Certainly not Sibelius him- with a second theme that is more lyrical. Here self. as elsewhere Galynin uses semi-fugal ways of THOMSON developing and modulating the music. GALYNIN: Orchestral Suite; Scherzo; Aria; Quartet 2 was written in 1956, after his Quartets 1+2 series of hospitalizations began. It was first Anastasia Latysheva, v; Academy of Russian performed in his hospital ward. Each move- Music/ Ivan Nikiforchin ment is about three minutes long. The Adagio Toccata 514—65 minutes has tight, sweet harmonies. II is a galop. The Andante has a lonely minor-key melody with ’Here s an album for the person who has every- an intense B section and uses motivic imita- thing. Music by Herman Galynin (1922-66), a tion. The Moderato finale has an accented Russian who led a troubled life: orphaned as a rhythmic melody. Both quartets are well writ- child, survived the war, battled schizophrenia ten, and the players take no note for granted. or bipolar disorder from the early 1950s, and The engineering is warm and balanced. died in an institution, yet composed lucidly What I haven’t mentioned is that Ivan with a secure grasp of form. Nikforchin is 25 years old, and his own lengthy 48 American Record Guide January/February 2021 liner note shows a conductor with the intellec- orchestra, especially the woodwinds. The tual prowess to research extensively a compos- composer follows the expected format of er whose scores have been edited, corrected, opera in his time, yet always does so with and changed over the years to the point of attractive melodies, with the skillful use of the abuse. He founded the Academy’s orchestra orchestra to underline the texts. Some of his and choir in 2016 at the age of 21. It performs operas must be extant; this made me want to mainly in the three halls of the Moscow Con- hear one in its entirety. His music is not quite servatory and devotes itself to 20th- and 21st- on the level of Mozart or even the best of Century Russian music. Concertmaster Laty- Salieri, but it is certainly worth reviving. sheva is 22! I can’t wait to hear more from Ania Vegry has a colorful soprano that she these precocious artists. uses with skill and obvious enjoyment. She While this album is an all-Russian produc- easily accommodates Gassmann’s sometimes tion, you could never tell that by the liner intricate vocal writing. Gassmann requires no notes. Every word is in superb English, and the extremely high notes, but a skilled singer is notes give a thorough history of the composer, needed nonetheless. Vegry specializes in sensible analysis of each work, background on Mozart heroines (Pamina, Ilia, Susanna, and all the artists, and recording details. Bravo, Servilia, to name a few), but she has also sung Toccata! Gretel, Annchen, Sophie, Gilda, and Cune- FRENCH gonde in Bernstein’s Candide. If Gassmann doesn’t really give her a chance to show off her GASSMANN: Opera Arias high notes, she still has charm and musicality. Ania Vegry, s; NDR Philharmonic/ David Stern David Stern leads the NDR Philharmonic CPO 555057—65 minutes effectively. People who love music from this period should acquire this, not only because of Florian Leopold Gassmann (1729-74) is one of the performances, but because it gives a more those composers that most of us have heard of, complete picture of the musical milieu. Excel- but whose music is rarely played. Not much of lent sound, texts and translations. his early life is documented, and some of the REYNOLDS details are lost to time. According to Bert Hagels’s detailed notes, his early musical train- ERSHWIN: Rhapsody in Blue; American ing was from the local church choir director, G in Paris: I Loves You Porgy; Fascinating who discovered his musical talent. Gassmann Rhythm; 3 Preludes; I Got Rhythm fled his hometown in order to avoid having to Shelly Berg Trio; Royal Philharmonic/ José Sere- submit to his father’s dictate that he learn a brier—Decca 28889—77 minutes trade. At some point, having heard that the seat of music was in Italy, he left his native Sign of the times: this is an album produced land and traveled straight to . Many independently and licensed to Decca and hardships later, in the carnival season of 1757 released as Decca Gold. Make no mistake: this he first came forward as a stage composer with is a purely “pops” album. The Shelly Berg Trio the opera seria Merope to a libretto by Aposto- (piano, bass, drums) inserts lounge-lizard lo Zeno. His success grew and for the next five music in Rhapsody in Blue at three different years an opera composed by him was staged in places. Soloist Berg leans so heavily on the Venice, including another opera seria Catone pedal that phrases end with veritable tone in Utica—we have here three arias from it. clusters. Serebrier’s smarmy interpretation of Emperor Joseph II named him the successor to American in Paris end with a lady named Georg Reuter the Younger, the incumbent Ledise singing `Home Blues’. She’s fine, but it’s music director, who had died in March 1771. just someone’s cute idea to add it on. `I Loves He had now climbed to the top in the hierar- You Porgy’ blends into `My Man’s Gone Now’ chy of musical professions in the realm of the from Porgy and Bess as two vocalists alternate Hapsburgs. He was not able to enjoy the post with trumpeter Arturo Sandoval. The 3 Pre- for long; he died January 21, 1774 when he was ludes are in Serebrier’s “oh so cool” (that is, not even 45 years old, following a travel acci- rhythmic) arrangement with a jazzy tilt. And in dent. `I Got Rhythm’—a part rhythms, part lounge- Most of these arias are from his opera lizard arrangement—Berg as piano soloist seria, but a few are from opera buffe. shows he’s not as good he is with the trio. Gassmann’s music is delightful: tuneful, If it’s Gershwin with a “pops” tilt you want expressive, and original in its treatment of the in most of these works, nothing beats Earl American Record Guide January/February 2021 49 Wild, Arthur Fiedler, and the Boston Pops on group, competitive with the Kronos’s pioneer- RCA, and it comes with a terrific Concerto in F. ing work on Nonesuch. If you don’t have that FRENCH set, definitely get this one. GIMBEL GINASTERA: Piano Pieces; see ALBENIZ GORTON: Ondine; see MESSIAEN GIORDANI: 6 Cello Duos, op 18 Charlie Rasmussen, Anton TenWolde GRAZIOLI: Harpsichord Sonatas; Centaur 3819—49 minutes Variations; Pastorale Tommaso Giordani (c1730-1806) spent most Chiara Minali—Brilliant 95935 [2CD] 155 min of his professional life in , though he scooted off to London for a few years following Giovanni Battista Grazioli (1746-1828) pub- an accusation of plagiarism. These are cute lished these two sets of sonatas in Venice in two-movement duos for two cellos. Tim Stern- 1780. It’s the kind of keyboard music where a er Miller’s liner notes inform us that these pleasant phrase goes by, you know what the pieces are listed in various ways in different next three consequent phrases will be, they sources, sometimes referred to as sonatas and happen, and by the end of the piece you’ve published as Opus 18 in Paris and London but forgotten everything that happened. elsewhere as Opus 4. So watch out! I don’t know of any competing recordings. These are attractive, musically straightfor- This performance is probably adequate, ward, almost simplistic works that must make unlikely to be challenged by a competitor the players smile as they do in their photo- soon. graph. They are gracious to each other and Minali says in her booklet essay that blend well in their clear-cut recording. It’s a bit “Grazioli would appear to have been kindly close-up for comfort, but you can deal with and sensitive, and in his compositions his style that. is restrained, elegant, and far removed from D MOORE virtuosic ostentation”. In other words, it’s pret- ty enough but not deeply interesting. She says GOLEMINOV: Quartet 4; that her project is “intended as an homage to a see SHOSTAKOVICH composer who has been wrongly neglected”. I GORECKI: Quartets would suggest that this composer has been Molinari Qt—ATMA 2802—57 minutes neglected because his music doesn’t offer us enough to care about, beyond its moments of These are Gorecki’s complete quartets (there pleasant euphony. This is no Haydn in the are 3). No. 1 (Already it is Dusk, 1988) opens rough. with cosmic mystery and goes on to strenuous All the sonatas are in three movements. dance. Both sections are juxtaposed, ending There is a seven-minute set of dull formulaic with quite meditation. variations at the end. The only organ piece is a 2 (Quasi una Fantasia, 1991) is in 4 move- somnolent Christmassy pastorale that mean- ments. I is a plodding funeral march relieved ders for 11 minutes in parallel thirds and by a Beethoven prayer; II’s march is more sixths. insistent and jagged, but still ends in that Almost everything is in major keys. The left prayer. III (Arioso) follows the same trajectory hand usually has an uninspired series of (march-prayer). Finally, IV’s dance is wild, accompanimental figures from broken triads. with the final prayer resigned. Minali sets impatient tempos with these, but 3 (Songs Are Sung) is by far the most then she slows down temporarily whenever demanding of the set. Most of it consists of the right hand encounters difficulties with unrelenting slow music with little or no relief. faster notes. Misery is the watchword consistently. Some The harpsichord is a modern copy of Ruck- might say that this is a definitive sample of ers from 1638. It sounds decent enough, but “too much of a muchness”, but it may be solace the unisons are out of tune very often when for those seeking encouragement for depres- Minali couples the manuals together. That sion. tuning problem and her hasty tempos give an These are certainly the most important impression that this may have been a slapdash works of this kind since Shostakovich, and project to get through everything in a rush. Gorecki is every bit as individual as any 20th Despite the general thinness of the musical Century master. The Molinari is a superb content, I wanted to hear more relaxation and 50 American Record Guide January/February 2021 grace in it, and more probing to differentiate through, snow that sticks to your clothes, snow the pieces from one another. with ice between its layers, snow with indenta- LEHMAN tions caused by animals, and 14 other kinds— this exercise in musical meteorology is for you. GUASTAVINO: Songs Lament is a 16-minute descent into the Letizia Calandra, s; Marcos , p dark void of despair. A bit of EE Cummings in- Brilliant 95798—58 minutes spired it; but it is beyond words, with the choir, percussion, and a prepared recording creating Carlos Guastavino (1912-2000) was from disembodied voices coming together and Argentina. His ability to match voice and moving apart. Distant thunderclaps in Part II piano led to his being called “the Schubert of got my attention, which means I found La- the Pampas”. He had his own approach to ment more interesting than the Sami snow- music—pretty much a romantic one. He did storm. The notes are helpful and the sonics are not “experiment with sounds”. He simply wrote impressive. 500 intimate pieces, often for voice and GREENFIELD piano—and they all sounded somewhat 19th Century. Why not? He was the most important ANDEL: Arias songwriter in Latin America while he was H , , , Atalanta alive, and he set the poems of all the great Margriet Buchberger, s; Il Giratempo writers, from Pablo Neruda to Borges. Perfect Noise 2004—51 minutes The notes claim, correctly, that “rarely in this global age do we come across a dialog “Proud queens, brave soldiers, and wicked between language and interpretation as per- witches” proclaims the back of this package, fect” as we have here. Even the sound seems giving us the theme of the recital. Handel cer- perfectly suited to these pieces. There is no tainly loved his women and took them serious- “edge”; it is smooth and glowing. ly, writing brilliant music, full of character, for VROON them. The notes tell us that Handel found himself in a sticky situation from 1726 to 1728 HAGEN: Lament; because he had two rival prima donnas, Faust- ASHEIM: Muohta-Language of Snow; ina Bordoni and Francesca Cuzzoni, under NORDHEIM: Aurora contract, both of whom jealously guarded their Hans-Kristian Kjos Sorensen, Daniel Paulsen, claims of superiority over the other, having Terje Viken, perc; Ensemble Allegria Strings; Nor- locked horns with each other on more than wegian Soloist’s Choir/ Grete Pedersen one occasion. Handel did his best to make BIS 2431 [SACD] 59 minutes sure that both singers had sufficient display This probably wound up on the wrong desk. opportunities and that neither felt upstaged by Yes, it’s a choral release, which explains why I the other. got it. But with all the prepared electronics, fly- We can never know today what either one ing saucer noises, and general avoidance of actually sounded like, but Margriet Buchber- melody and rhythm, the music should have ger stakes her own claims to this repertory been listened to by ears more attuned to the with a shining, silvery voice that can move like contemporary idiom than mine. Ah, well. the wind or break our hearts with plaintive The only work making direct use of a text is sounds. The characters she interprets are very Arne Nordheim’s Aurora, which is keyed to different from each other: the ever seductive Dante and elements of Psalm 139. Crafted for Cleopatra, the frighteningly vindictive Medea, choir, soloists, two percussionists, and pre- the powerful, yet vulnerable Alcina, and so on. pared electronic sounds, it is the most colorful Somehow Handel manages to see to the heart work of the program, bells and various combi- of these women and gives us music of incredi- nations of vocal sounds hint at the luminous ble variety. Buchberger differentiates the char- harmony of creation. acters through vocal color and ornamentation The least compelling work is Nils Henrik designed to match the woman she is portray- Asheim’s Muohta, which brings on a comple- ing. ment of strings to accompany a wordless dou- Il Giratempo is an outstanding period ble-choir depicting 18 different types of snow- orchestra that mirrors Buchberger’s singing fall as spoken in the Sami language of the Arc- and assists in her characterizations. The book- tic. If you’d care to meditate on The Language let offers provocative, sometime strange pho- of Snow—snow so deep it must be waded tos of Buchberger in costume for the various American Record Guide January/February 2021 51 roles, though who each is supposed to be is ANDEL: Italian Solo Cantatas not made clear. One photo clearly has Buch- H Ditte Marie Braein, s; Marianne Beate Kielland, berger as Cleopatra with an asp between her mz; Christian Kjos, hpsi—Simax 1365—61 min fingers—though that part of the story happens years after the events of Handel’s opera. Titled “Arcadian Affairs”, this new release The sound is warm and clear. Texts and includes five cantatas for solo voice and basso translations. continuo that Handel composed during his A treasurable disc! sojurn in Italy. Of the three soprano cantatas REYNOLDS (`Nice, che fa? Che pensa?’, `Chi rapi la pace al core?’, and `Lungi dal mio bel nume’) per- HANDEL: Concerti Grossi, op 3 formed by Dite Marie Braein, only `Chi rapi la Berlin Academy/ Georg Kallweit pace al core?’ has other available recordings Pentatone 5186 776—54:11 (Nov/Dec 2001; July/Aug 2006). Braein’s voice It would seem that Handel’s Opus 3 concertos is somewhat covered, a little shrill in the upper are the poorly served step-children among his register, but it is clear and flexible in Handel’s instrumental works. Beginning with John melismas and assured in the chromatic pas- Walsh’s first edition in 1734, which was poorly sages, making this a more effective recording proofread and included what was perhaps a than others. Two cantatas (`Fra pensieri quel spurious concerto (now labeled “4b”), the pensiero’ and `Lucrezia’) are sung by mezzo- problems were compounded even in the soprano Marianne Beate Kielland, whose revised edition. In his review of an earlier voice seems well suited to Handel’s vocal lines. recording led by Lars Erik Mortensen of this `Fra pensieri quel pensiero’ has been recorded set (July/Aug 2012), Mr Barker supplied a con- by countertenors Axel Kohler (Sept/Oct 2009) cise overview of some earlier recordings, and Victor Jimenez Diaz (Columna 384, 2019), prefering five that I also still enjoy: John Eliot and altos Sonia Prini (Ludi musici 4, 2009) and Gardiner (Erato 45981, 1981), Hans-Martin Marie-Nicole Lemieux (Mar/Apr 2003), but Linde (Jan/Feb 1996), Kielland’s interpretation seems to more closely (originally Oiseau-Lyre, reissued on Avie, July/ match Handel’s musical style. Prini’s recording Aug 2006), Roy Goodman (Nov/Dec 1993), also includes Handel’s `Lucrezia’ transposed and Richard Egarr (May/June 2007). Compar- to a lower pitch, as does Kielland. In Prini’s ing these recordings and some of the other dis- interpretation some of the tempos are so slow cussions of Opus 3, it is clear that there is no that she has to take extremely audible breaths single version of these works. Many of the ear- at the ends of some phrases. Kielland’s pacing lier recordings are performances based only is much more natural. on Walsh’s revised edition (Gardiner, Linde, The idea of this recording is shaped by and Egarr). Hogwood recorded a speculative Christian Kjos, who thinks that the solo can- version of the sixth concerto based on re- tatas are more likely to have been performed search into the watermarks on Handel’s origi- by voice and harpsichord only. He has both nal manuscripts. Goodman used that, too, and researched and performed many of the solo also recorded concertos “4a” and “4b”. Both in- cantatas in order to develop accompaniments cluded the second movement of Concerto 6 that are supportive of the voice but also incor- (with solo organ) as an appendix. porate something like what Handel may have This new release, led by Georg Wallweit, is improvised. Compared to all the other record- basically a performance of the revised version ings, in every instance he has made intelligent but lacks drama, contrast, and, like Mortensen, musical decisions that create performances interprets the quicker movements much too that have more flexibility than when other fast, especially in the organ solo of Concerto 6. instruments have been added to the harpsi- chord. Perhaps the greatest contrasts are with Handel’s inventiveness in these works de- two performances of `Lucrezia’ by sopranos serves the full creative engagement of their Veronique Gens (Sept/Oct 1999), who uses a interpreters. BREWER continuo “band” of four instrumentalists, while assembled a mini- orchestra of seven players and arranged extra Fear is more contagious than any other instrumental parts for Magdalena Kozena’s emotion. recording (Jan/Feb 2002). In both cases, the —RUTH ANSHEN, THE REALITY OF THE DEVIL addition of the extra instruments lessens the 52 American Record Guide January/February 2021 possibility for subtle variations of tempo and Countertenor Lawrence Zazzo as Micah has a texture (I imagine that Minkowski actually had tone that is too heady for this role. Bass Luigi to conduct his group). di Donato has serious difficulty with English Much more than an academic exercise, diction in the double role of Samson’s father this new release should be a model for how to Manoah and the Philistine warrior Harapha. I interpret the large repertoire of Handel’s solo find his lyrical delivery of Manoah preferable cantatas. In addition to an informative essay in to the vehemence of Harapha, where his tone the booklet by Kjos, full texts and translations is not always attractive. A pleasant surprise is are included. the clarity and virtuosity of soprano Julie BREWER Roset, who gives stunning performances of `Ye Men of Gaza’ near the beginning of Act I and HANDEL: Samson `Let the Bright Seraphim’ at the end of Act III. Matthew Newlin (Samson), Klara Ek (Delilah), Some years ago, John Barker, our quon- Lawrence Zazzo (Micah), Luigi di Donato dam encyclopedic authority on this repertory (Manoah & Harapha), Julie Roset (Philistine and recordings of it, wrote an overview of Han- Woman & Isrealite Woman), Maxime Melnik del operas and oratorios (J/F 2003). He could (Messenger & Philistine); Namur Chamber Choir; name “only six comprehensive recordings” of Millenium Orchestra/ Leonardo Garcia Alarcon Samson, and found most of them deeply Ricercar 411 [2CD] 2:29 flawed. He expressed enthusiasm for a modern Handel’s Samson (1743) is a product of the instrument recording of 1978 with Raymond composer’s ripe maturity. The work was a suc- Leppard directing a stellar cast of British cess in its day, with several revivals and revi- soloists: Robert Tear, , Helen Watts, sions in his lifetime. There have been relatively John Shirley-Quirk, Norma Burrows, Felicity few recordings, and most of them leave much Lott, and Philip Langridge. It first appeared on to be desired. LP from RCA and was later reissued on CD by The was a concert performance July 4, Erato. Mr Barker praised it for dramatic vitality 2018 at the church of St Loup in Namur as part and lamented the fact that it was then no of the Namur Festival. There are 19 singers in longer available. A quick online search today the choir and an orchestra of period instru- shows it currently available (second hand?). ments. There is no harpsichord in the contin- Barker respected the recording by Christo- uo ensemble, but we have a cabinet organ and phers but found it superficial and lacking in a rather assertive theorbo that introduces the dramatic vitality. recitatives with a bit of noodling. The oratorio GATENS is heavily cut, and many of the recitatives are ARTMANN,E: Piano Quintet; Quartets; abridged. The recording by Harry Christo- H Andante & Allegro phers and The Sixteen (Coro 16008, first issued Elisabeth Zeuthen Schneider, Nicolas Dupont, v; in 1996 on Collins 7038) runs nearly an hour Tony Nys, va; Justus Grimm, vc; Daniel Blumen- longer at 3 hours and 25 minutes. thal, p—Da Capo 8.226183—76 minutes Some concert recordings are almost indis- tinguishable from good studio recordings, but It has been a pleasure to make the acquain- not so in this case. There is a great deal of tance of yet another neglected Dane—musical extraneous noise from standing and sitting, history at a certain point appears to be full of shuffling of pages, and movement on the plat- them—but Emil Hartmann can honestly claim form. These sounds might not even be noticed “unjust neglect”, if this release is anything to go by a member of the audience—perhaps not by. Here is a solid hour and a quarter of very even on a DVD—but here they are a serious fine chamber music, expertly played and near- distraction. Balance is not always ideal. The ly flawless in design. instruments have greater presence than the The obvious comparison point is Felix voices; and if anything, it should be the other Mendelssohn, and not just because Hartmann way around. was ’s brother-in-law, though obvi- The performance itself is highly ously it doesn’t hurt. Hartmann seems espe- respectable but not above reproach. Conduc- cially Mendelssohnian in the G-minor Piano tor Leonardo Garcia Alarcon delivers a reading Quintet, Op. 5, partly because the piano allows with high energy, but in some places it is fran- him light touches his strings-alone writing tic and raucous. Tenor Matthew Newlin sings doesn’t seem to contemplate, but also because the title role with purity and refinement. certain overt resemblances come to the fore. American Record Guide January/February 2021 53 The Scherzo shares its mien and even a good and music authority Jeremy Dibble of Durham bit of its thematic material with Mendelssohn’s University. Most of the texts are by Irish poets. First Piano Trio, while the finale has an The songs are new to me and sound a lot like episode involving a chorale, just like British parlor songs of or oth- Mendelssohn’s Second Trio. For that matter, ers of that period. This seems to be the first the whole texture—flying keyboard, eagerly recording devoted to Harty’s songs. assisting strings—is Mendelssohnian. All the The songs show considerable variety. same, the keyboard can’t exactly dominate a Some have a modal quality. Some are more string quartet as it can a violin-and-cello duo; dramatic, especially `Sea Wrack’, a ballad of the piece becomes a sort of mini-concerto, or two men at sea harvesting seaweed, one of a squaring-off between equal partners (or whom accidentally dies; `To the Gods of Har- antagonists?). Here the texture is close to bour and Headland’ with its rousing piano Mendelssohn, which in piano-quintet terms writing capturing a turbulent sea; and `The means it’s a few decades out of date; Schu- Lowlands of Holland’, Harty’s snappy setting of mann and then Brahms had upended a genre a British folk-tune. Other songs are tender formerly dominated by people like Boccherini. (such as `A Cradle Song’ and `Lullaby’). One The succeeding two string quartets contin- of the finest songs, `The Stranger’s Grave’, is a ue to waft Mendelssohn, with occasional over- pensive and solemn reflection on mortality. All tones of Schumann. Op. 14, in A minor, is the are worth hearing for their romantic melody, jollier of the two, if we can use that word in chromatic inventiveness, and descriptive describing a release consisting entirely of piano writing. music in the minor mode. Indeed, the flow Harty claimed that he transcribed `Adieu, and the general idea of the music suggests Sweet Amaryllis’, the final song of the program, happiness rather than melancholy, and the from “an old manuscript in the possession of performers follow suit. The following quartet, John Broadley, Esq. of Bristol” by John Dow- in C minor (Op. 37) hasn’t the same buoyancy land. No such manuscript is known to exist, and occasionally threatens to bog down. and Dibble concludes that Harty wrote both There remains the Andante and Allegro in the words and the music. The melody is in the A minor, Op. 12, which is for violin and piano Dowland style, but the accompaniment is a and is just slightly too long. I like the piece, but harbinger of what Britten did in his “realiza- towards its end it does seem to become clotted tions” of Purcell songs. with technical difficulties that needn’t be Kathryn Rudge has a warm and sumptu- there. ous voice and uses it exceedingly well whether All of these recordings are world pre- in the dramatic songs or the quieter ones, col- mieres, and it’s frankly astonishing how good oring it effectively. Her voice brought to mind they are. May we all have such people to watch the rich sound of Kathleen Ferrier. Her atten- over our legacies. tion to the text is exquisite. Her diction is THOMSON impeccable, especially her enunciation of con- sonants at the end of words. Texts are included HARTY: Songs but they’re hardly necessary. It would help to Kathryn Rudge, mz; Christopher Glynn, p have some of the Irish texts footnoted to Somm 616—71 minutes explain words and phrases that tend to be unfamiliar to North Americans (e.g. “lovesick Sir Hamilton Harty (1879-1941) was respected lenanshee” or “alanniv asthore”). as a pianist, composer, and conductor of the Christopher Glynn offers nimble and skill- Hallé Orchestra and the London Symphony. ful collaboration and performs two unpub- As a teenager before I knew anything about lished solo piano pieces from early in the com- him I often heard his name on classical radio poser’s life. As a leading pianist of his time when recordings were broadcast of Handel’s Harty always identified his role in song recitals Water Music or Fireworks Music “arranged by as collaborator rather than accompanist. He Hamilton Harty”. called his songs duets for voice and piano and Although he is best known today as a com- explicitly listed his Five Irish Sketches that poser of orchestral music, Harty was also a fine way. Glynn can claim the same title—and the song composer. This release of 23 songs and 2 recorded sound strikes an ideal balance piano pieces includes 17 world premiere between voice and piano. recordings, 5 in new editions created from Harty’s songs may never find a major place original manuscripts by Harty’s biographer in the English song tradition, but they deserve 54 American Record Guide January/February 2021 to be much better known. It is hard to imagine brisk side, sometimes dauntingly so (the finale a more convincing account of these works. of Op. 33:3 was a bit much for my husband, Perhaps with such a fine performance they will though he loved the also nimble one to Op. see new life. Informative liner notes by Jeremy 33:2), but the slow movements strike me as Dibble and full texts in a nicely designed book- just right: not dreamy so much as quiet and let. unhurried but always alert. That includes, inci- R MOORE dentally, the scherzo of Op. 33:3. No. 4 (pace Hans Keller, who hated it for some reason) gets HAYDN: Quartets, op 33 positively goofy in its finale, as it should. Doric Quartet—Chandos 20129 [2CD] 128 min Ah, well, I suppose we just wait for the next opus. Which will it be? I vote for Opp. 54 and Sigh. There goes the Doric Quartet again, 55, but any will do. demonstrating anew, as it has several times THOMSON before (with Opp. 76, 20, and 64), that it proba- bly plays Haydn better than any other ensem- HENRIQUES: Violin Pieces ble on the planet. My joy at this release is tem- Romance; Nordic Dance; Erotikon; Mazurka; pered, just slightly, by a tinge of regret that Romance; Witch’s Dance; Religious; Wiegenlied; they haven’t yet miscalculated anything, so far Kleine bunt Reihe; Canzonetta; Grief; Ballerina; as I can tell. It’s all ideal. Novellettes; Petite Valse; Berceuse By “ideal”, I don’t mean cold or regular or Johannes Soe Hansen, v; Christina Bjorkoe, p pristine; quite the contrary. This Haydn is, Dacapo 226151—77 minutes above all, intensely alive. It has a feline way of leaping, scampering, tearing madly around I once knew a woman who seemed remarkably and then shifting suddenly into deep repose. innocent, naive, and simple; she never spoke a Catlike, too, is the way it handles the tactus. If negative word about anyone or anything, glaz- your idea of Haydn involves anything like a ing over when conversation turned critical or priggish steadiness of tempo, you’d best drop divisive; she deftly reframed horrific situations it. This Haydn stretches, yawns, curls itself up into positive opportunities. She seemed igno- into a little ball and then strikes out with a fury rant of the world or perhaps too foolish to see of spirited scratches. Once or twice I nearly its troubles. Later I discovered her failure to thought they overplayed it—the development descend into polemics against the injustices of of the first movement of Op. 33:2 practically the world was not out of inability, but unwill- halts altogether for a second—but it’s part of ingness; she preserved and pursued thankless their conception of the Haydn string-quartet good will in a bitter and spiteful world. animal that it’s the play of motifs and textures I find the same qualities in the music of that create the tempo. And they do bring it off, Fini Henriques, whose romantic miniatures infallibly. It’s that conception of energy— are overwhelmingly charming, optimistic, and kinetic energy and potential energy, but also deliberately naive. Even the most sober music with the idea of a living mind constantly is undergirded with purity and religiosity, a behind it all—that makes it such exhilarating world view demanding careful introspection music-making. before extrospection, preferring peace over Another part of it is that, though the four discontentment, joy over fatigue, and beauty players aren’t deliberately different in sound over subversion. Only good music can supply from each other, neither do they try to play “as such therapy. one”. They try, in fact, to play as characters in a This is a digestive of violin encores. Out of drama, where the parts are all distinct, all act- 23 tracks, only 3 exceed four minutes; many ing in consort, and yet all reacting in real time follow a standard ABA format. They are to each other’s actions. This is, indeed, exactly delightfully easy on the ears and on the sensi- the conception of Haydn’s quartet texture laid bilities. Nothing much needs to be said about out by the excellent New Zealand-based musi- the performers; they do not get in the way of cologist W. Dean Sutcliffe, who all through this the music; in other words this is a perform- series supplies the program notes. I cannot but ance of beauty and artistry and one of the think he is their artistic advisor as well as their finest I have heard this year. Listeners will not annotator, so closely does their conception of be disappointed. the music hew to his own. KELLENBERGER Articulations are crisp in the fast move- ments, gentle elsewhere. Tempos are on the American Record Guide January/February 2021 55 you’re expecting a suite you’d be wrong. Mau- ERRMANN: H Whitman; Psycho; Souvenirs ceri has expertly constructed a concert work de Voyage William Sharp, narr; Netanel Draiblate, Eva Chao, that uses some of the film’s familiar themes, v; Philippe Chao, va; Benjamin Capps, David including the famous “slashing violins” shower Jones, vc; Post-classical Ensemble/ Angel Gil- sequence. The piece is consistently interesting Ordonez—Naxos 559883—71 minutes as a stand-alone concert work. This is definitely worth your time, and if These three Bernard Herrmann works include you’re a Herrmann fan the Whitman radio the world premiere recording of music for the play is required listening. The orchestra, quin- 1944 radio play Whitman. Radio plays were tet, conductor, and sound are excellent. popular and often produced through the mid- FISCH 1950s. Bernard Herrmann was the music director of CBS when he was commissioned to HINDEMITH: 4-7 write Whitman for the radio network. He was Stephen Waarts, v; Timothy Ridout, va; Ziyu already well known for his film scores to Citi- Shen, va d’amore; Christian Schmitt, org; Kron- zen Kane (1941) and Jane Eyre (1944) and berg Academy Soloists; Schleswig-Holstein Festi- would write many more outstanding film val Orchestra/ Christoph Eschenbach scores. He was also conductor of the CBS Ondine 1357—73 minutes Radio Symphony, where he introduced many listeners to several 20th Century composers. A bit over a quarter century ago, two sets of The text for Whitman is poems by Walt Hindemith’s complete Kammermusiken Whitman arranged by writer Norman Corwin. appeared almost simultaneously on the CD Corwin was known for his radio plays, and in market: one by the Concertgebouw Orchestra Whitman he used the poet’s text verbatim, under , the other by Ensemble only arranging the poems to emphasize the Modern under Markus Stenz. They bespoke a war-time issues facing the country. Corwin, sudden interest in music previously only inter- who also worked for CBS, asked Herrmann to mittently (and indifferently) remembered. write the music for his first text-with-music Other releases followed—I think the Berlin radio play. It was performed only once. The Philharmonic did one—and now there is this piece was restored in 1964, but not performed newest cycle, from the Kronberg Academy again until 2016. Soloists and the Schleswig-Holstein Festival Whitman is a compelling work, and it’s Orchestra under Christoph Eschenbach. easy to understand the effect it must have had The Kammermusiken are chamber con- on war-time audiences. Although some of the certos—and there are only solo parts, though sentiments may seem cloying to today’s audi- after the first work in the series (the famously ences, the poems are used effectively, the mes- bratty Kammermusik 1 of 1920-21, with its sages are clear, and Herrmann’s contributions raucous foxtrot finale ending in a siren (mostly background) expertly supports the scream), there is one very definite primary text. Corwin weaves the poems into a mean- soloist. Here all the solo work is very fine. The ingful presentation of American spirit. He used standouts for me are Stephen Waartz in No. 4 a narrator to convey Whitman’s poetry, and Mr and Ziyu Shen in No. 6. The former has one of Sharp reads these poems with the gravity and Hindemith’s knottier violin parts to cope with, importance of the subject matter. and does it spectacularly—right down to the The Souvenirs de Voyage (1967) is a 3-part extraordinary finale, an unending stream of suite for quintet using themes based on Her- rapid notes as lithe and whippy as a grass rmann’s movie score to Alfred Hitchcock’s snake, around which the orchestra adds little Vertigo. If you’re familiar with that film score punctuations: a note here, a percussion rattle you’ll recognize the music to the seven-minute there, a whiff of waltz time somewhere else. love scene; it is hypnotic and compelling—one Shen handles the viola d’amore part as well as of the great film scores. Herrmann reuses the I have ever heard it done, and with capacious love theme interwoven with other motifs to sound, too—despite the sparse instrumenta- construct one of his most absorbing concert tion, the instrument is still often in danger of works. It’s hard not to like this piece, and the being drowned out. I would love to get a look quintet plays it excellently. at his (or her) instrument. The third work is Psycho: A Narrative for The music is 20s Hindemith, with all that String Orchestra (1968+1999)—a reconstruc- implies, not excluding the sometimes juvenile tion of the film’s themes by John Mauceri. If sense of humor. Hindemith had a sort of tic 56 American Record Guide January/February 2021 involving brass-band, military-style music, his series. Sonata 4 is technically and there’s some of it here, including a whole challenging, with octave runs, 16th notes, run- movement of No. 5, the viola concerto. There’s ning thirds, and lyrical passages. It is full of nothing to top No. 1’s siren in the finale (or for expression, and he executes the passages flaw- that matter the finale of the Fourth—now lessly, with articulations true to the markings. Fifth—Quartet, which sits on a C pedal for sev- Staccatos are precise, and not pedaled. Sonata eral minutes before resolving it into a resound- 6 is even more technically oriented, with dou- ing D-flat-major chord: Ta-da! The End!), but ble thirds everywhere and jumps. There is a there is quite a lot of clumsy jollity nonethe- beautiful cantabile in III. Some of the more less. It’s a thing one comes to miss in later Hin- expressive parts of the movement, especially demith, where the skill has become at once in the upper register of the piano, seem a bit more refined and somehow duller. thin and almost borderline out of tune. THOMSON KANG

HOFFMEISTER: Flute Pieces 1 HVOSLEF: Piano Concerto; Traumspiel; Boris Bizjak; Lana Trotovsek, v; Piatti Quartet Barabbas Somm 620—71 minutes Leif Ove Andsnes; Bergen Philharmonic/ Edward Gardner, Eivind Gullberg Jensen, Juanjo Menja The program consists of a duet, two trios, a Simax 1375- 79 minutes quartet, and a quintet, all for flute and strings. Like Telemann, Franz Hoffmeister (1754-1812) eNorw gian Ketil Hovoslef (b. 1939) writes in a studied law before embarking on a career in free and unpredictable style. His music is com- music; he is remembered today for his pub- pletely original in conception and defies lishing (based in Vienna) as much as for com- description with conventional terminology. posing. He is also the namesake for the The Piano Concerto (1995) is in the usual Hoffmeister Quartet, which has appeared in three movements, though they do not seem these pages several times. If you enjoy music coherent thematically. There is a dreamlike from the late 18th Century you ought to appre- in all these works. The piano writing is ciate his chamber output. It’s like a Germanic sometimes concerto-like but often devolves analog to Devienne. into quiet simplicity. In the faster music I was London-based Slovene performer Boris reminded of Bartok, but the slower music is Bizjak plays a modern Yamaha flute made often more celestial. from grenadilla or African blackwood. He has Ein Traumspiel (Dream Play, 2009) drifts a clear sound deployed here with little vibrato through his unconscious (there is even a waltz and lots of elegance. No matter what he does, drifting in). Coherence is kept at a minimum, the instrument sounds with ease, never giving but if you can keep your attention it is both the impression that the playing is pushed or puzzling and interesting. restrained. Tempos seem well chosen and bal- Barabbas (2004) is written as an “opera ances are superb. The string players who col- without singers”. Its text is from a version of the laborate deliver stylish interpretations that biblical story by Norwegian playwright Michel match perfectly. Such refinement can charm de Ghelerode. It is said to be descriptions of and enchant you to relish what you hear. the prison, Pilate’s mansion, and Calvary; but We missed his recording of pieces for two the musical connection is anybody’s guess. on the Hedone label and his solo album. All told, this is like nothing you’ve ever The Bizjak sisters who perform as a piano duo heard before; snap it up if you are curious. are Serbian and not related. Notes by the pianist and composer. GORMAN GIMBEL HONEGGER: Sonatina; see KODALY IDENSTAM: Metal Angel Symphony 3; see CHAUSSON Gunnar Idenstam, org—Toccata 495—73 minutes HOWELLS: Requiem; see Collections; with anthems; see STANFORD I usually let you know right off the bat what I think of a recording. Here is one that thrilled HUMMEL: Piano Sonatas 4+6 me beyond words. Yet it’s all by a living com- Antonio Pompa-Baldi poser, and it could not have been written 70 or Centaur 3812—59 minutes 90 years ago. Gunnar Idenstam was born in Lappland Pompa-Baldi has released the third volume of (Sweden) in 1961. Metal Angel consists of 19 American Record Guide January/February 2021 57 pieces for large symphonic organ, each associ- John Ireland. When finished it will be the first ated with a different angel “in a fantasy Gothic complete recording of them all. landscape”. He has made 3 suites of 5 pieces Volume 1 makes a strong start with three for this recording, but he also hopes that indi- Masefield settings, beginning with probably vidual pieces will be played in organ recitals. his best-known song, `Sea Fever’. The patriotic (The Toccata in Suite 1 is a good candidate.) `Here’s to the Ships’ mirrors similar songs by He acknowledges the influence of the Elgar, his teacher Stanford, and others from French school. (“Many pieces could most suit- around the time of The Great War. Many of ably be described as French toccatas.”) One or these songs are settings of texts by A.E. Hous- two pieces started life as piano improvisations man: his cycle of five poems from A Shrop- and were later rescored for the organ. Many shire Lad on the shortness of life and another are theme-and-variations in style, and tunes three-song cycle on the theme of finitude, are repeated a lot, as in minimalism—but on which ends with a song without words for an organ you can vary the registration endless- piano solo. ly, so it never seems dull. And you can build The program includes a sequence of war the registrations into something quite remark- poetry settings of Housman, Rupert Brooke, able. and Eric Thurkell Cooper before concluding with five popular ballads he composed under Some pieces are rather hymn-like—you the pseudonym of Turlay Royce. These final can almost hear an angelic choir. Each piece songs sound like they come from the era of has a written description. The overall idea is, parlor songs by Arthur Sullivan and others of “What if there are angels all around us, living that style; they are in marked contrast to in a parallel world, who try to communicate almost everything we’ve heard previously. with us and guide us?” He tells us that the Volume 2 includes two songs cycles, Songs music also reflects our time of conflict and cli- of a Wayfarer and Marigold. These and other mate change and worldwide disease. It was songs have texts by William Blake, Shake- composed from 2013 to 2019. speare, James Vila Blake, Dante Gabriel Ros- This is a wonderful journey in glorious setti, Ernest Dowson, Arthur Symons, and sound. “This instrument has everything I want Emily Bronte. The variety and breadth of these from an organ.” It also has everything I want. songs is impressive, from simple to complex, The listener need not make the whole journey including the impressionist `Penumbra’ and at once, but you should at least once. And the sweet lullaby `Slumber Song’. almost anything you sample will thrill you with Mark Stone studied at the Guildhall School the sheer sound. You may be moved to tears, of Music and Drama. He is a recipient of the as the composer admits he was. (That is an 1998 Decca Prize at the Kathleen Ferrier interesting subject; I have seen other living Awards. In addition to a distinguished career composers in tears listening to their music. It as a song recitalist, he has a commanding must be something like giving birth.) career on the opera stage in Mozart and Let us be grateful that there are still a few Strauss roles. After studying mathematics at composers who can move us deeply—and that King’s College, Cambridge he worked as a there are audio engineers this brilliant. Chartered Accountant and as an investment VROON banker before the sounds emanating from the nearby Guildhall School of Music and Drama IRELAND: Songs (in London) lured him. In an interview with Mark Stone, bar; Sholto Kynoch, p the Oxford Mail he says, “Eventually I walked Stone 80260—67 minutes in, auditioned, and found myself on their (out- 81007—62 minutes standing) opera course.” He studied singing at Guildhall from 1995 to 1998 and founded his Mark Stone is a stalwart advocate for English own label, Stone Records, in 2008 “as a vehicle songs and has been doing a great service for for my own projects” and discovered that it lovers of this literature. He has recorded all the also supplied a means for others to record. songs of , Havergal Brian, Stone’s performance is excellent. He brings Frederick Delius, Ronald Corp, and Charles all the right affect to each song. His voice is Wilfred Orr on his own Stone label. He has warm and elegant. His legato style is attrac- recorded all the songs of Roger Quilter, and the tively flexible, with both sweetness in softer 4th and final volume is awaiting release. He is passages and drama in others. With impecca- halfway through a survey of all the songs of ble diction and careful control over dynamic 58 American Record Guide January/February 2021 shading, these are performances of distinc- tree of Tchaikovsky’s Eugene Onegin. It’s a tion. His fine partner for these program is spirited piece that would be a great encore or Sholto Kynoch, founder the Oxford Lieder Fes- pops concert item, should the latter ever revive tival about 10 years ago, who is particularly the custom of playing real music. The Athens nimble in passages that depict the sea. orchestra and chorus handle their work ably, Stone’s introductory notes give a clear and with Fidetzis’s conducting to match. If you like concise account of Ireland’s life. His notes the music of, say, Glazounov, you’ll find this about each song are valuable. His attentive- recording enjoyable. ness to the nuances of these songs comes O’CONNOR through in performances of great commit- ment. KAPUSTIN: Cello Concerto 1; R MOORE SCHNITTKE: Concerto 1 Eckart Runge; Berlin Radio/ Frank Strobel KALAFATI: Symphony; Legende; Polonaise Capriccio 5362—70 minutes University of Athens Choir; Athens Philharmo- “Transition” is the title of this program. But nia/ Byron Fidetzis—Naxos 574 132—82 minutes what does that mean? Well, as quoted in the Though of Greek descent, Vassily Kalafati liner notes from Der Taugespiegel, “Eckart (1869-1942) spent most of his life in St Peters- Runge embodies a magical mutability beyond burg. He studied at its conservatory under all musical stereotypes and boarder lines.” But Rimsky-Korsakoff and eventually taught there, who is the boarder? and Stravinsky was one of his pupils. He died Nikolai Kapustin (b. 1937) writes in a mod- during the Nazi siege of Leningrad. His sym- ern jazz idiom that turns this listener on and phony (1912) was his dissertation project in clearly does the same for Runge and his col- composition at the conservatory. That leagues. Runge has run over Kapustin before accounts for its traditional musical language with his Sonata No. 2 and three more of his and no doubt its solidity of form. Insofar as pieces (Genuin 89150: July/Aug 2010) played one hears any Russian influence in I, it’s remi- with Jacques Ammon on the piano. I liked that niscent of Rubinstein rather than the Russian one, and the present Concerto, written in 1997, nationalists. Its developments tend to be by is well worth hearing. the book, but are quite compactly put together. Alfred Schnittke (1934-98), wrote Concerto The scherzo uses a lighter touch in its scoring, 1 in 1986; it has been recorded several times. It with pleasing touches of whimsy. The slow is a huge work in four movements, lasting well movement has a somber English horn melody over 40 minutes in this dramatic, thoughtful with pointed woodwind accompaniment. His performance. Torlief Thedeen recorded it development of its material is long on beauty, effectively with Leif Segerstam and the Danish rising to Tchaikovskian heights of passion. IV Radio Orchestra (BIS 507: May/June 1991). is a good and proper finale, alternating three Arved Ashby liked Natalia Gutman’s recording fugal segments with lyrical relief episodes. All with and the London Philharmon- this ingenuity leads to a festive conclusion. ic (Jan/Feb 1993). Mr De Jong liked the even The symphonic poem Legende (1928) was earlier one with Gutman and the USSR Sym- a runner-up in the Russian division of Colum- phony under Gennady Rozhdestvensky bia’s Schubert Centennial contest. That event (Melodiya 67: July/Aug 1992). A little later, I also embraced entries like Brian’s Gothic and heard Maria Kliegel with Gerhard Markson Schmidt’s Third symphonies. The piece sup- and the Saarbrucken Radio Symphony (Naxos posedly uses three Schubert themes. I’m no 554465; March/April 1999). All these are Schubert maven, and I didn’t catch any of important releases, but the new one stands up them. It skillfully incorporates a wordless cho- to them well. rus, and the scoring shows the influence of Runge plays with great variety of approach. Stravinsky of the Firebird—a case of the That is what this highly contrasted music asks teacher now learning from the pupil. The for. He was cellist in the Artemis Quartet for music is consistently pleasurable—I’m a suck- the last 30 years. He will play the premiere per- er for orchestra and vocalise choirs—but so lax formance of the Kapustin next year, and more in structure as to suggest a paste-up of Russian is coming. He studied with Edmond Baert in excerpts. It could make an effective ballet, Brussels and David Geringas in Lubeck. I where the musical logic can be more casual. enjoyed this. The Polonaise (1905) is from the family D MOORE American Record Guide January/February 2021 59 The liturgy commences amid the ominous ASTALSKY: K Requiem for Fallen Brothers tolling of bells. The Kyrie churns but also Anna Dennis, s; Joseph Beutel, b-bar; Cathedral uplifts, the `Rex tremendae’ is majestic to a Choral Society, Clarion Choir, Saint Tikhon Choir, fault, and the `Confutatis’ (with Tolstoy’s Kansas City Chorale; Orchestra of St Luke’s/ words echoing) hits like a ton of Slavic bricks. Leonard Slatkin—Naxos 774245—64 minutes There’s a glorious Sanctus reminiscent of The Don’t confuse this with Memory Eternal, Russian Five and a `Domine Jesu’ that links which also was composed by Alexander Dim- the Roman liturgy with Russian chant and a itrievich Kastalsky in tribute to the fallen text extracted from the Anglican hymnal heroes of The Great War. After much ado, that (“Now the labourer’s task is o’er”). The bass- work became an a cappella affair crafted with baritone sings that handsome arioso, and it’s an eye to the strict rules of musical engage- wonderful. ment set down by the Russian Orthodox I can’t quibble with any element of the Church. Steven Fox’s Clarion Choir-one of the performance. Each of the choirs has a history ensembles in action here—brought that of excellence in the Russian repertoire, and remarkable work to us in a Naxos recording they sound wonderful mixed altogether. The (573889, Jan/Feb 2019). Naxos engineers were able to turn Washing- Kastalsky’s Requiem, though, is a very dif- ton’s cavernous National Cathedral into a ferent affair. He began planning a tribute to the glamorous backdrop for clear and full-bodied Fallen Brothers of The Great War early in the sound. This “World Premiere” performance of conflict, picturing (as the notes say) a “musical Kastalsky’s Requiem was recorded in October, collage” incorporating the liturgical traditions 2018 as part of the centennial commemoration of the original allied powers. This would mean of The Great War. Without question, the work that sacred music from Orthodox Russia and was—and is—a worthy and resounding tribute Serbia, Catholic France, and Anglican Britain to the untold millions whose deaths will forev- was on his mind at the outset. Before long, of er symbolize the grand futility of armed con- course, the European war exploded into a flict. global conflagration as imperial possessions GREENFIELD joined their mother countries on the battle- field, Italy pivoted and declared war on Aus- KHACHATURIAN: Spartacus Adagio; Clar- tria, and America joined up to administer an inet Trio; Dance; Sabre Dance; Lullaby; Violin 18-month coup-de grace to Germany. Sonata; Song-Poem Mariam Kharatyan, p; Adam Gruchot, v; Leonar- Through it all, Kastalsky kept writing, winding do Sessena, vc; Stig Nordhagen, cl up with a multi-national, pan-theological Simax 1373—58 minutes memorial spanning 17 movements. He enriched the Roman Liturgy for the Dead with Ce onfront d with an entire album of Khacha- an opening prayer spoken in Italian, with Zna- turian, the question arises: will his two great- menny chants, Orthodox hymns and bits of est hits be included? Definitely. Don’t be Tolstoy representing Mother Russia, and with fooled by the heading “Chamber Works”, melodies redolent of Serbia and Romania. He because the Adagio from Spartacus appears in also used Anglican hymns and texts, Gregorian an arrangement for piano trio. It is weak and chant representing Catholic France, `Rock of too sweet, a poor choice to open the album. Ages’ from America’s Protestant hymnal, and The trio transcription of `Sabre Dance’, howev- an instrumental `Hymn to Indra’, the Hindu er, does work. The lone Armenian in this God of the Heavens. (India, after all, came in Nordic ensemble, pianist Mariam Kharatyan, with Canada, Australia, New Zealand and sev- and violinist Adam Gruchot bring a gypsy jazz eral African colonies to support the Brits. They flavor to it, and I would favor it over the usual didn’t call it a World War for nothing.) orchestral version any day. This over-the-top diversity might have On the Violin Sonata, the energy level flags exploded into musical gibberish had a lesser a bit, and we are dangerously close here to composer been on the job. Yes, his Requiem is New Age music. In III the pace picks up and it an episodic work as the various languages and becomes more like violin recital fare. Again the melodic references come and go; but there is word “fiddling” comes back to me, and the poignant, majestic music, and the effect of the individual listener will have to decide whether whole thing is moving, if not downright devas- that is positive or negative. tating. The (with violin and piano) is 60 American Record Guide January/February 2021 melodic and occasionally conjures a mood, cello, and English horn). Mr Kirsch expects the but this is simple chamber music. The piano piece to be played alongside the Ravel Intro- parts almost sound like the work of a compe- duction and Allegro (for flute, clarinet, string tent jazz or blues accompanist trying to lay quartet, and harp), and therefore offers a clar- down a basic rhythm for an unfamiliar soloist. inet alternative to the English horn. But I pre- More to the point, the parts just don’t go fer the original. together. Gruchot is expressive, and he works The other pieces are all smaller, but not hard to redeem the piece. On the brief Dance negligible. There’s a solo for English horn (no for violin and the `Lullaby’ from Gayaneh, he harp at all) and two flute-viola-harp trios, the again gets to show some flair. Ending the longer of them with alto flute. There’s a small album, the Poem for violin and piano is a love- work for oboe and harp, a piece for flute and ly six-minute lollipop. harp, and two for harp alone. The last couple This is one of those cases where perhaps are most in danger of falling into the flute-and- the compositions could have been placed in a harp stereotype, but they never really do, more effective sequence. I come away uncon- though they certainly do trip about its edges vinced that Khachaturian was even comfort- sometimes. This is serious music, though also able with chamber music, despite some flash- predominantly tonal and attractive. es of fire from these musicians. At the end, out from behind the curtain DUTTERER steps the composer himself, to play his Op. 3 Pastorale, very nicely indeed. KIRSCH: Isles of Dreams; Elegie; 2 Im- THOMSON promptus; Trio Pastoral; One Summer Day; 3 Nocturnes; Pastorale KODALY: Duo Rachel Talitman, hp; Marcos Fregnani-Martins, with HONEGGER: Sonatina; fl; Dirk-Michael Kirsch, ob; Heike Steinbrecher, SKALKOTTAS: Duo; Eng hn; Laurent Houque, va; Carolina Prieels, vc XENAKIS: Dhipli Zyla Harp 505043—76 minutes Jonian Ilias Kadesha, v; Vashti Hunter, vc Avi 8553017—66 minutes This is one where the cover art put me off lis- tening for some time, but when I did listen I with XENAKIS: Dhipli Zyla; found myself pleasantly surprised, and my VASKS: Castillo Interior; RAVEL: Sonata; delight grew as the program went on. The BARTOK: Romanian Folk Dances (arr) cover art shows a fantastic island scene; one Marc Paquin, v; Orfilia Salz Vega, vc woman strums the harp while the caryatid IBS 92020—73 minutes sometimes built into a harp’s column turns out with KODALY: Solo Cello Sonata; to be another, dancing woman, twirling with LIGETI: Solo Sonata her arms to the sky. Blues, greens, and yellows Hellen Weiss, v; Gabriel Schwabe, vc are the predominant colors. The label, Harp & Naxos 574202—65 minutes Co., apparently specializes in harp music and KODALY: Solo Cello Sonata; is based in Belgium. The list of performers LIGETI: Solo Sonata; starts off with flute (ye Gods, over an hour of EOTVOS: Poems to Polly; flute and harp, thought I) and ends with the KURTAG: Faith; Janos Pilinszky: Gerard de harpist. My apologies to the designer, but the Nerval; Shadows; John Cage Homage; Hilary Jig; general mien of the thing rather yelled “twee” SZABO: Solo Cello with Cowbells at me. Ildiko Szabo—Hungaroton 32813—75 minutes The composer isn’t the harpist but the oboist, and his inclusion of oboe and English Welcome to Kodaly month for violin and cello! horn (and viola and cello) in several of the Both his duo and his sonata are about half an works here bespeaks a stronger and some- hour long and they are beautiful virtuosic times sterner compositional personality. The romantic works written in 1914 and 1915. I Isles of Dreams are the nine Portuguese couldn’t resist piling all four of these recently- Azores, one movement to each. (The middle recorded discs into one review. five, the “grupo central”, get one instrument Kadesha is from Greece and Albania. He per island, the others accompanying; the other lives in Berlin and has a fine history for one so four are full ensemble.) I like the piece very young. Hunter is from London and has an much; there is all manner of textural fun in impressive reputation. They are both mem- there, and some hard noises too (from viola, bers of the Trio Gaspard and are thus used to American Record Guide January/February 2021 61 working together. They begin their present determination, though it should be mentioned journey with ’s `Dhipli Zyla’, that there is a surprising change in the record- written in 1951, a short experiment in sound ed volume halfway through the first move- and fury alternating with questions and ment. Otherwise this is a fine release. answers taken here with an amusing flavor Ildiko Szabo takes over now, all by herself. alternating argument and total agreement. Her program begins with the Ligeti Solo Clearly these two players are out to enjoy Sonata in a more leisurely reading than themselves in the underbrush. The Kodaly Schwabe, though not less exciting. Now we Duo follows, played here with love and detail meet Peter Eotvos in `Two Poems to Polly’, and and a silliness that suits it well. Arthur Honeg- suddenly he (through her) speaks words to us. ger’s 15-minute Sonatina creeps in quietly as But do we understand them? Yes, if the lan- the players whisper together and then knock guage is yours. It’s not mine, and I wish there their heads together as the music directs them. were a translation. But some of it is in English! Finally we have a 20-minute Duo by Nikos But where are we going? I never find out, but it Skalkottas (1904-49) written in 1947—another is beautifully done and you’ll enjoy it as it is. curious and emotionally eventful work power- Back to the cello alone, we have Gyorgy Kurtag fully played. I like the beautiful way their (b. 1926) with a weird collection of short minds work together in performance and their pieces dedicated to different colleagues, end- highly informative liner notes. All in all, this is ing with a World Premiere Jig. The consider- a program to be strongly considered. able 14-minute suite by Csaba Szabo (1935- Paquin and Vega have a more serious 2003) comes in with varied bow-strokes and approach—also effective, but a little less strangely arranged pitches, after which the friendly in recorded sound. They also begin entrance of a cowbell is almost a relief. But with `Dhipli Zyla’ followed by the Kodaly Duo, then his granddaughter Ildiko gets to sing both played with fine style but so dramatically again! Can we take it? Between that and the that you’d better keep the volume down or retuned cello, we’re off into a strange world, you’ll get hurt! Now we meet Peteris Vasks (b. after which Kodaly appears as a welcome 1946) inside a castle, presumably in his native guest. This is the weirdest of the four programs Latvia where we are whispered to until we hear presented here, but it is played with polish and worldly noises outside. It is a work of contrasts, good recorded sound. to which the following Ravel sonata comes as a As you see, these all are worth hearing. To somewhat welcome return to reality. Or is it? It play either of the Kodaly works, you need fin- is a curiously otherworldly piece that fits per- gers of steel and musical depth—and all these fectly here, but is scary sometimes. As a relief musicians have both. from all of this, the players have arranged Bar- D MOORE tok’s Romanian Dances, originally written for piano and later arranged for orchestra by the KOECHLIN: Songs of Nectaire composer. They work well for violin and cello Nicola Woodward, fl alone, and they conclude a sensitive and pow- Hoxa 190207—71 minutes erful program played with passion and fervor. With Weiss and Schwabe, Kodaly takes In case you might not be especially familiar over with not only the Duo but his Solo Cello with Alsatian French composer Charles Sonata, leaving only space for Gyorgy Ligeti’s Koechlin (1867-1950)—quite an unfortunate (1923-2006) little 8-minute Solo Cello Sonata circumstance—check our Index for recordings to separate the two gigantic monsters. The two of his Jungle Book and Persian Hours. The players work so dramatically well together in character Nectaire appears in Anatole France’s the Duo that we miss Hellen when she leaves. Revolt of the Angels published in 1914 and Ligeti sounds so lonely without her. He slithers translated to English that same year. He is a up and down in pizzicato chords and calls out market gardener in Paris who has a boxwood passionately from the stratosphere in his pipe he plays when visited by two angels— `Dialogo’. Then he gets adjusted in the Capric- Arcade, who is male, and Zita, who is female. It cio, and that warms Schwabe up to tackle the was common for stage names in the late 19th incredible Kodaly solo sonata, for which he Century to begin with the letters A and Z. The needs to lower the two lower strings a half- angels say, “play to us on your flute, if you are step. Now you have to play what you see, not not afraid that the Earth and Heaven will be what your eyes tell you is on the page. It’s a stirred to their depths thereby”. The historical tough game, and he plays it with accuracy and basis for the character was Nectarius of 62 American Record Guide January/February 2021 Auvergne, a Christian missionary and martyr place this composition in the wrong year, 1945, in the 4th Century. and state that the songs were written over 4 Between April and September of 1944, months rather than 6. The time span requires Koechlin wrote 96 Songs of Nectaire in 3 sets clarification. Both of the first two books were of 32. They amount to the largest-scale unac- completed in the spring; writing the third went companied work in the flute literature. The through the summer into September. best way to describe them is to quote a pas- The notes could have mentioned that this sage: “Wielded by dextrous fingers and filled work was for Jean Merry-Cohu (1897-1983), an with the breath of creation, the rustic pipe res- electrical engineer and performer whose first onated like a silver flute. The music told of wife, Eleanor Forster, was the sister-in-law of love, fear, vain quarrels, triumphant laughter, Roger Sessions. Merry recorded the Songs on 5 the serene clarity of intelligence, and the long-playing records for the Hachette Sound arrows that pierce the monsters of ignorance Encyclopedia. and hatred. The music also spoke of joy and Morton Feldman’s “dedication” pieces For pain bending their twin heads over the Earth Philip Guston (1984) for flute(s), piano or and of the desire that creates worlds...” That celeste, and percussion and For Christian last phrase became No. 26 in this set. Wolff for flute and piano or celeste are similar In 1996 Alexa Still recorded some of all in scope though not solo and exist in one large three sets for Koch International (7394). Also glob, not as a set of miniatures. Anyone who that year Brazilian flutist Jose Ananias Souza might like the Koechlin or Feldman simply Lopes made the first recording of `Play of the must have the recording Marieke Schneemann Light’ (Op. 198:3) along with three others on made of solo flute works by Eugene Bozza on Paulus 11418 produced by the Society of Saint Brilliant (Nov/Dec 2018), too. Paul in Staten Island, New York. In 1997 and GORMAN 98, the eminent Pierre-Yves Artaud, who spe- cializes in avant-garde playing, recorded the KOMITAS: Divine Liturgy entire set; later, so did Dutch flutist and broad- Agate Burkina, s; Armen Badalyan, Janis Kursevs, caster Leendert de Jonge on Basta 3091552 Karlis Rutentals, t; Gundars Dzilums, bar; Hov- (not reviewed), which has a 32-page booklet. hannes Nersesyan, b; Latvian Radio Choir/ Sig- In between, American flutist Francesca vards Klava—Delos 3590—80 minutes Arnone made the Songs of Nectaire the sub- ject of her doctoral thesis at the University of Soghomon Soghomonian (1869-1935), com- Miami. In the autumn of 1997, Christina monly known as Komitas, was a force in the Singer recorded some of all three for Bayer world of Armenian music. He was the compos- (100106, July/Aug 1999). Michel Debost er, ethnomusicologist, conductor, arranger, recorded a few pieces on Flute Panorama 3 and priest who embraced the folk traditions of (Skarbo 1993, Jan/Feb 2000: 197). Arnone his homeland and, as the notes put it, “detect- included a significant portion of Opus 198 on ed the tectonic kinship of folk music to the her debut recording named after one of the music of the Armenian church”. His take on pieces, Games of Light (MSR 1457, July/Aug Orthodox liturgy was completed early in 1915, 2014: 169). just weeks before the Turks unleashed the hor- Nicola Woodward has been placed in a rors of genocidal murder on the Armenian very resonant space. Her sympathetic rendi- population of the Ottoman Empire. Komitas tions merit attention. She can accent and honk survived the killing fields but was gutted emo- as well as taper and whisper. Her very full tionally with a severe case of PTSD that never sound is a pleasure to hear, and her deft fin- abated. He spent the last two decades of his gers never seem to err, even given a workout life in psychiatric facilities near Paris. representing victorious laughter. On Bayer, In 2019, the 150th anniversary of the com- Christina Singer has been placed in a sound poser’s birth, these singers became the first- space just as resonant, and her sound is if any- ever non-Armenian choir to perform and thing lovelier. I also like Francesca Arnone on record the Komitas Liturgy. Maestro Klava and MSR, both when she is big and blowsy and soft his choir made use of a new arrangement by and intimate. In his brief contribution, Jose Vache Sharafyan who added women’s voices Ananias Souza Lopes has a sound so vibrant to the all-male original and streamlined the it’s almost unbelievable. score to make it more amenable to the concert It is unfortunate to have so little documen- hall. Even with these changes, I suspect Komi- tation accompanying this release. The notes tas remains better suited to the cathedral. I say American Record Guide January/February 2021 63 this not just because the interpolations from In fact, by the time a third trio comes the Deacon and Priest interrupt the choral along, the one in F (P.IX:12), you already know flow on occasion, but because a lot of the writ- what to expect: affable chamber music with ing comes in short bursts that don’t always set- keyboard fireworks. Kozeluch was popular in tle in as full-scale choral masterpieces. his day, and it’s easy to hear why. If Trio 1790 The ineffably beautiful Sanctus is a true intends to go further, I’m hoping that the stunner that runs for 4 minutes, with the bass Czech has a curve ball of some sort. soloist (Priest) appearing briefly at the end. DUTTERER `Who is the Lord Our God’ for the choir and solo tenor takes a little less than 3. I could see KRIEGER: Harpsichord & Organ Pieces both works gracing any choral concert any- Alejandro Casal where. But most of the other interludes are Brilliant 95873 [2CD] 136 minutes either much shorter or intensely collaborative This is Johann Krieger (1652-1735), not his affairs with the priest or deacon interacting more prolific older brother, Johann Philipp with the choir. What can I say? To me, it felt Krieger (1649-1725). He published his two much more like a church service than a con- books of keyboard music in 1697 and 1699. cert. The choir is wonderful, with the modal Book 1 is mostly six partitas (dance suites), shakes and squiggles of the Armenian style plus a handful of extra dances. Book 2 has sounding exotic and spiritually charged. I also ricercars, fugues, toccatas, and preludes. The admire the soloists who are strong, but lyrical last two pieces in the 1699 book are the most enough to spin out lines of Armenian chant ambitious: a nine-minute chaconne as a con- without wobbling out of control. For some rea- tinuous variation set, and an organ toccata son neither my Onkyo player nor the family with an athletic pedal part. Bose would accept the digital coding on this As one might expect from turn-of-the-cen- disc, which played on the car stereo only. tury music in Germany, this sounds like GREENFIELD Pachelbel or Kuhnau. (Krieger and Pachelbel had the same teacher.) Krieger’s signature tic KOZELUCH: Trios 3 is to use chromatic scales as melodies. Trio 1790—CPO 555096—58 minutes Casal plays fittingly and cleanly. To break up the sameness of pieces in Book 2, he Given a name like Trio 1790, you can be switches to organ for about half of them and assured of period instruments and little- plays it with a similar efficiency. This organ in known composers, and these veterans are in a Portuguese cathedral has Herbert Kellner’s their element completely with Kozeluch, a temperament from the 1970s. Casal’s harpsi- Czech admirer and rival of Mozart. I reviewed chord temperament for everything else is a Kozeluch’s so-called Scottish Trios by the regular 1/6 comma, but adjusting the sharps same ensemble (N/D 2018), finding them to and flats as needed. be a fine stylistic bridge between Mozart and In Book 1 he sometimes pauses so long Beethoven; the works here are in the same between phrases that the meter becomes mold. ambiguous, perhaps in an attempt to make the Published in the 1780s (when such works music more artful than it is. The Corrente of were still a bit of a novelty), Trio in A (P.IX:8) is Partita 3 should flow in a more obvious dance a fairly standard Viennese School piece. All meter. My body wants it to flow as a simple three musicians are up to it, but Harold dance without any interruptions. Overall, Hoeren stands out with his robust tone on the though, this is a minor complaint, and I didn’t fortepiano, which is hardly usual for this notice any of those extra-long pauses happen- instrument. In Trio in C minor (P.IX:11), he is ing in Book 2. perhaps a bit too dominant, though that is also We have heard Alejandro Casal before, in how pieces like this were often written in those his set of pieces by the likewise neglected early days—keyboard-heavy, with strings in Sebastian Albero (Sept/Oct 2016). I don’t the background. This is a graceful composi- know of any competition in Krieger’s keyboard tion, stylistically impressive, especially the music, except for one fugue that Edward Par- closing Allegro. Based on the trios, he was per- mentier recorded (Wildboar 9202, May/June haps average at melody, and better than that at 1999: 177). flair, though there are no nuances or dynamic LEHMAN surprises to speak of. 64 American Record Guide January/February 2021 the inauguration of this instrument the year UHNAU: K Sacred Pieces 5 before he died. It has a more substantial tone Gott Sei mir Gnädig; Ich Habe Lust Abzuschei- than most of the cabinet organs often used for den; Erschrick, Mein Herz; Weicht, ihr Sorgen; baroque continuo. The vocal ensemble Opella Singet dem Herrn Musica was founded in 2011, and here they Opella Musica; Camerata Lipsiensis/ Gregor sing one voice to a part with instrumentalists Meyer—CPO 555 260—68 minutes of Camerata Lipsiensis. These are highly pol- Johann Kuhnau (1660-1722) is probably best ished and poised performances with few if any known today as JS Bach’s predecessor as rough edges. The lowest bass notes are Thomaskantor in Leipzig, a position Kuhnau uncomfortably low for the singer and barely held for 21 years. His obituary suggests a volu- audible, but apart from that one cannot find minous output of original sacred vocal compo- serious technical fault with these performanc- sitions, possibly more numerous than Bach’s, es. but only a small fraction of them—a little over Three earlier recordings in this series have 30 pieces—survive today. Some of them have been reviewed. Lindsay Koob reviewed the conflicting attributions. This is the fifth volume first volume (CPO 777 868; M/J 2015), Peter in a project to record all of his sacred vocal Loewen volumes 2 and 4 (555 020; J/A 2017 & works. 555 190; J/A 2019). It is reassuring to be so In his notes to this recording, Michael much in agreement with my colleagues as to Maul points out that Kuhnau holds an impor- the worthiness of the music and the beauty of tant place as a transitional figure. He inherits the performances. the tradition of the early baroque sacred con- GATENS certo with its free- flowing, multi-sectional structure oscillating between declamatory and KUNC: Quartet 14; lyrical delivery by solo voices and ensembles LHOTKA: Elegy & Scherzo; with instrumental accompaniment. He also SLAVENSKI: Quartet 4 Sebastian Quartet—CPO 555 297—56 minutes left examples of cantatas after the model of Erdmann Neumeister, whose cantata text cycle There will be aficionados who see these com- Geistliche Cantaten Statt einer Kirchen-Music posers’ names and grunt with recognition, but was first published in 1702 and advanced an not me. Still others might shrug and move on, ideal of a multi-movement work with chorus- but unfamiliar 20th Century chamber works es, recitatives, arias, and chorales. These five make me curious. For that matter, the some- pieces represent different stages in the transi- what psychedelic landscape on the cover is so tion. unexpected, so incongruous really, that it Gott Sei mir Gnädig, a penitential work makes the whole package impossible to based on , displays the heritage of the ignore—which is a good thing. ; Ich Habe Lust Abzuscheiden The brother of soprano , has the ingredients of a Neumeister cantata. Bozidar Kunc (1903-64) was a Croatian trans- After an opening instrumental sonata, plant to America. If Bartok is your limit in Erschrick, Mein Herz consists of a series of modernism, not to worry; Kunc is on your side alternating recitatives and arias for solo bass of the line, and with his danceable rhythms followed by a chorus. Weicht, ihr Sorgen has a and colorful style he bears a superficial resem- similar sequence of recitatives and arias for blance to the Hungarian composer. solo soprano, but no opening instrumental The 1931 Quartet in F is his only foray into movement or concluding chorus. Singet dem the genre, but it is a worthy one. Its swirling Herrn is an exuberant setting of Psalm 98 with Con molta vivacita is a charmer, and II is a a pair of trumpets and timpani in addition to tearjerker in the manner of Shostakovich. III is the strings and continuo. The final movement as long as the two preceding movements com- is a concerto-like composite of solos and cho- bined; it is a tour-de-force of folk rhythms ruses. Kuhnau’s recitatives tend to have a blended with a European cosmopolitanism. stronger melodic profile than what we normal- It’s almost hard to believe that a quartet can ly associate with secco recitatives of the 18th sound so busy and orchestral. Century. Fran Lhotka (1883-1962), a pupil of Dvo- The recording was made at St George’s rak, moved to Croatia to make his mark there, church in Rötha using the 1721 Gottfried Sil- above all as a teacher and as the composer of bermann organ. Kuhnau himself took part in the 1935 ballet The Devil in the Village. The American Record Guide January/February 2021 65 1931 Elegy and Scherzo is an overlooked gem. their enunciation is flawless. Libretto and The elegy half is a melodic, slightly shrill 8- notes are included. minute movement that reminds me a bit of GIMBEL Janacek or Pavel Haas. Melodramatic but effective, it would lend itself to a movie—not LATOMBELLE: pieces from the 30s, but perhaps the European cine- Fantasy; Impressions Marinales; Livre d’images; ma of the 50s. The vaguely oriental Scherzo is 3-Cello Suite; Piano Quartet; 5 choral pieces; 10 a pizzicato showcase, and its mood swings songs; Andante espressivo; Cello Sonata; Fan- keep it interesting. taisie-ballade for Harp Josip Stolcer Slavenski (1896-1955) is not a Hannes Minnaar, David Violi, Jeff Cohen, Pascal name you hear every day (though our Editor Amoyel, p; François Salque, Hermine Horiot, Adrien Bellom, Pauline Buet, Emanuelle Ber- has Slavenski LPs). His fourth and final quartet trand, vc; Guillaume Chilemme, v; Marie dates from 1938, and at 15 minutes it is all too Chilemme, va; Yann Beuron, t; Nabila Chajai, hp; brief. The movements are distinct, and his Flemish Radio Choir, Brussels Philharmonic/ ideas are fresh. It is ethnic, creative, and mys- Herve Niquet—Bru Zane 38 [3CD] 200 minutes teriously joyful, and I am again reminded of Haas. The ending is so abrupt that I can’t help This belongs to an extravagant, lavish series of going back to it to savor it. books-with-discs hailing little-known French Founded in 1982 as the Zagreb Youth composers of the late 19th Century. The pres- Music Quartet, the Sebastian Quartet has ren- entation really is stupendous: essays on all the dered Croatian music a major service with this music and on the composer in French and album. These artists play these pieces like they English, many finely reproduced engravings are eminent parts of classical repertoire, which and photographs, texts and translations—all is a compliment that the composers deserve. bound up in an actual book to which the mere The liner notes are average, and so is the CDs seem almost an afterthought. If that’s sound quality, but the music speaks for itself. what passes for neglect in France, count me in. DUTTERER Fernand de la Tombelle seems to have been close to many French musicians of the KURTAG: Solo Cello Pieces; see KODALY late 19th Century, as well as some outside of France; but his enthusiasm for them appears LANG: Prisoner of the State not often to have been reciprocated, which is Julie Mathevet (Assistant), Eric Owens (Jailer), an honest pity. The music here is extremely Alan Oke (Governor), Jarrett Ott (Prisoner); Con- wide-ranging: piano and orchestra, a couple of cert Chorale, / Jaap Van , choir and solo voice, a suite Zweden—Decca 32107—65 minutes for three cellos, a cello sonata, a piano quartet, a largish work for solo harp. David Lang’s Prisoner of the State(1999) is a The man had range, and at his best used it rewriting of the text of Beethoven’s Fidelio to sparingly and well. That three-cello suite, for illuminate some of the subsidiary characters example, does not overreach itself, but sits just that Lang feels are underdeveloped: the feel- where such a work ought to, fetching and ings of the prisoners and their plight, the Jailer, charming and, in the finale, sufficiently virtu- Governor, his young assistant, and the prison- osic to make listeners sit up and take notice. In er himself. Machiavelli, Jeremy Bentham, the same way, the cello sonata (played here by Rousseau, and Hannah Arendt are quoted. Emanuelle Bertrand and Pascal Amoyel, as is Lang’s setting is tonal and not minimalist, the the Andante espressivo preceding it) is style he is most known for from his Bang on a designed so as to be brilliant without gaudi- Can, much faster Marina Marina days. The ness. The 10 melodies (6 songs with La operas of come to mind, but Tombelle’s own verse, plus 4 additional ones) Lang’s work is simpler and more “operatic”, as are most capably sung by Yann Beuron, Jeff in American operas of the 40s and 50s (Jack Cohen accompanying. The choral works fare Beeson, for example). His text wants to fill in less well, but I can’t help but love the opening what Beethoven left out, and music he might `Le Furet’ (The Ferret), where the choir have written. The project is effective enough, metaphorically casts its eyes about avidly but this update is clearly not more than an seeking the little furry beast. appendix in modern terms. The result is easy The orchestral music is a mixed bag. The to follow, since these performers’ English and Fantasy with piano is all right, but the suites 66 American Record Guide January/February 2021 following it seem wan, washed-out—”atmos- Lehar. He was in the midst of writing the pheric” music with insufficient air. This is operetta Libellentanz (1923) and the Berlin despite every care having been taken to supply premiere of Frasquita (1924), leaving only a variety and light; I admire the delicate writing month to complete the score before the for woodwind, including the English horn in planned March 1924 Vienna premiere. The Impressions Marinales, but it still doesn’t Cloclo character was fashioned after the flap- make for really robust music. pers of the 1920s who lived a “free” life. The The piano quartet is actually one of the operetta was a success and won rave reviews stronger things here, music that can stand up from the critics. But later and international well to what French competition there is (at productions were not well received, possibly least, before Fauré); and the harp Fantasy-bal- owing to the racy storyline. The operetta van- lade is for once worthy of that overwrought ished until 1971, when it was presented in title. Performances are first-rate, some trou- Dresden. bles in the choir and in the orchestra apart; The show has one of Lehar’s best contem- and in general the enterprise stands up well to porary scores with shimmys, two-steps, and the absurd standard set by its externals. blues numbers—song styles you normally THOMSON would not attribute to Lehar. There are also the ballads and waltzes, but the whole show is LEHAR: Cloclo designed to be up-to-date, with the latest Sieglinde Feldhofer (Cloclo), Gerd Vogel (Sev- musical styles. Cloclo points up his adaptabili- erin), Daniel Jenz (Maxime), Suzanna Hirschler ty, craft, and showmanship. Based on this (Melousine); Lehar Festival/ Marius Burkert wholly enjoyable performance, it should be CPO 777708—122 minutes revived more often. Sieglinde Feldhofer has appeared in many Cloclo is a rarely performed Lehar operetta that is an absolute treat. The music is wonder- of these Lehar Festival recordings, and she ful, and the racy comic story is entertaining if continues to improve. Her voice is beautiful somewhat far-fetched. Cloclo is a Paris dancer and she is a good actress. She knows the who is visited by Severin Cornichon, the meaning of the songs and performs them with mayor of a small town. Cloclo tells him that conviction. Gerd Vogel is an enjoyable, bum- she is in need of money and has already sent a bling Severin, and Daniel Jenz an affable letter to his home asking for the money. Corni- Maxime with a handsome tenor. The rest of chon tries to prevent his wife Melousine from the cast is skilled; orchestra and chorus are seeing the letter, which is addressed to “My excellent. Marius Burkert leads a spirited per- Dear Daddy”. But she does see it, reads it, and formance. The recording is better than in thinks that Cloclo is a little girl and possibly an some other shows from this source. The stagy illegitimate child of her husband. She is sound balance and miking has been corrected thrilled to have this unexpected addition to and stage noise reduced to the point where, her family, since she and Severin are childless. except for audience applause, this could be a Melousine happily invites Cloclo to their studio performance. There is an interesting home. German and English booklet describing the Cloclo is in a hurry to leave Paris, because show’s history. It includes performer biogra- she is about to be arrested for slapping a phies. There is no libretto. policeman. Surprised to see Cloclo in his FISCH house (he thinks he has seen a ghost) Severin EMAITRE: Orange & Yellow II; Thot; fumbles an introduction, but Melousine L Stances; Mnaidra, Plus Haut enjoys having Cloclo there and calls her Dan Barrett, Stanislav Orlovsky, vc; Michiyo Babette. Cloclo is quickly bored with small- Suzuki, cl; Jed Distler, p town life, but her ex-boyfriend Maxime arrives New Focus 276—44 minutes to profess his love. During a presentation cere- mony for the mayor, the police enter his house Dominique Lemaitre (b. 1953) is new to me and arrest Cloclo. To diffuse the scandal, and apparently to ARG as well. He studied Melousine accepts that her husband has only musicology at the University of Rouen and strayed and she will forgive him. The mayor composition with Jacques Petit. He has written reprieves Cloclo for the slapping incident, and more than 100 works and has a fine reputation Cloclo and Maxime become engaged. and several recordings already. Cloclo was written in a very busy period for Brace yourself! This recording is extrava- American Record Guide January/February 2021 67 gant in sound. The echoes suggest more Bigger describes them. The playing captures instruments than are actually playing. It opens the romantic language of these works and with a transcription of a work originally writ- does not compromise on the technical ten for two violas in 2009, here heard with two demands. 2 Piano Pieces are buttery smooth cellos, written in homage to Morton Feldman. with lovely cantabile playing. The 4 Pieces are There are lots of sound effects and suggestions sentimental. that we might be going somewhere, but The pianist brings out the different charac- though the cellos chase each other about and ter of each piece. Some are more fluffy, such as join each other in varied ways, they are really the Pastels. All are well played. These pieces out there to surprise and shock us, not to play would also make excellent teaching tools. music. KANG A clarinet enters for Thot, notably pure in sound, then joined by cello harmonics, etc. LHOTKA: Elegy & Scherzo; see KUNC The sound is fascinating. The world comes in from outer space. Dan Barrett is left alone by LIGETI: Etudes; Horn Trio himself in Mnaidra, where he plays and Adam Unsworth, hn; Eric Huebner, p; Yuki plucks. There are lots of sonorous harmonics Numata, v—New Focus 269—64 minutes and whispers and exclamations, but we’re These transcendental etudes (1985-94) outdo going nowhere. In comes a piano, moving the his compatriot Liszt’s in modern terms. The 14 cello away from the microphone for Stances. studies blow the mind and fingers to the fullest Here we become engulfed in “pitch reservoirs”, possible extent, but are thrilling to listen to as the liner notes inform us, for nearly 14 min- individually or as a sets (two books). They are utes. It’s all sound, though no fury; harmonics, filled with dizzying polyrhythms and touches scalar passages, harmonic discrepancies, and of jazz, breathtaking scales, folk-like frag- occasional noses in the grindstone, inspiring ments, and sumptuous harmonies. Mr Huebn- criticism but not real enjoyment. Finally, we’re er shows impeccable technique and musicali- back to lonely cello in Plus Haut, a 10-minute ty. piece that tries first to put us to sleep, then The Horn Trio (1982), inspired by the shocks us awake. Finally it deafens us with an Brahms, continues the hair-raising piano writ- endless high-register note, after which we are ing of the etudes and adds challenging parts out of danger, I hope! for the violin and horn, especially the latter, If this seems less than positive, don’t let which can become trying in Mr Unsworth’s me discourage you from it just because I found grappling. The final `Lament’ brings the piece it more sonoric than musical. It is recorded to a mournful close. with clarity and played with conviction. Per- There are now a number of recordings of haps it is significant that it is presented by the etudes, so check couplings. International Street Cannibals. GIMBEL D MOORE LIGETI: Solo Cello Sonata; see KODALY LESCHETIZKY: Piano Pieces Tobias Bigger—BIS 2518—59 minutes LISZT: Hungarian Rhapsodies (15) Martin Ivanov, p Theodor Leschetizky (1830-1915) is rarely Gramola 99222 [2CD] 114 minutes played today. Mr Bigger found his music through an interest in Ignaz Friedman, a pupil If you are thrilled by anything Liszt wrote for of Leschetizky. As he started to learn about piano, here is one of the rare recordings of all Leschetizky’s students, he released a 2009 the Hungarian Rhapsodies. Well, one needs to recording and learned through the German explain that these were published as a set in Leschetizky Society about the “shadowy exis- 1854. Many years later—about 30 years later, in tence” of his works. The liner notes tell us that the 1880s—he wrote 4 more. Mr Ivanov says this composer started teaching at 14 years old, they are a different animal and they bore him. and was mostly known as a skilled teacher and Their presence here would also be “jarring”, director of the piano faculty of the St Peters- says the writer of the notes. Their style is most- burg Conservatory. He had many students, ly too different. which may have led to his composition career Well, I have never been a Liszt Com- taking a back seat. pleatist, and I always prefer recitals with pieces Yet there are many “treasures” here—as from various Liszt collections. I have never had 68 American Record Guide January/February 2021 the patience to listen attentively—to really Meyerbeer lasts a mere 15 seconds. The bal- hear—all the Hungarian Rhapsodies on the ance is of more substance, though that would piano. 6 of them were orchestrated, and those really depend on whether one likes Liszt or are very pleasant. I have a piano recording of 8 not. The Midsummer Night’s Dream selection of them by Balint Vazsonyi that I still treasure. is a spellbinding amalgam of the Wedding It’s a bit rough, not over-refined but quite folk- March and fragments of the Fairies Dance. like; and it’s 55 minutes. It has all the ones that This is probably of greatest interest to the I like on the piano, and stirringly played. But I dedicated Lisztian, but Ivanov is well up to the have no idea whether you can find that very task and supplies the requisite thrills and Hungarian recording these days. (It was issued chills. The timing is generous, and Keith on CD, but in 1988.) Other pianists have Anderson’s notes are good but in minuscule recorded the rhapsodies, and I think most of type. them are rather generic—general musicality. BECKER They are even sometimes genuinely Lisztian, but almost never very Hungarian. I have at LULLY: 1778 least four other recordings of individual rhap- Veronique Gens (Armide), Reinoud Van Meche- sodies on the piano; all are better than here. len (Renaud), Tassis Christoyannis (Hidraot, La So you have here the entire first set of Hun- Haine), Chantal Santon Jeffery (Phenice, garian Rhapsodies (and you don’t need the Lucinde); Le Concert Spirituel/ Herve Niquet other 4), and they are expertly played; but they Alpha 973—137 minutes become tiresome after a while, and they don’t This interesting recording is the 1778 version have much Hungarian flavor. (I made chicken of Lully’s 1686 opera. About the time of French paprikas twice this week; I know Hungarian Revolution there was a reconsideration of the flavors! I have also been to Budapest a few older French baroque operas. Although times and been a friend and neighbor to Hun- Armide was still occasionally performed, a garian immigrants. I say this only because a major revision was considered necessary to reader might reasonably question whether I appeal to “modern” audiences. For the 1778 have any idea what I am talking about!) version, the opera was updated by several By the way, No. 2 is the best known. Also, composers. Interpolations and ballets were the numbering of the orchestral versions does added, the orchestrations were expanded for a not always match the piano ones. That had me larger orchestra, the harpsichord was eliminat- confused for years! Orchestral 1 is piano 14, 2 ed, and the spoken recitatives were sung. With is 2, 3 is 6 on the piano, 4 is 12, 5 is 5, and 6 is 9. all the effort made to update the opera, the All of them are very effective either way. 1778 version was never performed—this VROON recording is its premiere. The basic plot, based on Tasso’s ISZT: Piano Transcriptions from Donizetti, L Gerusalamme Liberata, concerns the love of Lassen, Mendelssohn, Meyerbeer, Weber Andrey Ivanov—Naxos 574149—81 minutes Armide, an enchantress, for the Crusader knight Renaud. Armide lives in a magic palace This is Volume 55 of Naxos’s complete edition in Damascus. Renaud has invaded the city. At of Liszt’s piano music and includes the debut first Armide hates Renaud and attempts to kill of Ivanov. him, but on seeing him falls in love. Renaud is With Liszt there is no faking it. You either not interested. Armide tries to rid herself of have the technique and the guts to go with it or romantic feelings by consulting with Hades, you don’t. Not all of these transcriptions who will tear out her heart. Armide relents and require technical acrobatics. The most inter- has herself and Renaud transported by her esting of them is by Eduard Lassen (1830- fairy retinue to her palace. Hades predicts a 1904), a Belgian-Danish composer who wrote dreadful fate for her. Renaud is rescued by his incidental music to Hebbel’s Nibelungen and cohorts Ubalde and the Danish Knight after Goethe’s Faust, both of which Liszt combines they have fought off various demons and drag- into the 25 minutes of music here. Fascinating ons to gain entry to the palace. Armide pro- stuff, and clearly influenced in part by Wagner. fesses her love for Renaud and tries to bar the Some of that might be from Liszt’s treatment, three soldiers from leaving, but Renaud will some a result of Lassen’s many years as con- have none of it. After they leave, Armide orders ductor in Weimar. her palace destroyed by the demons as she Two of the tracks are fragments. The vanishes in the air. American Record Guide January/February 2021 69 There is really no standardized version of from the dark-hued and basest elements of Lully’s 1686 score. By the time of the 1778 contemporary society as portrayed by Rouault: makeover, the score and libretto had been “the work alludes to prostitutes, clowns, and altered several times with other Lully music or indignant judges, amidst a pantomime of other composer interpolations owing to per- other characters and personalities, all seem- formers’ requirements and audience tastes. ingly longing for the presence of Christ to 18th Century audiences expected spectacular bring order to the chaos”. Of particular use to sets, unusual characters, and ballets. As this organists is the 2019 Toccata, based on the was also Lully’s last opera (he died in 1686) plainsong Pange lingua. and he left the fifth act incomplete, other com- Farr delivers clean, business-like perform- posers and stage directors could take liberties ances on the 1992 4-manual, 57-stop Riegger with the score. The staging gave designers organ in St Giles Cathedral, Edinburgh. Notes ample opportunity to show off their skills. on the music, photos, and specification. In modern recordings conductors or direc- DELCAMP tors have also made various additions, cuts, and alterations to the opera. John Barker sum- MAHLER: Das Lied von der Erde marized four of the recordings (S/O 2017), Sarah Connolly, mz; Robert Dean Smith, t; Berlin including a then-new recording (Aparte 135) Radio/ led by Christophe Rousset. Pentatone 5186 760 [SACD] 63 minutes Unlike other Palazetto Bru Zane sponsored Lucile Richardot, mz; Yves Saelens, t; Het Collec- recordings, the lavishly illustrated booklet tief/ Reinbert DeLeeuw—Alpha 633—61 minutes doesn’t supply information on the original Lully score or alterations, or where they occur. :With so many fine recordings of what Bern- Mr Barker liked the Rousset with its excel- stein called “the greatest of Mahler sym- lent cast and emphatic performances. phonies” you have lots of choices. Do you want Although the singing and acting in this new tenor and mezzo soloists or tenor and baritone version are very good, this is not as good as the or one soloist for all six movements? Do you Rousset performance, which I acquired based want the full orchestral version as Mahler on Mr Barker’s recommendation. The added wrote it or a chamber ensemble version that ballets are a pleasant diversion, and the larger makes it playable by smaller groups? orchestra offers more color than in other I always return to my first discovery of this recordings. amazing work, Bernstein’s riveting recording FISCH with James King and Dietrich Fischer-Dieskau. I also turn to Klemperer’s recording with Fritz MACMILLAN: Organ Pieces Wunderlich and Christa Ludwig. Kenga & Krushqve; Gaudeamus in Loci Pace; St Here are two of the latest entries, both with Andrew’s Suite; Offertorium; Tombeau de tenor and mezzo, but one with full orchestra Georges Rouault; White Note Paraphrase; Medi- and one with chamber ensemble. I don’t really tation; Wedding Introit; Toccata know why anyone would want a chamber ver- Stephen Farr—Resonus 10266—57 minutes sion of the work. Right from the start you notice the pale James MacMillan is primarily known for his entrance in `Das Trinklied’ with just one horn wonderful choral writing, but his organ pieces rather than a robust full section. You hear occupy a small but significant part of his out- some of the key solo instruments and miss put. He has written for the organ all through others. You hear a piano. The differences are his career, from early experiments with tradi- most pronounced in the robust songs assigned tional Scottish music to substantial virtuosic to the tenor. In the quieter songs and the long fantasias from the past decade. Many of these final `Abschied’ those differences are less pro- pieces were written as gifts for family and nounced. friends, or on commission for specific occa- Reinbert DeLeeuw used Schoenberg’s sions such as weddings. The style is a mixture 1918 chamber version and added instruments; of Bachian contrapuntal rigor and the lan- the most obvious is a in `Der guage and color of Messiaen, with infusions of Abschied’. This was his last recording; he died plainsong and Scottish folk song. two months later. The tenor, Saalens, sounds a The most substantial work is the homage bit coarse, but Richardot’s lighter-voiced to Rouault, written for Thomas Trotter in 2003. mezzo is quite lovely and ethereal. Her sensi- This spiky, virtuosic piece takes its inspiration tive singing is the best thing about this produc- 70 American Record Guide January/February 2021 tion. The smaller performing forces create a rather liked it; but in general none of our quieter and more intimate ambiance much of reviewers have thought of Jansons as one of the time but still rises to some forcefulness the best conductors of anything—let alone when needed. This version allowed me listen Mahler. And this is probably my favorite in a new way to the work—but I won’t listen to Mahler symphony; I am inclined to play it it again. every year on my birthday. When I turned to Vladimir Jurowski’s per- This 2001 recording seems rather rigid and formance at the Philharmonie in Berlin on on the fast side (it is around 4 minutes faster October 14, 2018 I was surprised at first to hear than the RPO recording, and many recordings what seemed like a muted performance with of this symphony take 100 minutes). But it is soloists sounding offstage; it was like seeing a the rigidity that I cannot stand. There is a photograph that had faded from being left in world of feeling in any Mahler symphony; but too much sunlight. It took me a while to adjust this conductor is, as usual, determined not to to the sound, and I soon came to appreciate let feelings enter into it. Why bother with Jurowski’s carefully articulated reading. The something like this when we already have so finely shaped details come through clearly in many excellent recordings? exceptionally good SACD sound. It would be VROON hard to find better recorded orchestral playing than this. The sound is not only warmly natu- MAHLER: Symphony 4 ral; it is vivid and beautifully clear. Best of all it Turku Philharmonic/ Leif Segerstam gives a sense that I was at the concert with Alba 454—61:40 singers and principal players creating a sonic landscape. This is one of the best of the many This is Mr Segerstam’s second recording of this recordings I’ve heard of Das Lied von der Erde. symphony. The first was in the 1990s with the The singers are terrific. Any tenor faces a Danish Radio Orchestra on Chandos (much challenge with the difficult high tessitura of favored in our Overview in July/Aug 2001). I `Das Trinklied’. Robert Dean Smith, who has liked the sound of that one much better. This triumphed in Wagnerian roles, is able to offer a one sounds dry, with no sense of place or clear and unforced delivery that has sweetness reverberation. I have been to Turku, but I as well as steel. Best of all is Sarah Connolly, in mostly remember the cathedral, which has a performance of gripping poignancy. Her abundant reverberation! reading rates as one of the best, joining Christa In interpretation I hear essentially no dif- Ludwig and Janet Baker. The crystal-clear inti- ference between the Chandos and the Alba. macy of the sound makes the gentle fading of The timing of III listed on the cover of this one “Ewig” at the end of `Der Abschied’ very pow- is ridiculous; it’s actually 8 minutes faster erful. (21:39, not 29:50). Still, Segerstam is among The liner notes include Jurowski’s philo- the slowest. sophical understanding of the work, remark- The singer in IV is Essi Luttinen; I don’t ing that conducting it was shaped by his con- like her at all. There is something hard and so- viction that Mahler found a new “lyrical” ap- phisticated about her that doesn’t suit the text. proach that shares something with Schubert in If you can find the Chandos you will get his contrast with the “heroic” path of Beethoven. warm, sensitive reading in better sound than Jörg Peter Urbach offers a further illuminating this. The orchestra even sounds fuller, but it essay about the work. Texts and translations may not be bigger; the Turku Philharmonic is are included, but fail to indicate Mahler’s ad- 74 players. Their strings don’t sound full aptation of Bethge’s texts and completely omit enough for me, and the sound is also a bit dis- the final section of the text to `Der Abschied’ tant. Olli Mustonen has just replaced Seger- that follows the long orchestral passage. stam as their Artistic Director—a miserable R MOORE setback for the orchestra, which is the oldest in Finland. MAHLER: Symphony 3 VROON Oslo Philharmonic/ Simax 1272 [2CD] 95:35 MAHLER: Symphony 7 Lille Orchestra/ Alexandre Bloch We reviewed the same conductor’s later Alpha 592—74 minutes recording of this symphony with London’s Royal Philharmonic (Nov/Dec 2011), and we This is the first recording of this work that I American Record Guide January/February 2021 71 have come across with a French orchestra and ly lit, bold urgency; and the close recording conductor. Lille is found in the north of France helps. on the Belgian border. Alexandre Bloch has Nachtmusik II sometimes seems long to been its orchestra’s music director since 2016. me, but not so here, partly but not entirely This concert recording is from what appears to because of the fairly fast tempo. To an extent, it be a Mahler cycle. It raises the question of carries over some of Bloch’s approach to the what happens when Mahler is asked to take on Scherzo. Again, everything is clear, bold, and a French character. The answer is entertaining. interesting. Some parts are mysterious, the The opening is very deliberate, with pro- lyrical tune is warm and rich in tone, and the nounced downbeats and an eloquent tenor bold horn supplies excellent contrast. There , though balances are a bit odd when the are some effective exaggerations here and trombones are lost in the texture of their first there, particularly in some nice swells. The big entrance. More obvious is that the violins passage with harp arpeggios over quiet strings are on the bright side, woodwind solos are too, is effective and surprising, and the agitated and the march rhythms are cleanly defined. music is really agitated. This is not always The opening after the eloquent tenor tuba solo “night music” per , but the energy and vari- is stately, bold, and slightly aggressive, with ety clear away the sense of ennui I sometimes clear phrasing and well-marked rhythms and hear in this movement. downbeats. Before the first slow, yearning pas- Ennui is the last word one would apply to sage, the violins seem to be in a dialog with the the finale, which is a real tour de force. The rest of the orchestra. `Moonlight’ is slow and drums in the opening are as prominent as I still marked in style, but it soon picks up like a have heard them, and they will be unusually mood change. The trumpet fanfares are well prominent later on, always to good effect. The done, and the passage with horns and trom- opening tempo is fast and furious; what fol- bones is bold and eloquent. Through all this, lows is fast and bold with solos clearly defined Bloch reveals himself to be a bit of a prober, with a lot of personality. The character peeking into corners to hear what he can find. changes are very clean, as Bloch treats the Some of it seems exaggerated but well within whole piece like theater, throwing in every- limits; it makes the music sound somewhat thing but the proverbial kitchen sink, all in modern. great fun, and those prominent drums help. The horns, one seeming to be placed close Speaking of theater—or in this case, the the- and the other distant, are very good in II, and atrical—he slows way down toward the end, the middle strings do well with their lyrical allowing the drums, brass, and bells to have a passages. The march character remains strong, field day. Then he picks the tempo right back and an effective mood change occurs over the up, turning on a dime and not for the first walking low strings. In this performance, the time. This finale is supposed to be exhilarat- play a prominent accompaniment ing, and it sure is here. role to their woodwind brethren to good effect, In my review last issue of Osmo Vanska’s especially in their passage with English horn recording of this work, I wrote that I had early near the end. doubts about the performance but liked it bet- Until now, this is a good solid perform- ter the second time. That applies here, too. The ance, French in character with clarity, bright close, cleanly defined recording fits the inter- strings and woodwinds, and clean rhythms. pretation very well. Where it takes off is in what may be the best HECHT reading of the Scherzo that I have heard. This movement is often described as “spooky”. In MANEN: Violin Concerto 3; Symphony 2 this reading that term is well earned. The Ana Maria Valderrama, Symphony/ French characteristics noted above plus the Darrell Ang—Naxos 574274 [2CD] 90 minutes silences between notes so expressively observed and the notes themselves so clearly Joan Manen is not nearly as well known as articulated, take us from spooky to startling Albeniz, Granados, or Falla; but in the early and scary—effects I do not recall hearing any- 20th Century he was a formidable force in where else to this extent. Gestures are sudden, Spanish music. He deserves to be revived, and those bright strings shriek with fright, and the this Naxos recording is welcome. We get two sneaky stuff works very well—for instance, the epic works, a violin concerto and a symphony, great bassoon pops near the end. Bloch pulls both scored for large orchestra and played out all the stops in this movement with bright- with passion and conviction, if not a great deal 72 American Record Guide January/February 2021 of refinement. Mena was not as aggressively lege Choir: introit, responses, psalm chant, Spanish as his better known compatriots, but canticles, Lord’s Prayer, anthem, and final these splashy, large-scale works have Iberian responses. soul and sensibility. The longest and most complex pieces are Mena was a violinist, who gave over 4000 the Stuttgart Psalms, commissioned by the concerts and was the first to record the Stuttgart Bach Academy in celebration of Beethoven Violin Concerto. Violin Concerto 3 Mendelssohn’s 200th birthday. Mantyjarvi was from 1940 is full of sensuous tunes for the assigned three of the psalms set by soloist. Manen was a full-throated romantic, Mendelssohn in his Opus 78. The result is dra- and this work shows it. It is played with soar- matic, intense, and gritty settings, which ing, uninhibited passion by Ana Maria Valder- employ a number of effects both traditional rama, who is definitely a violinist to watch. and avant-garde. This is virtuosic choral writ- There is a generous amount of ravishing slow ing of the highest order and not for the average music, but the finale, a tour-de-force that is the church choir! most uninhibitedly Spanish section, offers The Trinity Choir’s committed, musical, bracing contrast. The ending, with its frantical- and convincing performances are superb in ly repeated modal chords, is an exciting dash every way and bring this vivid and strangely to the finish, a final workout for the soloist. beautiful music to life. Long and pretentious Symphony 2 is more tense and suspenseful, notes about the music with texts. full of struggle and contrast, making for a per- DELCAMP fect pairing. SULLIVAN MARGOLA: Mandolin & Guitar Pieces Raffaele La Ragione, mand; Gabriele Zannetti, g; MANTYJARVI: Choral Pieces Daniele Richiedei, v; Giacoma Ferrari, p Ave Maria; Stuttgart Psalms; Benedic Anima mea Brilliant 96037—50 minutes Dominio; Pulchra es; Trinity Service; O Magnum Mysterium It’s common enough for a reviewer, listening to Trinity College Choir/ Stephen Layton some skilled-but-woefully-dated 20th Century Hyperion 68266—71 minutes epigone, to grumble that the music “might have been written in the 19th Century”. I’ve One of the pleasures of reviewing for ARG is coming across composers I have never heard done it myself. This is the first time, though, of and finding interesting and engaging music. that I’ve ever thought anything 20th Century Such is the case with Jaako Mantyjarvi, a sounded as though it were written in the mid- Finnish composer who has written mainly 18th. And yet that is the impression I get of choral works, both sacred and secular. He has Franco Margola from this disc. had several commissions from groups such as The works are mainly for mandolin or gui- Chanticleer, the King’s Singers, the Cork Inter- tar, sometimes together, sometimes one paired national Choral Festival, the World Sympo- with piano or violin; in a sort of mash-up at the sium on Choral Music, and for the 700th end, written by violinist Daniele Richiedei anniversary of Turku Cathedral. He describes after a piece by Margola, all four instruments himself as an eclectic traditionalist who, as an appear at once. The harmonies are exceeding- active choral singer, has gained understnading ly simple and the figuration likewise, a bit like of choral writing. “The choir is the instrument the plucked-string equivalent of an Alberti that I know from the inside—my harmonic bass much of the time. The thing most obvi- language is mainly very sonorous, not tonal ously setting this music apart from the rococo but largely consonance-driven. I do use effects it closely resembles is that the harmonies, and other contemporary means as required for while locally straightforward, don’t always go the text or atmosphere at hand. I used to avoid quite where my ear predicts they will. They simple solutions but am less self-conscious aren’t wildly divergent, just not what you’d about that nowadays. A musical idea does not expect in a well-made pastiche, which this need to be complex to be effective.” music (despite appearances) is not. The pieces on this program are sacred and If it’s not pastiche, what is it? I’m honestly display a colorful and unique creative voice. I not sure. It’s certainly pleasant, ear-tickling particularly like the Ave Maria, O Magnum stuff, calculated to engage your attention at a Mysterium, and the Trinity Service, a complete low level every so often, but otherwise almost setting of Evensong written for the Trinity Col- startlingly unobtrusive. Performances seem American Record Guide January/February 2021 73 expert, though the music is pretty undemand- request of the royal family, but later the ing. Weimar Republic allowed him to return. He THOMSON died in Lichtenberg, Bavaria; and today, the Hof Symphony in Bavaria manages an interna- MARTEAU: Quartet 1; Clarinet Quintet tional violin competition in his name. Jean-Michel Charlier, cl; Isasi Quartet In 2009, Catalan violinist Anna Bohigas, CPO 555 129—70 minutes Japanese violinist Chikako Hosoda, German violist Karsten Dobers, and French cellist Guy Violinist and composer Henri Marteau (1874- Danel, all residents of Belgium, founded the 1934) began life at a privileged crossroads of Isasi Quartet to record the complete quartets two great European cultures, a circumstance of little known Spanish-German composer that would develop as both a blessing and a Andres Isasi (1890-1940). Here they aim to curse. He grew up in Reims in northeast bring Marteau into the mainstream repertoire, France, the son of a German mother from a presenting the rarely heard Quartet No. 1 wealthy Dresden family close to Robert and (1900) and enlisting Belgian National Orches- Clara Schumann and a French father, an tra principal clarinet Jean-Michel Charlier to industrialist who served as president of the perform the Clarinet Quintet (1906). local Philharmonic Society. He studied in Paris with the famous Belgian violinist Hubert The performances are excellent. The Isasi Leonard (1819-90); and he enjoyed early suc- Quartet plays with equal parts grace, polish, cess performing the Bruch Concerto in Vienna and verve; and Charlier adds a warm, covered and London and the Brahms Violin Concerto tone, a silky legato, and nuanced phrasing. All in New York. In 1900 (age 26), he became the the musicians emphasize French lightness violin professor at the Geneva Conservatory, over German somberness; but they also allow where he started a string quartet, established a each work to speak for itself. The Quartet No. 1 concert series, and brought in renowned musi- comes across as Marteau’s poetic farewell to cians to perform. the 19th Century; and the Clarinet Quintet is Even as early 20th Century music began to an exploration of post-romantic soundscapes upend tradition, Marteau continued to believe while keeping one foot in the past. The album deeply in the string quartet. He required all his is an interesting snapshot of a confident com- students to attend his quartet class; and he poser carefully shaping his identity at a com- wrote three quartets himself. The first one, in plex point in time. D-flat, seeks to elevate that dark and unfriend- HANUDEL ly key from peculiar occurrences in move- MARTUCCI: Cello Romances; see BRAHMS ments of Beethoven’s late quartets. He was also an enthusiast of variations. After inviting MARX: 25 Songs the illustrious Meiningen Court Orchestra Kendra Colton, s; Laura Ward, p principal clarinet Richard Muhlfeld to Geneva Albany 1836—61 minutes and hearing him play the Mozart Clarinet Quartet, Marteau wrote his Clarinet Quartet in Joseph Marx (1882-1964) wrote a considerable C minor. In both works Marteau draws on the volume of music in various genres (except no best of French and German late romanticism: opera), but was also active in Austria as an Gallic elegance and Teutonic counterpoint. important pedagogue, critic, and writer. In his Marteau’s ability to float between the taste and philosophy he was decidedly conser- French and German aesthetic meant little in vative and opposed to the serialists, who were geo-political circles. In 1908, following the centered largely in Vienna. His songs, about death of violin virtuoso Joseph Joachim, 150 in all, were mostly written in the few years Marteau moved to Berlin to fulfill a promise to after 1908; they are with piano, but he also his friend and take his place as violin professor orchestrated about 20 of them. These pieces at the Royal Prussian College of Music. When were very popular in his day, but when Marx World War I broke out, Marteau declared his branched out into other genres, his popularity allegiance to Germany; yet Prussian authori- waned. ties saw only his surname. He lost his job and He is most remembered for his songs. In spent time in an internment camp until the style they are similar to Wolf or Strauss, lush publicity of his situation reduced his punish- and opulently romantic. They are also often ment for being half-French to house arrest. difficult, requiring singers (and pianists) with After the war he moved to Sweden at the more than amateur abilities. And they are 74 American Record Guide January/February 2021 quite beautiful—certainly fine enough to be program, reflecting that “in Restoration Eng- included more regularly on recitals. If I had land the guitar, rather than the lute, became a any general criticism, I would wish for more fashionable instrument for proficient ama- quick songs (like `Warnung’ or the cute `Die teurs, owing once again to Nicola Matteis”. Elfe’). Nonetheless, any lover of lieder with the One of my favorite musical forms is the courage to step outside the standard repertory ground bass, and not only are there plenty of should sample Marx’s songs. them here to enjoy but the term “ground” also Kendra Colton, an American soprano who offers the basis (pun intended) for the ensem- has appeared widely here and abroad, teaches ble’s Ground Floor name. Their four very at Oberlin. She sounds splendid here—lovely, expert players (cello, theorbo, harp, harpsi- even tone with a perfectly controlled vibrato chord) are joined by violinist Alice Julien- and wonderful high notes (often ranging to B- Laferriere. The repertoire, which includes four flat in pieces like `Serenata’ and `Hat dich die pieces by Johann Schop, Matthew Locke, Got- Liebe Berührt’). She captures the romantic tfried Finger, and John Banister, is very well texts (many of them really over the top!) with chosen and performed. conviction and sincerity. Some little songs like The program opens with Schop’s `Ständchen’ and `Selige Nacht’, which close `Lachrime ’. Solo theorbo leads off in a the recital, are the epitome of the romantic beautiful tone that is pensive yet welcoming song. and then the violin takes over the top voice, Special mention should be made of Laura singing with eloquence, stretching the pitch, Ward, who tackles the often challenging piano pausing, speeding up, slowing down, eager to parts. The accompaniments themselves show be understood. The first of six pieces by Mat- lots of imagination, as in the pictorial writing teis follows: `Ground in D per far la mano’, a in `Windräder’ or the light-heartedness of lively and engaging violin showpiece. Varied `Pierrot Dandy’. Generally speaking, the dance movements and expressive gestures in pianist has to be just as fine as the singer, and the suites include shimmering rapid filigree, Ward is excellent. solemn weeping, breathless exhilarating One curiosity and a complaint. The liner speed, and bold declamation. The players’ notes say this was recorded in 1999. Where has spot-on ensemble, though deceptively effort- it been all this time? And the complaint? No less, denotes complete command of the style. texts; only English translations. C MOORE ALTHOUSE MAYER: Symphonies 1+2 MATTEIS: Suites North German Radio/ Leo McFall Alice Julien-Laferriere, v; Ground Floor CPO 555293—64 minutes Harmonia Mundi 916117—66 minutes The works of German composer Emilie Mayer The release has the title “Il Genio Inglese” (1812-83) apparently are just beginning to sur- (The English Genius) and the subtitle, “Nicola face. In her own time she was subjected to the Matteis, A Neapolitan in London”. The pro- kind of prejudice that is strongly protested gram also includes music by a few other com- today; one 19th-Century reviewer wrote the posers in London at the time of the English following back-handed compliment: “That still Restoration. After returning to the British other abilities and a more elevated intellect are throne in 1660, King Charles II sought musi- necessary in order to probe the deepest mys- cians of the highest order to rival the splendor teries of art need hardly be stated. That which of Louis XIV’s court. Violin virtuoso Nicola female powers—powers of the second order— Matteis (d 1713) was among the musicians are capable of attaining, Emilie Mayer has who arrived from Italy in the 1670s following achieved and brought to expression.” the marriage of the Modenese d’Este princess In 2019 (Mar/Apr) I reviewed a recording Maria Beatrice to Charles II’s younger brother of an orchestration of Mayer’s Symphony 4, of James, Duke of York. Note that incorrect which only a piano four-hand version has dates—of Matteis’s son, also named Nicola— been found. I offered my own back-handed are on the CD cover and in the booklet. compliment: “Maybe the 37-minute sympho- Matteis’s success helped to further estab- ny sounds better than it is because of Stefan lish a high level of violin playing in England, Malzew’s superb orchestration, depth of where the instrument was still quite new. A expression, and dynamic direction. The work suite for guitar by Matteis is included in the might as well have been nicknamed the American Record Guide January/February 2021 75 Appassionato or Dynamic.” I had little enthusi- positions are for voice and are not recorded asm for the other five works on the album. very often. Ekaterina Levental has performed Here we have Mayer’s first two symphonies all of Medtner’s songs in concert with Frank (the composer’s own orchestration). Sympho- Peters and is intent on further increasing their ny 1 is an unqualified success—melodic ideas availability and familiarity to listeners by that lend themselves to development plus recording them all, beginning with this first superb modulations, orchestration, and strong volume. All of the songs here are in Russian form. I immediately associated it with the and were composed early in Medtner’s career. symphonies of Mendelssohn and Robert Medtner was born in Moscow on Christ- Schumann, yet Mayer has her own solid voice. mas Eve 1879, according to the Julian calendar I is strongly dramatic, but so is the Adagio (II), then in use in Russia. At age 12 he entered the as McFall integrates all of its various tiny where he studied with meters into a natural graceful flow. The Scher- Pavel Pabst and Sergey Taneyev and won the zo is as substantial as the other three move- Anton Rubinstein Prize at age 20. Instead of ments; crisp rhythms in the subordinate voices pursuing a career as a concert pianist he chose give it character, and what initially might seem to concentrate on composition. In 1936 he set- like a trio section quickly becomes a substan- tled in London, where he spent the rest of his tial midsection of an ABA form. A brief life teaching and composing. His style is root- Mendelssohnian introduction in the Finale ed in 19th Century romanticism with a dense leads to a powerful yet lyrical theme with and complex harmonic and melodic language. Beethoven-like character. It is superbly shaped Even though his friend and advocate Rach- and very dramatic. maninoff said, “The public will never under- All this is helped extremely by full, ambi- stand his music”, his popularity has grown in ent, warm, balanced engineering and the recent years. superb playing of the orchestra. Kudos to Eng- Ekaterina Levental was born in Uzbekistan lishman Leo McFall, 39, new chief conductor and settled in The Netherlands where she of the Vorarlberg Symphony in a mountainous studied at the Conservatory of The Hague and Austrian city of 400,000. What I hear here established herself as a singer and theatre pro- belies an unimpressive biography (Vorarl- ducer. Her technique is terrific, with wonderful berg?). Textures are transparent, ensemble is legato, control of dynamics, and tight vibrato— flawless, phrases are beautifully shaped by the and occasionally none, to convey stillness (e.g. depth of expression, and not a single phrase is in `The Singer’). The appropriate expressive on autopilot. affect she brings to each song is illuminating. I wish I could say the same about Meyer’s She commands a broad pitch range with a Symphony 2. The construction of each move- solid bottom and a bell-like top (e.g. her high ment is more sectional than integrated, with B-flat in `On the Lake’). entirely too much repetition of patterns. Dutch pianist Frank Peters is a respected Maybe it’s my disappointment in the compos- soloist and chamber music partner and has er than made me suspect that McFall wasn’t been a champion of Medtner’s piano works. quite as “hot” here as in 1. Like 1, 2 has four The piano writing is full of fine filigree; it is movements but with the Scherzo second. often complex and difficult, but always engag- There are violin and cello solos in the second ing. Peters shows unfailing command of its theme of the Finale, where the tempo slows drama and attentive sensitivity to its tender- down. I can’t tell if that’s McFall following the ness. score or accommodating the soloists; either Medtner shows up in song programs now way, it interferes with the overall structure and and then, but this is the first time the songs flow. have been given ample attention. An earlier Is the glass half-empty or half-full? For me, release of his songs (M/J 2019) was disap- Symphony 1 here is definitely a keeper. pointing, not for the performance but for the FRENCH poor recording. The performance and sound here are thoroughly satisfying. The balance MEDTNER: Songs 1 between voice and piano is just right. Ekaterina Levental, mz; Frank Peters, p I have found it hard to stop listening to this Brilliant 96056—72 minutes album and get on to others awaiting review. Each song is a little treasure. If you are unfa- Nikolai Medtner (1880-1951) is best known for miliar with Medtner’s songs, this is a chance to his piano compositions, but a third of his com- explore them. 76 American Record Guide January/February 2021 Liner notes by the two artists are approaches. There’s no way that Mendelssohn unashamedly promotional in their advocacy of could have imagined that one day someone this music. Their commitment to these songs thousands of miles away could sit down and is strongly conveyed in these superb perform- listen to all four of these quartets in a row. ances. I wish the texts had also been printed in The cover depicts an admirable watercolor original languages instead of only in English by the abundantly talented Mendelssohn, and translation. Otherwise everything about this the liner notes offer perspective on this crucial production is commendable. I look forward to phase in his development. later volumes in this series. DUTTERER R MOORE MENDELSSOHN: Symphonies 3+4; Violin MENDELSSOHN: Piano Quartets Concerto; Hebrides Overture; Midsummer Klimt Quartet—Brilliant 95532 [2CD]—98 min Night’s Dream Suite; SCHUMANN: Symphony 4 T’ here s no question that Mendelssohn made Henryk Szerying, v; Minneapolis Symphony, his mark with overtures, symphonies, and ora- London Symphony, Vienna Symphony/ Antal torios; but listening to his four piano quartets, Dorati—Decca 4840506 [2CD] 157 minutes it feels like the world (the music world, any- way) would be a better place if he had written This is Eloquence’s first reissue from the more chamber music. Not even Mozart wrote famous Mercury catalog from the 1950s and music of this caliber in his early teens—nor 1960s. The performances are in stereo except did anyone else. That’s the Mendelssohn enig- for the Mendelssohn Fourth. Antal Dorati is ma, the peerless prodigy who became a reac- not usually associated with this repertoire, but tionary. from the evidence here, he has an exciting These pieces still astonish, and Quartetto approach to it. His way with the Mendelssohn Klimt shares a vision of them as energetic, Third is standard but in no way dull, with moody, graceful masterpieces. clean rhythm and good dynamic contrast. The The forceful opening of Quartet 1 is terrific, opening is moderate and expressive. What fol- but the Adagio is even more compelling with lows is fast, bright in tone and light in texture, its palpable feeling of restraint and Matteo with a lot of energy. The stormy passage is Fossi’s cascading piano passages, which get urgent, and the entire movement catches the even better in III. By IV, however, he is over- dark, misty Scottish air. II is light and deft, III shadowing the strings. It is no surprise to dis- sad and reflective. The Finale is light in nature, cover that he has often played Beethoven and dancing, quick and dashing. The main tune is Schumann on his own, for that is the flavor eloquent, and the march is funereal. The final here. hymn seems a little too marked and on the Not quite so formidable as its predecessor, slow side, but it builds well. Piano Quartet 2 in F minor is nonetheless The Hebrides Overture is a strong, dramat- played with aplomb. ic portrait of those rugged Scottish islands. It is That probably would have been enough of dark and ominous in the slow sections and an album, but ensembles (or record labels?) very fast and urgent in the fast ones. The Lon- like to have complete sets. Piano Quartet 3 in B don Symphony again plays very well. minor has a swoony Andante, but by the The Fourth is fast in all movements and Finale it is all exhausting. aggressive. The result may not be The seldom recorded Piano Quartet in D “Mendelssohnian”, but the work responds well minor is the work of a 12-year-old, a fact which to Dorati’s approach. I is exuberant. The is impossible to ignore when listening to it. Andante aspect of Andante Moderato is mod- Although remarkable, it is often more like a erately slow, but the Moderately leans to the piano sonata with strings added; it is not in the quick side, like a young Italian walking briskly same league with the later works on this over the countryside. Such tempos might seem album. hurried, but they work well here. Despite the Even though it is all well performed, this speed, III is always lyrical, and the finale is music becomes a bit redundant, perhaps in rhythmic and urgent. This is a refreshing and part because of the relentless use of minor compelling examination of a well known sym- keys. A teenager wrote these quartets to phony, but some listeners will find it pushed. impress his contemporaries; he wasn’t aiming The Minneapolis Symphony executes very well for the greatest possible variety of styles or at these speeds. American Record Guide January/February 2021 77 I do not like most romantic era concertos, passion, played with strength to the limits of and the Mendelssohn is positioned well down the guitar’s capabilities, followed immediately on my list, but this performance of it with Hen- by a sensitively played contrasting theme with ryk Szerying and the London Symphony is an all the sweet spaciousness a listener could exception. The tempos are not fast so much as want—this is romantic guitar music played by “moving right along”, but more important is a musician who deeply understands the style. the freshness and energy they generate. Szery- This piece also has a nicely executed two-fin- ing’s sweet, silvery tone could have been ger tremolo which is rather unique in guitar designed for the piece, and he plays it as lyrical music—most tremolo passages in guitar music and songlike rather than as a technical display. use a three-note pattern. The Overture to Midsummer Night’s Every piece on this recording uses the full Dream sounds dramatic with a warm string dynamic range of the guitar, as in the operatic tone and dark Viennese horns. The very fast `Pianto dell’Amante’, whose ending Chiara- Scherzo might seem frantic if it were not so monte plays with uplifting abandon. This is well controlled by Dorati and well executed by followed by a pianissimo introduction to `La the winds. The March is not terribly fast but Rimembranza’, the first of three works that stately, and the ending is positively noble. because of their pianistic nature earned him The performance of Schumann’s Fourth is the accolade “the Liszt of the Guitar”. Mertz, by big-boned and aggressive. I is fast, muscular, the way, was married to a pianist! and urgent. II is bold with a nice, dark-toned This is very well done. In each of these violin solo. III is martial and extroverted; and challenging works, Chiaramonte, with a musi- the mysterious transition to IV is loud and cal sense of balance and contrast, rises to the exciting, but brassy. The brass are too promi- occasion to take us into that passionate world nent in the whole performance. IV is fast, of romantic guitar music from one of the most aggressive, and very fast at the end. important composers of the era. The Mercury LPs were famous for their MCCUTCHEON sound and are now sought after, though many listeners find them too bright. The ones here MESSIAEN: Catalogue d’oiseaux I; are pretty good, not great, and on the bright GORTON: Ondine; side, though they lack the punch associated SZYMANOWSKI: Sonata 3 with the vinyl ones. The monaural Roderick Chadwick, p Mendelssohn Fourth has some of that punch, Divine Art 25209—65 minutes but it is marred by the excessively bright violin The three works in this unusual program, two sound typical of Mercury monos. That won- from the 20th Century, one from the 21st, derful performance comes through, though. would appear to have little in common; but HECHT there is a subtle unity. The juxtaposition between clangorus bird song and lyrical ERTZ: Fantasias M moments in Messiaen’s Catalogue d’oiseaux, Giuseppe Chiaramonte, g Brilliant 95722—63 minutes Book I is startling, especially in the probing performance here by pianist Roderick Chad- Johann Mertz (1806-56) left a substantial num- wick. ber of excellent works for solo and duo guitars, David Gorton’s Ondine from 2004 fits nice- as well as chamber music. His compositions ly with the program. Female water spirits are epitomized the romantic period in their evoked here, not birds, but the “liquid trickle” expressiveness and used the guitar in highly of their laughter, registered by shimmering technical ways. The works presented here, trills and other figurations, has a Messiaen-like with an average length of 8 minutes, are all ambiance. Chadwick ripples and splashes his quite substantial compared to the many way through the piece with precision and miniatures in the guitar repertoire. color. The opening `Fantasie Hongroise’ is Szymanowski’s much earlier Sonata 3, full played virtuosically with romantic flair. Over- of variety and invention, has rich polyphony all, the music is presented well, but with occa- but also hazy, shimmering moments and sud- sional brief moments of unclarity in the blis- den juxtapositions between angularity and tering sections where Chiaramonte holds sensuality that anticipate the later works on nothing back. the program. Rounding out the program are `Fantasie Original’ has passages of intense brief interludes and postludes played by vio- 78 American Record Guide January/February 2021 linists Peter Sheppard Skaerved and Shir Vic- cornfields”, and the Boston Herald denounced toria Levy—an eccentric but colorful touch. its “appalling melodic tawdriness”. SULLIVAN The first time I heard Turangalila was Bos- ton with Ozawa at Carnegie Hall, and I instant- MESSIAEN: Turangalila Symphony ly became a fan. Yes, I thought it was too long, Mannheim Theater Orchestra/ Alexander Soddy but in the end I decided that the length was Oehms 472—78 minutes justified. Despite its technical difficulties and wasteful length, it seems to bring out the best Mi ess aen’s Turangalila is a 10-movement in conductors and recording engineers. My extravaganza that combines mysticism, Hindu first recording was Previn’s with the London and Greek rhythms, Indian scales, African Symphony, a sonorous, well-paced reading. rhythm, gamelan drumming, Poe-inspired ter- Salonen with the Philharmonic ror, the Tristan narrative, and much else. Pre- and Chailly with the Concertgebouw are also miered in 1949, it is a “world music” hybrid excellent. More recent is a performance with long before that term became chic. It is mas- the Finnish Radio Symphony, which I sive and monumental, sometimes seeming to reviewed in these pages; it has a special feeling go on forever, the very definition of over- of adventure and wit. This new reading is lithe wrought, requiring an uncompromising com- and dazzling, lightweight in the best sense. It mitment from players and audience. In addi- never sounds ponderous or pretentious. tion to a gigantic orchestra full of exotic per- Unlike Messiaen’s many overtly religious cussion, it includes an electronic instrument, works, Turangalila is secular and fleshly, and the ondes Martenot, and a strenuous piano that’s the way Alexander Soddy and his go-for- part. broke ensemble perform it. As Messiaen put In this performance, the latter are played it,”Turangalila means all at the same time song with scintillating brilliance by Thomas Bloch of love, hymn to joy, time, movement, rhythm, and Tamara Stefanovich. The entire perform- life, and death.” This rhythmic, joyful perform- ance has a special fizz and frisson. The Nation- ance is in tune with the composer’s vision. al Theater Orchestra of Mannheim under Messiaen’s works often come with other- Alexander Soddy plays with intensity but also worldly titles and explications. He called the with lightness and litheness. Nothing sounds ecstatic fifth movement of Turangalila, `Joy of ponderous: the fast music has a breathless the Blood of the Stars’. He stated in a note to excitement; the slow music has a tender From the Canyons to the Stars that the Utah vaporousness. The recording emphasizes the canyons were “landscapes like those we’ll percussion, from vibrating gongs to loopy key- probably see after death, if we then have the chance to visit other planets”. It is easy to mock board figurations. Also prominent are the such commentary, and the convoluted speci- orchestra’s excellent woodwinds, emerging ficity of Messiaen’s writing has not helped his with bracing clarity in the transparent record- cause. A committed performance like this one, ing. however, makes us believe it all, at least while Turangalila was commissioned for the we’re listening. Messiaen’s dazzling color and Boston Symphony by Koussevitzky, one of sev- near-painful ecstasy can’t be bound by words, eral major works by Ravel, Stravinsky, and Bar- even if he issues a torrent of them—like Wagn- tok (including the Concerto for Orchestra) that er, Scriabin, and others who were obsessed would not exist were it not for the Russian with their own mythologies. maestro. Koussevitzky had an uncanny ability It is sometimes fiercely dissonant, but to smell a masterpiece in the making and was more often euphorically lyrical. II, IV, and VIII unperturbed by length and personnel require- are all depictions of amorous love and have ments. Because of illness, he was unable to some of the most passionate music Messiaen premiere Messiaen’s symphony and passed ever wrote, orgiastic “explosions”, as he called the baton to , who conduct- them. The Mannheim players seem comfort- ed the first performance in 1949. The piece able with both extremes. The work has many irritated some, excited others; it still occasions of his signatures—bird song (mainly by the both hostility and cheers. Koussevitzky called piano), piercing wind sonorities, meditative it “the greatest composition in our century” blocks of sound, and a complex layering of tex- after , but critics were not on tures—but it also has an uninhibited theatri- board. Virgil Thomson quipped that the sym- cality. It unfolds according to its own eccentric phony came “straight from the Hollywood scheme, renouncing classical symphonic American Record Guide January/February 2021 79 structures, but its constantly resurfacing taught, composed, and ran a music shop, mak- themes and colors make it relatively easy to ing a living through the same combination of take in. The slow music, especially the adagio activities as many musicians today. in VI, `Garden of Love’s Sleep’, has a hypnotic Oboist and flutist Julien Bernier, who died sensuality, communicated here with whis- in 1755, was probably related to composer pered eloquence; the fast sections are deliri- Nicolas (1664-1734); he played in the orches- ous churnings of joy and energy, powered by tra of the national opera beginning before 1704 the relentless pulse of the orchestra’s busy per- to after 1719 as second to oboist Colin Hot- cussion section. V and X end with a major teterre. We have a tribute to Bernier from a chord that rises in crescendo until it reaches collection of Ancient and Modern Brunettes by the heavens. It is one of the most visceral end- Monteclair published in Paris around 1721-4 ings in 20th Century music, and we get to hear (notes) or around 1725 (French National it twice. Both times, Soddy holds the chord just Library). It states in part, “nothing is as touch- bit longer than usual, producing a big emo- ing as hearing these little airs sung by a beauti- tional and sonic payoff. After the final shatter- ful voice accompanied in unison by a trans- ing cut-off, we cheer along with the delirious verse flute ... I cannot express the pleasure I concert audience. felt at Boulogne on hearing this little ensemble SULLIVAN which touched me more than any clever artifi- cial music has ever done.” MONTECLAIR: Flute & Voice Most of the 24 Cantatas for one, two, and Carrie Henneman Shaw, s; Les Ordinaires; Jory three voices with ensemble have texts by Vinikour, hpsi—Naxos 573932—64 minutes unknown authors, and four are in Italian. The first set appeared in 1706, the second in 1713, The word “brunette” comes from French and and the third in 1728, all published in Paris. indicates the feminine form of “little brown”; We have Book 1:4 and Book 3:3. We also have although it doesn’t specify hair, in English it is one of the concertos for flute and bass from exclusively used that way. In French it also the early 1720s and an assortment of brunettes designates a secular form of song popular in from the Collection of Serious and Drinking the 17th and early 18th centuries. Researchers Songs published in 1696 and another collec- identify four types of songs in French culture: tion published later. The booklet includes texts historical, professional, love, and Bacchic. The and translations. first category further contains songs that are The Ordinaries to the King were French sacred, military, national, and satirical. Can- court musicians of the 17th and 18th Cen- tatas developed from the “national” sub-cate- turies, and a few were the subject of a famous gory; the official name of their predecessor painting by Andre Bouys (1646-1750). The had been “songs of political solemnity”. The modern ensemble by this name was founded brunette was a type of love song that could be in 2013 and consists of flute, viola da gamba, considered an antecedent of the romance, and theorbo, which together were once known which by the late 18th Century was an instru- in France as the Royal Trio. They are joined mental or vocal piece in triple meter. Haydn here by American soprano Carrie Henneman put a romance as the second movement of his Shaw and French-based American harpsi- Symphony 85, so they could even be orches- chordist Jory Vinikour. The booklet describes tral, and Mozart wrote a chamber one in his their instruments, which include a flute mod- celebrated Serenade 13. eled after one from 1715 by Jean Hotteterre Monteclair (1667-1737) was a weaver’s son played by Leela Breithaupt. It has a compara- who became a choir boy under Nicolas tively deep sound, muffled—or at least not Goupillet, Jean-Baptiste Moreau, and Claude bright, especially in the lowest range, where Thibaut and as an adult played bass in the the writing mostly is. This quality makes it very orchestra of the , which was then distinct from its contemporary, the recorder, called the Royal Academy of Music. This and both darker and more veiled than one instrument was not exactly the equivalent of might typically associate with a flute. The clar- our modern string bass, and is in fact the ity of Shaw’s voice is its most distinct feature, direct ancestor of the cello. The family name particularly pitch clarity. Her vibrato is usually was Pignolet (little pine nut), but once he fast, and my overall impression is favorable, moved to Paris he began going by a surname though not entirely. Many tracks sound taken from a hill in northeastern Andelot, his delightful, but now and then her placement is birthplace. In addition to performing, he a little too forward and nasal. A rhetorical or 80 American Record Guide January/February 2021 conversational approach to text is fine in this Venice version of 1642; it does not use Act 2, period, but singing must also have beauty, and scene 7, which is missing and presumed lost. sometimes here the delivery falls short. The The libretto is the same one Alan Curtis used combinations of voice with flute or viola da in his Florence May Festival performance in gamba are splendid. 2011. The sound is adequate, the voices and has recorded a program of instruments registering clearly, if with a little Monteclair—five cantatas—with the London too much reverberation. Baroque Ensemble (BIS 1865). Another five Fans of this opera will want this and will with three voice types were issued and reis- probably enjoy it more than a casual first-time sued on Harmonia Mundi. There were 3 can- listener. The performance is well done, the tatas with Jacqueline Nicolas and 2 abbreviat- presentation is not. ed concertos from Gerard Scharapan on Pierre REYNOLDS Verany. Julianne Baird recorded three with one by Louis-Nicolas Clerambault (Koch 7096; MORRICONE: Once Upon a Time Mar/Apr 1992). The French label K 617 gave us Enea Leone, g—Brilliant 95855—63 minutes a collection with instrumental and vocal works (1928-2020) was an Oscar- by Clerambault and Monteclair (May/June winning Italian composer, orchestrator, and 2012: 227). Four of the flute concertos were trumpet player whose film music gained recorded on natural trumpet by Gabriele Cas- recognition in the 1960s thanks to a number of sone (Dynamic 229, Nov/Dec 1999; 8004, spaghetti westerns, such as “The Good, the May/June 2011) and four on Bad and the Ugly”. and recorder by Bernhard Bohm (CPO From the first track on this recording, with 999213), but all six by the Apotheosis Ensem- soaring melodies, rich harmonies, clean tech- ble on Stradivarius 33553. A program with two nique, and creative arranging, one knows this concertos and the Ancient and Modern will be refreshing and pleasant. The variety of Brunettes came out on Accent in 2005. Ramee music presented in these transcriptions, issued selections for two flutes by Monteclair selected from decades of Morricone’s movie and Pierre Philidor (Mar/Apr 2016) and a 2- scores, keeps the program moving, as does the disc set with the six concertos for two flutes. GORMAN range of seriousness, from the light-hearted to the sublime, and the track lengths, ranging MONTEVERDI: Coronation of Poppea from miniatures to more than 4 minutes. Oksana Maltseva (Poppea), Shin Yoowon (Nero), Noteworthy arrangements and perform- Choi Seoyeon (Ottavia), Floriano D’Auria ances include `Rabbia e Tarantella’ from the (Ottone), Jin Shuheng (Seneca); Ensemble San movie Inglorious Basterds (2009) with a vari- Felice/ Federico Bardazzi ety of textures and `Deborah’s Theme’ from Bongiovanni 2581 [2CD] 154 minutes Once Upon a Time in America (1984), played with a spot-on sense of spaciousness, clarity, This new recording of Monteverdi’s best and thoughtfulness. known work is from January of 2020, just The guitar sound on this recording is won- before the Covid virus began to wreak havoc in derful—kudos to engineer Andrea Dandolo for Europe. The singers are all very good—excel- knowing how to capture a realistic, pure tone lent diction and a sense of the style of the with just the right amount of reverberation. piece (a true accomplishment since the cast is There are two things that make this record- drawn from 13 different countries). The old ing stand out. First is the quality of the tran- saying “The Great is the enemy of the Good” scriptions. Translating what are mostly orches- applies here. If one saw this performance tral scores to the solo guitar, with its compara- locally, one would come away quite satisfied. tively limited range and intervallic challenges, Held up against the recordings of Harnon- is an art that has developed over the centuries. court, Gardiner, Jacobs, and Hickox it emerges Leone and fellow transcriber Carlo Marchione a competent, but not memorable perform- have done excellent work on these. Second, ance. the playing on this recording shows the sensi- Bongiovanni doesn’t help matters by not tivity of an artist who has the ability to express including a word of Gian Francesco Busanel- it clearly. lo’s text, offering only a pithy, unhelpful plot Whether or not you know this music from summary. We are told that the performing edi- the movies, this is enjoyable. tion is mostly the Clifford Bartlett one in the MCCUTCHEON American Record Guide January/February 2021 81 age, yet it is the most brilliant ever made. OZART: M Clarinet Quintet; Some may not like it because of the exhibition- BRAHMS: Clarinet Quintet Eli Eban; Alexander Quartet ism of the players, all of whom were the great- Foghorn 2021—71 minutes est virtuosos of their age, but I like hearing such assured playing where all technical Noted clarinet pedagogue and soloist Eli Eban obstacles are surmounted with effortless takes a break from his duties as professor at aplomb and panache. Indiana University to record the Mozart Clar- The works I had never heard before are the inet Quintet and the Brahms Quintet with the 5 Preludes and Fugues. Except for the first . It took place in June three Preludes, all of the material was 2019 at Saint Stephen’s Episcopal Church in arranged from music of Bach. They are pleas- Belvedere, California, a small city on San Fran- ant to listen to, but not masterpieces, and the cisco Bay. three Preludes composed by Mozart don’t The performances are clean and elegant; sound quite right coming before the more and the balance, blend, and overall sonics are severe music of Bach. a treat to the ears. Some may find the rendi- MAGIL tions somewhat conservative; and even people unfamiliar with the Mozart may notice a splice MOZART: Eine Kleine Nachtmusik; Sere- 4:54 into the piece that adds an extra half-beat. nata Notturna; German Dances; Symphony 29 Still, the album has a lot of nice qualities that Philomusica of London/ Thurston Dart; Bamberg clarinet aficionados will appreciate. Symphony/ (German Dances & HANUDEL 29)—Decca 4828529—78 minutes These recordings are from 1951 and 1952. OZART: Divertimento, K 563; M They were issued on Oiseau-Lyre LPs, and they Preludes & Fugues Jacques Thibaud Trio—Audite 97.773—82 min sound good. The most unusual thing here is an extra ’Mozart s Divertimento K 563 is widely regard- movement in Eine Kleine Nachtmusik: there ed as the finest string trio ever written. It is in 6 are two minuets. II (the first one) is actually a movements rather than the usual 4, and the movement from a Mozart piano sonata, title is Divertimento, but don’t let those orchestrated to match the rest by Thurston aspects of the work turn you off to it; it is not a Dart. Apparently Mozart had planned another mere diversion. It has some of Mozart’s loveli- movement (lost to us) and dropped it when est writing for strings. It is also one of his the serenade was published. Why? Perhaps longest chamber works, clocking in at three- because the serenade sounds so crisp and quarters of an hour. I assure you that Mozart complete without it. (Or maybe are so used to didn’t pad the material to fill time, either. its published 4-movement form that this artifi- Every note counts. cial second movement just seems to slow Jacques Thibaud String Trio was founded things down.) in 1994 at the Arts University in Berlin. Their The Dart recordings have a very “English” current membership is violinist Burkhard sound—too businesslike for me. Keilberth is Mais, violist Hannah Strijbos, and cellist Bog- more European and seems to have a natural dan Jianu. They play well together and per- instinct for Mozart. Still, there are many good form this work with more taste and sense of recordings of Symphony 29, and some are in proportion than some other groups I’ve heard. better sound—though I must admit that I I can recommend this performance, but they never thought the sound was weak or poor are up against stiff competition. , here. It is easy to adjust to. It is not too close- Pinchas Zukerman, and Leonard Rose made a up, as recordings became for a while and on very fine recording in 1975. , some labels in the late 1950s. The orchestra is Kim Kashkashian, and Yo-Yo Ma made a won- safely up there on the stage, and we are in the derful recording in 1985. That is my favorite. It audience. That’s the way I like it. If stereo mat- is exquisitely polished yet very soulful. The ters to you, be aware that nothing here is musicians really sing and produce ravishing stereo. That really didn’t come along until sounds (unusual for the perpetual enfant-ter- 1958. That doesn’t matter to me either. rible Kremer). The classic recording is by The German Dances (two sets, K 509+571) Jascha Heifetz, William Primrose, and are charming and not recorded very often. I Emanuel Feuermann from 1941. It shows its did not have any of them, though I have some 82 American Record Guide January/February 2021 German Dances led by Peter Maag—not these. OZART: Like EKN, they are late, mature Mozart. M Mass in C minor It is hard to believe that all this was record- Ana Maria Labin, Ambroisine Bré, Stanislas de Barbeyrac, Norman Patzke; Musiciens du Lou- ed almost 70 years ago. Decca Eloquence vre/ Marc Minkowski remasters things so beautifully that sound is Pentatone 5186 812—48 minutes not a matter of concern. VROON It is a sad irony that the two major liturgical compositions written by Mozart after he left MOZART: Flute Quartets Salzburg were unfinished by him and come Andrea Manco; Andrea Pecolo, v; Joel Imperial, down to us as fragments—albeit magnificent va; Gianluca Muzzolon, vc fragments. The better known is the Requiem Brilliant 95958—64 minutes (K 626) with the mysterious circumstances These are modern instrument players from the surrounding its commission, but there are orchestra of . Andrea Manco has been uncertainties concerning the Mass in C minor principal flutist since 2015 and before that was (K 427) as well. By some accounts, it was writ- a prizewinner in several competitions. The ten (or at least begun) in fulfillment of a vow program has four original works and the Oboe Mozart made during his wife Constanze’s first Quartet played on flute. Many moments are pregnancy, that he would write the work as a exquisitely phrased and balanced, particularly thanksgiving if all went well with her delivery. in the range between nothing and piano. Some C minor seems an unlikely choice of key for quartets are rendered better than others. Most such a purpose. The stern and somber open- of the set is exquisite, especially the Quartet in ing of the Kyrie seems to convey apprehension A; so is the Oboe Quartet. The Rondo conclud- rather than gratitude, but it is noteworthy that ing the Quartet in D is not quite joyous and the lengthiest and one of the most exquisite of tends to stay in a bland middle ground. Nei- the extant movements is `Et Incarnatus Est’ ther is the Adagio that precedes it anything from the Credo. What we have was written in special—and it can be. The exchange betwen 1782-83. Only the Kyrie and Gloria are com- flute and violin that opens the Quartet in C is pleted. There are sketches for the first two sec- anemic. tions of the Credo. There is an autograph score In general, Andrea Manco’s playing is gen- of the Sanctus and Benedictus, but the instru- tle and deft, calibrated perfectly to the aesthet- mentation is incomplete, limited to winds and ic of the Enlightenment. His pure tone quality timpani. There is no Agnus Dei at all. The first remains regardless of any degree of nuance. performance took place at St Peter’s Abbey in Brilliant—or the Bartok Studio in Bernareggio, Salzburg in October of 1783. Was it confined to Italy—presents the players in sound that is the finished Kyrie and Gloria? beautifully balanced and realistic. For the present recording, Marc Minkowski My top choice on modern instruments— has chosen the performing edition prepared brought down directly from the firmament via by Helmut Eder at the request of the Neue- Philips—is William Bennett and the Grumiaux Mozart-Ausgabe and published in 1985. The Trio (originally from 1969, reissued in 1989). edition does not presume to supply the miss- May it long resound in other ears after I am no ing movements. The additions and completed more. Several others come close or simply dif- instrumentation are distinguished graphically fer in how they excel: Peter-Lukas Graf from what survives in Mozart’s hand. (Claves), Paula Robison (Vanguard, July/Aug This is a studio recording made in connec- 1991 & Nov/Dec 1999), Ulf-Dieter Schaaff tion with concert performances given in (Pentatone 5186567, Jan/Feb 2018), Aurele Grenoble in December of 2018. Apart from the Nicolet (Tudor, May/June 1991 & Jan/Feb solo quartet, the choir consists of only nine 2018), Emmanuel Pahud (EMI 56829, Mar/Apr singers, barely enough to cover the parts in the 2000), Philippa Davies (Virgin), and, for quiet double choruses of the Gloria and Sanctus. beauty and nuance, Juliette Hurel (Alpha 204, Even so, the singers never sound weak or Jan/Feb 2016). sparse, though they are considerably outnum- GORMAN bered by the orchestra. The soloists have the qualities I associate with 18th-Century opera: It was a joy to read recently from a medical solid sound but capable of lightness and virtu- expert that hugging is far safer than osic flexibility as needed. The sopranos Ana handshaking. Maria Labin and Ambroisine Bré are especially American Record Guide January/February 2021 83 impressive in this respect. I would not slight under Andrew Manze. The liner notes list a the excellent tenor and bass, but Mozart gives good-sized orchestra (strings: 8, 6, 4, 4. 2), but them less opportunity to shine. Recorded it’s hard to be sure all are used because the sound is generally good, but in the louder orchestral list includes their four horns, three movements I would have been grateful for trombones, and percussion! At any rate the more sense of space. Emphatic moments are orchestra has enough weight to give substance on the verge of sounding raucous at such close to Mozart’s orchestral writing. quarters. This recording follows one, also by There have been many other recordings of Piemontesi, of Concertos 25 and 26 (Linn 624), this work. Among the more recent, I was which somehow escaped review. With good impressed but not bowled over by Harry fortune, then, we may hear more Mozart from Christophers and the Handel & Haydn Society Piemontesi and Manze. of Boston (Coro 16084; J/F 2011). Philip ALTHOUSE Greenfield had good things to say about and Bach Collegium MOZART: Piano Quartets; (BIS 2171; J/A 2017) as did Paul Althouse Rondo Concertante about Howard Arman with the Bavarian Radio Dejan Lazic, p; Benjamin Schmid, Zen Hu, v; Chorus and Berlin Academy for Old Music (BR Johannes Erkes, va; Enrico Bronzi, vc 900917; M/A 2019). Onyx 4207—71 minutes GATENS As surely as Dejan Lazic’s name is printed in huge letters on the cover and his peers are OZART: Piano Concertos 19+27; M reduced to small type, this Croatian pianist is Rondo in A Francesco Piemontesi; Scottish Chamber Orch- sonically emblazoned all over this recording of estra/ Andrew Manze—Linn 622—67 minutes Mozart’s piano quartets. Violinist Benjamin Schmid and cellist Enrico Bronzi have some These two concertos, K 459 and 595, are joined degree of acclaim as chamber musicians, but by a Rondo in A, K 386, thought by some to be this album is more akin to one of those a first version or perhaps an alternate finale of “Martha Argerich and Friends” productions Concerto 12 in A, K 414. (The writer of the where the guest stars are beside the point. liner notes, by the way, was misinformed as to That’s not to say that it is subpar; in fact, the what pieces were on the disc. He writes about performances are completely orthodox and on another Rondo—in D, K 382—which was an the level. alternate movement for Concerto 5, K 175.) Romanticism before the fact, the first I’ve come across several very fine record- movement of Quintet 1 in G minor is played ings of Mozart concertos in recent months rather well, and II is also lovely. In the studio, with pianists like Anne-Marie McDermott, Ben however, some knobs and levers were not Kim, and Charles Richard-Hamelin. Now we where they should be, and as a result the piano have another from Francesco Piemontesi, who and violin are uppermost in the mix, to the has worked with , Murray Per- detriment of the others. The Rondo belongs to ahia, and Cecile Ousset; since 2012 he has Lazic, but this is unfortunate because it sounds served as Artistic Director of the Settimane like his peers are playing in a joyful and Musicali di Ascona. Piemontesi’s Mozart relaxed manner befitting Mozart. strikes me as articulate and crisp with a mini- The opening movement of Quintet 2 seems mum of pedal and a sense of space around to be better balanced, but the desultory every note. (This is in contrast to the suave, Larghetto threatens to derail the entire album. lyrical, graceful school of Mozart perform- The Allegretto is lively, even if it is all about the ance.) The result is bracing and uplifting. The piano. most exuberant movement here, the finale to Given Lazic’s determination to turn quar- Concerto 19, is very similar in tempo and style tets into piano sonatas, he takes the surprising to the Pollini (a 1980 recording with Böhm, in step of adapting the third movement of the conductor’s last Salzburg concert with the Mozart’s Piano Sonata in B-flat, K 333/315c for VPO). Do not assume, though, that the other quartet. The resulting piece is convincing as a movements are mechanical or unfeeling. This bit of Mozartiana, and the strings are allowed is wonderful, interesting playing. to participate. Primarily a soloist, Lazic may Piemontesi is aided by the alert, sturdy still be settling in as an ensemble player. accompaniment of the Scottish orchestra DUTTERER 84 American Record Guide January/February 2021 Haydn Quartets, making them more mature OZART: M Requiem products. Mozart’s love of the viola likely Simone Kermes, Stephanie Houtzeel, Markus inspired him: these works require two of them. Brutscher, Arnaud Richard; New Siberian Quintets 3 and 4 were written in 1787 and are Singers; MusicAeterna/ Teodor Currentzis thus products of middle age. They do have Alpha 661—47 minutes some of his loveliest and most imaginative The chorus and orchestra here are both asso- writing for strings. ciated with the Novosibirsk Opera and Ballet. Of all of the modern recordings of these The New Siberian Singers are the chamber quintets I’ve heard besides the ones at hand, choir of the opera, and MusicAetrna is the the best is clearly by the Tokyo Quartet with opera’s chamber orchestra. The performance Pinchas Zukerman playing viola (Nov/Dec uses the Süssmayr completion and orchestra- 1993). They produce a very full-blooded sound tion in the Sequences. There is a curious 30- and are beautifully recorded with just the right second addition to the end of the Lacrimosa— combination of clarity and resonance. Another something that sounds like sleigh bells accom- excellent set is by the Takacs Quartet with vio- panying a short fugato on the text “Amen”, linist Gyorgy Pauk playing viola for a change which fades off in mid-phrase. I assume this is (Nov/Dec 1992). Quatuor van Kuijk and a sketch from Mozart, but it’s still very odd in Adrien la Marca also have a wonderful sound, this context, and the notes don’t mention it. not as full as Tokyo’s but with more pastel The performance on the whole is quite ensemble textures as one would expect from fast. The Kyrie, Domine Deus, and the Osanna Frenchmen. Of historical recordings, there are fugue are about as fast as you’ll ever hear magnificent accounts of Quintet 4 by the Pro them, which in this piece is not helpful. Even Arte Quartet of Belgium with violist Alfred more disturbing, though, is the extreme energy Hobday and the Lener Quartet of Hungary the performers bring to this, a Mass for the with violist L d’Oliveira, but these are from the Dead. The chorus almost punches its way 1930s. through many sections with no sense of musi- Quatuor van Kuijk won the 2015 Wigmore cal line or warmth. They certainly sing well Hall Quartet Competition, and it’s obvious that from a purely technical point of view. Every- they richly deserved it. It is a well-balanced thing is firmly in place, and they know the ensemble without a dominant partner (that piece very well; but the aesthetic is, well, let’s too often happens in chamber groups). All say “different”. positions are strong, and they work out every Soloists are generally very good, but they detail together to great effect. Good sound. don’t match well, the soprano singing without MAGIL vibrato, the others with. A great deal of the dis- tinctiveness of this performance comes from MOZART: Violin Concertos; Adagio; the young Greek conductor, Teodor Cur- 2 Rondos rentzis. You can get a good sense of him on Baiba Skride; Swedish Chamber Orchestra/ YouTube. Eivind Aadland This is an interesting recording, filled with Orfeo 997201 [2CD] 129 minutes things done (or overdone) very literally, and The orchestra is Swedish (Orebro—conducted also with a strong point of view. For me, 1997-2019 by Thomas Dausgaard), the con- though, it makes the Requiem into too much ductor Norwegian, and the violinist Latvian. of a show. The orchestra has 39 players. The sound is ALTHOUSE pleasant but not particularly warm or Central European (which I would prefer). MOZART: String Quintets 3+4 Van Kuijk Quartet; Adrien La Marca, va The set I listen to most often is David Ois- Alpha 587—67 minutes trakh with the Berlin Philharmonic. This is not on that level, but if you find Oistrakh “too Except for the first, written in 1773 when the romantic” (which I do not) you might like this. composer was only 17, Mozart’s six string It’s certainly faster—in every movement! quintets are late works. He may not have Mozart’s middle movements in all 5 concertos invented the genre, but he certainly estab- are labelled Andante and Adagio: 2 are lished it, and many believe that the quintets Andantes and 3 are Adagios. So I think Ois- are his crowning achievements in chamber trakh’s slower tempos are appropriate, at least music. They are later than the celebrated in those movements. There are no prestos, and American Record Guide January/February 2021 85 most of the allegros are “moderato”. There is thy of attention as long as you can accept an never a reason to rush thru these concertos, aimless sort of abstract, through-composed and I don’t think the tempos here are outra- approach to form. geous. I just prefer violin concertos (by any- A Threnody for English horn and piano one) to sound romantic. I think it’s a romantic written in 1997 and revised in 2003 has consid- instrument. erable dramatic heft. Her set of character I hear nothing of PPP. Vibrato is not ban- pieces for oboe and piano, called Night Win- ished, but maybe slightly reduced. The strings dows (2007), is also among the most accessible don’t screech. Notes are held appropriately selections. In a general sense Musgrave seems instead of cut off the way the PPP people think to resemble Jolivet or Higdon somewhat, if they should be. I simply want more warmth that helps you place her without having heard and feeling. This is too “northern” and too any of this album. moderate—and thus lacking in character. These performances are thoroughly VROON rehearsed and coordinated. Everyone plays at an exemplary professional level, with splendid MOZART: Violin Sonatas, K302, 379, 481; tone quality. Their commitment to the project Variations K359+360 is apparent from the first note to the last. Annette Unger; Robert Umansky, p The echoey opening tracks indicate a pref- Genuin 19655—78 minutes erence for acoustics that may be too much for Tohis is a go d recording. They follow perform- some listeners. The playing comes across ance traditions with grace and charm. Orna- clearly and pleasantly; there is almost no trou- ments in the piano, too frantic or heavy in ble with blurring except possibly track 6. A other recordings, add sparkle and wit. The vio- booklet with biographies and photographs lin’s accentuations mostly feel right; a vocal describes the pieces and the players. approach contributes to longer notes. The vio- GORMAN lin does not always match the releases or ele- NEPOMUCENO: Suite in Ancient Style; gance of the piano; her basses blare too much see OSWALD in II of K379, and her trills can sound awkward. The pianist could use more imagination with NIELSEN: The Mother intervals. So it is not one of the best recordings Christine Nonbo Andersen, s; Adam Riis, Rasmus of these pieces, but one could do worse if look- Gravers Nielsen, t; Palle Knudsen, bar; Steffen ing for an alternate to more acclaimed read- Bruun, b; Danish Vocal Ensemble, Philharmonic ings. Choir; Odense Symphony/ Andreas Delfs KELLENBERGER DaCapo 220648—71 minutes MOZART: Symphonies 39+41; What a delightful discovery this is: the first see SCHUBERT recording of the complete score (which first appeared complete in 2007) to ’s USGRAVE: Oboe Pieces M incidental music for Helge Rode’s play, Mod- Rebecca Johnson, fl; Elizabeth Sullivan, ob; Jessi- eren. The play was drawn from a crucial event ca Lindsey, cl; Cara Chowning, p in Danish history. Until 1864 the country Albany 1835—55 minutes included the duchies of Slesvig and Holsten Young American oboist Elizabeth Sullivan, (Danish names) found on the northern border assistant professor at the University of North of Germany and populated with Danes and Carolina in Charlotte, forms the basis of this Germans. The problem was that the Danish program, playing English horn as well. She National Liberal forces wanted to incorporate made Scottish-American composer Thea Mus- Slesvig into Denmark, but the Germans want- grave the subject of her doctoral dissertation at ed to incorporate Schleswig and Holstein the University of Illinois Urbana-Champaign. (German names) into Germany. Denmark’s Selections range from 1960 to 2012, and the 1864 defeat in a war with Germany (that composer, born in 1928, is still with us. We Nielsen’s father fought in) led to both sections have two solos, three duets, and two trios. going to Germany, cutting the overall popula- Compositional techniques range from serial tion of Denmark by 40%. After Germany’s and unmetered to using taped accompani- defeat in World War I, Schleswig and Holstein ment to tonal and metric. Although the selec- posted a referendum to determine the fate of tions span a range of modern styles, their con- their populations. The result turned North sistent interest and fine craft makes them wor- Schleswig into the part of Denmark known as 86 American Record Guide January/February 2021 Southern Jutland, with South Schleswig and best music is the multi-verse folk songs. Some Holstein staying German, creating the borders are orchestrated Danish folk songs; others that exist today. The Danish Royal Theater were composed by Nielsen and became Dan- decided to stage a play to celebrate that transi- ish folk songs. tion and persuaded the country’s leading com- The performance is first-rate all around. poser to write the music for it. Nielsen hesitat- Nielsen grew up near Odense, and the Odense ed but agreed—for a considerable price. It Symphony sounds great. The star of the show helped that he was experienced composing may be tenor Adam Riis (the Skald) whose gor- music for the theater, though it did not help geously sweet, lyrical tenor makes his songs that he had tired of that milieu! Slowing things high points of the piece. Rasmus Gravers gives down was the fact that at the time he was trav- the sarcastic Fool just enough bite. I presume eling through Europe and working on other the other soloists are members of the excellent music, including the Fifth Symphony. Nielsen chorus. All are top-notch, particularly the became more committed to the project as he sopranos. worked on it, to the point where he came to The sound is as good as the performance. enjoy the process and the result. The booklet offers good information about the Mother is a fairy-tale allegory about the history behind the work and the work itself, return of a King’s kidnapped son. A duet for but the text is not included. Instead, the des- flute and harp, `Tagen Letter’ (The Fog is Lift- criptive material includes track numbers to ing), accompanies the first scene where the follow, which is sometimes difficult. But this is King sees a mother parting from her son a terrific discovery whose appeal should be through the rising fog. The King instructs his universal. Skald and his Fool to go out into the world and HECHT return in one year with joyful news. (A Skald is a Bard.) The Skald thinks of the beautiful NORDHEIM: Aurora; see HAGEN Princess Tove, whose praises he sings, portray- ing her as a personification of Denmark. The OFFENBACH: Pomme d’Api; Sur un Fool expresses cynicism with edgy music Volcan spiced by occasional moments of dissonance Mogali Leger (Catherine, Katrina); Florian Laconi and snarls. The Skald sings of the desolate (Gustave, St Elme); Marc Barrard (Rabastiens, winter landscape and his desire for the return Trafalgar); Cologne Academy/ Michael Alexander of spring. The West Wind responds by blowing Willens—CPO 555268—82 minutes down a wall of ice, behind which stands the lost boy. Their mission accomplished, every- These two one-act, three-person “chamber one returns to the King’s court, and a joyous operas” with a small orchestra. They have the procession follows. People representing differ- requisite overtures, waltzes, rondos, couplets, ent regions of Denmark join in, symbolically and romances along with buoyant librettos— welcoming mother and son. all in their 40 minutes. Pomme d’Api (Little The premiere of Mother was in 1921, and it Red Apple) (1873) was written in Offenbach’s was staged several more times to mixed late period (after the Franco-Prussian war) reviews. The music was enthusiastically when he had already been composing two or received, which is fitting because this lovely three act operettas for several years. He had and entertaining score is as enjoyable as any- been shunned by France during the war owing thing Nielsen wrote. It includes a jaunty open- to his German heritage, and it took a while to ing march, the tone poem Saga Drom as a regain some of his standing. Pomme d’Api prelude, two more evocative orchestral prel- was part of that re-introduction phase. udes, a waltz for piano, an orchestral minuet, The far from original plot is by librettists two pieces for solo flute (`Tagen Letter’ Ludovic Halevy and the lesser known William became a well known work for the instru- Busnach. The story involves the young Gus- ment), and some nice writing for solo violin tave’s mistress Catherine (also known as and solo viola. There is a great chorus and Pomme d’Api) who has been hired as a house- some eerie string passages symbolizing distant maid by Gustave’s Uncle Rabastens. Rabastens Danish voices, and a short brass fanfare. One wants Catherine to be his mistress, but after a section treats the Danish National Anthem; disastrous dinner decides that Gustave and another is composed of brief phrases from the Catherine are better mated. The operetta is anthems of the three wartime Triple Entente mostly music with short dialog sequences. In countries and the United States. Some of the this mature stage of Offenbach’s career he American Record Guide January/February 2021 87 knew how to use scripts and melodies to con- SWALD: struct popular shows. O Piano Concerto; SAINT-SAENS: Pomme d’Api is considered by many to be Concerto 5; NEPOMUCENO: Suite in the Ancient Style one of Offenbach’s finest one-act operettas Clelia Iruzun, p; Royal Philharmonic/ Jan van and I agree. There isn’t a wasted note, the Steen—Somm 276—72 minutes music is one delight after another, the timing is precise, and the characters are effectively Henrique Oswald (1852-1931) was of Swiss drawn. The overture starts slow but quickly descent, living in Brazil in his youth. Winning a changes to a spritely jaunt. The romance competition landed him in Paris, where music is absolutely beautiful and there are Camille Saint-Saens encouraged him and his memorable characters and comic songs. The work. The Piano Concerto (1886) descends leads all sing nicely, expressively, and in char- from Schumann, at least in its first movement. acter. The only drawback is the sound, which Like all too many late 19th Century examples is often distorted when loud and somewhat of its genre, it’s densely scored with yards of muddy when all the voices and orchestra are uninspired, rhythmically monotonous pas- combined. This is something that should have sagework. The following two movements are been corrected. You can overlook these defi- better in themes and orchestration. Brazilian ciencies owing to the excellent performances, pianist Clelia Iruzun plays with consistent skill but they remain irritating. The only other and sympathy. In I, her control of dynamics recording available is in a 30 CD Offenbach and ear for balances helps the solo part stand collection reviewed by Richard Traubner in out against the thick accompaniment, giving one of its earlier incarnations (EMI 49361, N/D the movement such distinction as it has. Her 1989). I have heard selections from that sensitive touch and graceful finger work come recording, conducted by , more to the fore in the ensuing movements. on various EMI Offenbach compilations, but I In the more familiar Saint-Saens, her haven’t heard the complete performance. rhythmic accuracy and clear voicing make a Sur un Volcan has quite a history. Premier- convincing reading. She manages some of his ing in 1855 in a program with Offenbach’s bet- contradictory markings—a fast andante, a ter Bata-a-Clan, it was withdrawn after one per- relaxed allegro—well, with fluid shaping. formance. It had been attributed to Ernest L’Ep- I’ve written favorably about the Brazilian ine (whoever that was) with assistance from composer Alberto Nepomuceno (July/Aug Offenbach. Only portions of the score survived 2019). His wife was a Grieg student, and the until some detective work by Willens, this Suite in the Ancient Style for solo piano owes recording’s conductor. Over several years he its concept to Grieg’s Holberg Suite. As an pieced together the remnants into this per- homage to baroque forms, the music is pleas- forming version. His research also determined ing and tastefully wrought. These adjectives that Offenbach had actually written much more also apply to Ms Irugun’s playing. The work of the score than originally thought. This is the makes a sophisticated encore after the two first recording, and it is delightful. The sound in concertos. The Royal Philharmonic and the this one is better than in Pomme d’Api, with conducting furnish capable backup. only a little distortion. The three performers are O’CONNOR all excellent with good characterizations and beautiful singing. The leads are the same for PANTCHEFF: Veni Sancte Spiritus; What both operas. Mogali Leger has a beautiful voice Shall we Offer Thee?; Magnificat & Nunc that caresses each note and gives the text full Dimittis (Aedes Christi & St Paul’s); Poems of meaning. The men have excellent diction and Stephen Crane; King Henry VIII’s Apologia; emphasize their characters’ idiosyncrancies. Creator of the Stars of Night; The Covenant; Although both are enjoyable I found Turn Again unto thy Rest; Spirit of Mercy Pomme d’Api the better of the two, both in Jeremy Cole, org; Matthew Fletcher, p; London music and libretto. Choral Sinfonia/ Michael Waldron Willens conducts lively performances, the Orchid 100144—71 minutes orchestra plays beautifully, and except for some distortion in loud passages the sound is I was unfamiliar with the English composer clear. The booklet has French and English plot Richard Pantcheff until this recording. He has summaries, history, and performer biogra- had a wide-ranging career as a composer, phies, but unfortunately no libretto. organist, and choral conductor, writing FISCH numerous choral, vocal, organ, chamber, and 88 American Record Guide January/February 2021 instrumental works. This program contains ICCHI: mainly sacred choral pieces aside from the P Canzoni Da Sonar Stephen Crane settings and the Apologia of Concerto Scirocco/ Giulia Genini Arcana 476—72 minutes Henry VIII, where he seeks to absolve himself from blame for the sins of his youth. The two This collection of 19 canzonas for “all sorts” of substantial settings of the Magnificat and instruments—Canzoni Da Sonar Con Ogni Nunc Dimittis (one for women’s and one for Sorte D’Istromenti (1625)—was the last publi- men’s voices) are particularly effective and cation by Venetian composer, organist, and worth investigation by church musicians. The harpsichordist Giovanni Picchi (1572-1643). style is interesting and approachable, and the The pieces are very much in the Venetian tra- performances are excellent. Notes and texts. A dition with choirs of wind instruments, welcome discovery. sparkling high solo parts (for instruments such DELCAMP as cornetto, recorder, and violin), and contra- puntal writing. Although not as immense as PAVAN: Guitar Pieces the greatest San Marco festival pieces such as Park Slope Chamber Players Monteverdi’s 1610 Vespers, these are certainly Centaur 3784—46 minutes not chamber works. As you set your playback Argentine born guitarist and composer Carlos level, don’t hesitate to use high volume so that Pavan has resided in New York for two you can fill your space with the glory of Venice. decades. In addition to his international con- The playing is very good as the 13 players cert career he is artistic director of the Park in Concerto Scirocco—in several different Slope Chamber Players in the Park Slope area groupings—are by turns in happy convivial of Brooklyn. conversation (Canzona 7), scampering close Playing the guitar on all tracks is Pavan together in high registers then pausing to himself, and he shines in this ensemble, with catch their breath and aerate the texture (9), or engaged, collaborative accompaniment as well relaxing together in a suave and elegant pas- as solid solo work. toral spot (16). In a work for solo guitar, `Milonga y Miste- Picchi specified which instruments should rio’, he handles the contemporary language be used in each canzona, and Concerto Sciroc- well, with interesting articulations and clean co follows this guidance quite closely. To delivery, but could have used a bit more space explain why they chose a different combina- between phrases to let the music breathe and tion of instruments sometimes, ensemble to achieve the effect portrayed in the title. director Giulia Genini offers helpful details in Several lovely duets for guitar and flute are the booklet notes, along with a description of included, with fluid, moving melodies and tex- each canzona. In Canzona 14, for instance, the tures; but the guitar level is too loud in all of “first line was given to the violone for those, even on different audio systems. Bal- more varied winds and strings in the ternary ance is better on the Two Pieces for clarinet section”. and guitar and especially on the three-move- In addition to Giulia Genini’s essay, there is one by Professor Rodolfo Baroncini about ment Concertino for guitar and chamber Picchi and details of all 18 instruments used orchestra, where the instruments all sound here. realistic. This is an energetic work where the C MOORE intelligent scoring gives the guitar space to be heard as it responds to the orchestra. Though ICKER: Opera Without Words; written in a contemporary style, this music is P The Encantadas accessible, with enough tonal substance for Nashville Symphony/ Giancarlo Guerrero the listener to comprehend. Naxos 559853—58 minutes The program alternates Pavan’s solo works with his chamber works. It concludes with his This recording presents two works with Suite Cosmopolitan for guitar duo, where he is unusual literary connections by the American joined by Liz Hogg. They work well together in composer Tobias Picker. The Encantadas, one this intricate and well-written work. of his earlier compositions (1983), is a melo- The meager liner notes and photos tell the drama based on Herman Melville’s poems basic story, but nothing more. They stay out of about his encounters with the Galapagos the way of the music, which speaks for itself. Islands during a voyage on a whaling ship. MCCUTCHEON Picker was attracted to the way these texts American Record Guide January/February 2021 89 hover in a “border zone between poetry and ROCTER-GREGG: prose”, and the composer (who acts as narra- P Violin Sonatas 1, 2, 4 tor) illustrates them with easily engaging tone Andrew Long; Ian Buckle, p Toccata 539—79 minutes poems that have the quality of first-rate film music. (That’s a compliment, not a jab.) The The notes credit Humphrey Procter-Gregg, a last of the six movements, `Dawn’, is particu- distinguished academic who founded the larly memorable. Manchester University Music Department, For the 2016 Opera Without Words, Picker with cultivating a compositional style reminis- developed, as Thomas May describes it, “a cent of Delius and late Fauré. I confess that radically new form: a purely instrumental neither name springs readily to my mind on work that conveys a secret opera”. In collabora- hearing these three sonatas, though perhaps tion with librettist Irene Dische, he composed that’s a side effect of not knowing any Delius a one-act opera, setting the characters’ words with a keyboard part; from what I do know, not to voices but to musical instruments. In which is mainly orchestral, I wouldn’t have finishing the score, he removed all the “vocal expected such extreme muscularity in the lines”, but kept a separate copy so that Opera piano writing as there is here. Certainly there’s could theoretically be performed convention- no such thing in Fauré. ally with the texts and staging restored. He left What is here is strong music—sometimes some indications in the score that “only an too much so for its own good. The exuberance opera singer is accustomed to seeing”, such as and drive of several of the fast movements “defensively”, “terrified”, and even “aside to the sometimes seem apt to steer the whole appa- audience”. ratus into the ditch; there’s nothing reining As with all well-crafted operas, the accom- anything in. The acoustic also does the music paniment does indeed suggest a drama all its few favors, emphasizing the harshness of own. And so Opera Without Words is notable Long’s sound up close. Again, anything less for a variety of mood and character not typical like the perfumed haze of late Fauré could of orchestral pieces, as well as the tantalizing scarcely be imagined. But Buckle’s magisterial temptation to guess the contours of the “secret handling of what sound to be very difficult opera” it conceals. The Nashville Symphony, piano parts is admirable, and in quieter move- led by Giancarlo Guerrero, accentuates Pick- ments (like the central Andante of No. 4) the er’s clean lines and sonic richness, and the two make a winning team. audio quality is exemplary. There is a lot of odd and mixed meter here, ALTMAN usually to the music’s benefit. When Procter- Gregg launches a three-part fugue in 5/4 at the POTT: A Room at the End of the Mind opening of No. 4’s finale, I defy anyone not to Jeremy Filsell, p—Acis 52078—74 minutes applaud. But there is much that’s straightfor- This is a collection of piano music by Francis ward too, and since the road is wide and the Pott (b. 1957), a neoromantic with a large vari- ditches distant, what’s not to like? ety of influences (almost all of them men- THOMSON tioned in the notes). Vaughan Williams, Simp- ROKOFIEFF: Violin Sonata 1; son, Finzi, and such are omnipresent. Many of P SHOSTAKOVICH: Sonata these were written for his friends, others in Natalia Prishepenko; Dina Ugorskaja, p homage to early music composers, with ample Avi 8553425—59 minutes counterpoint and lush pianism. They are all attractive and worthy of repertoire considera- About 25 years ago I heard a program on a tion, but the music itself may be hard to find. small German label of a then very young The presentation is confusing, since it Natalia Prischepenko (she has since dropped seems that Mr Filsell is the main attraction; the C) playing, among other things, Prokofi- “Francis Pott” is subsidiary on the jewel box. eff’s “second” violin sonata, Op. 94a (the one His notes are detailed and lengthy. Mr Filsell is originally for flute). Right after that she co- a fine pianist and is more than equal to the founded the Artemis Quartet and began mak- task. The music is inventive and always invit- ing 18 years of chamber-music waves, eventu- ing much faster movement. If you don’t know ally leaving the ensemble in 2012. And now, this composer, this is worth your while. finally, comes the other Prokofieff sonata, GIMBEL together with its even gloomier Shostakovich discmate. 90 American Record Guide January/February 2021 Both works were originally written for collection of music by Purcell, titled “One , and Prishepenko (who hails Charming Night”, with an exuberant air of art- from the same Zakhar Bron violin studio as lessness. They shine in the Abdelazer Suite, Maxim Vengerov and Vadim Repin, among which opens with a spritely rendition of the others) has Oistrakh’s dour heft as well as his rondeau Britten used as the basis for his occasional silkiness. In the slow movement of Young Person’s Guide to the Orchestra varia- the Prokofieff it’s something more than that, a tions. And they whip up invigorating baroque sound at once rich and ghostly, with a timbre jam sessions in `Strike the Viol’ (from Birthday on the G string that’s almost viola-like. The Ode for Queen Mary) and ` I & II’ loud bits are, well, loud, and there are a lot of (The Indian Queen). them in both works. II of the Prokofieff is As the album’s vocal soloist, Australian mostly violent slashings, mingled sometimes countertenor David Hansen lavishes warmly with what seems a savage parody of one of the piercing tone on the haunting `Music for a composer’s happy-go-lucky themes (the main While’ and `When I am Laid in Earth’ and theme of , perhaps, or even finds the right contrast of colors for the slow the one from the finale of the Flute Sonata). and fast sections of `Sweeter than Roses’. But Twice—once in the first movement, a second there is a feeling of formality in his veiled time near the end of the piece—there are ice- enunciation (an occupational hazard for his cold, quiet, very rapid scales that Prokofieff vocal category) that is a bit at odds with the described as “the wind rushing through a instrumental ensemble’s free-spirited aban- cemetery”. That’s the USSR in 1938, all right. I don. have an idea that Prokofieff, though he was Simax’s attractive packaging includes all never allowed to leave the USSR again, was the sung texts, as well as enlightening notes by nevertheless ensconced comfortably away in Bryan White on Purcell and the sources of the the country somewhere, unlike his comrade, selections. The audio engineering and aural “fireman Shostakovich”. positioning of the artists is superlative. Shostakovich’s sonata, for its part, bids fair ALTMAN to be the bleakest thing ever written ostensibly in G major. (Beside it, the yet later viola sonata URCELL: Welcome Songs is positively chipper.) As in the Prokofieff, the P The Sixteen/ Harry Christophers piano spends much of its time in the deepest Coro 16182—74 minutes register (Ugorskaja balefully dark here) and the violin a great deal of time shrieking. The It has been some time since Hyperion released long finale is a passacaglia, of the sort recordings by Robert King and the King’s Con- Shostakovich loved so well, but this time the sort of complete traversals of several genres of theme begins almost atomistically, as irregu- music by : odes and welcome larly-spaced pizzicatos, and only later does the songs from 1988 to 1992, sacred music from semblance of the variations begin to take 1991 to 1994, and non-theatrical secular songs shape. This work has a sort of analog of the in 1994. I have long regarded King’s perform- cold winds of the Prokofieff: a crawling, spi- ances as the gold standard in this repertory. dery theme beginning high up the E string and Meanwhile, Decca and Christopher Hogwood slowly descending, both at the end of the first gave us the complete theatrical music other movement and at the end of the last. than and the semi-operas in Neither performance is likely to be bet- recordings made from 1974 to 1983. tered any time soon, and short of Oistrakh’s In his series of Purcell recordings, Harry several performances of each, these are the Christophers takes a markedly different best I know (and in much better sound). But approach. Each disc in the series will contain this isn’t music to break out on a cold, isolated, one or two royal welcome songs: cantata-like COVID-ridden winter night. Wait for daylight compositions to mark the return of the and spring. monarch to London after spending the sum- THOMSON mer in Windsor. A more ephemeral genre could hardly be imagined: each welcome song PURCELL: music David Hansen, ct; Oslo Circles might be performed once and never heard Simax 1367—58 minutes again. The extravagantly fawning poetry was mediocre at best, but as I observed in my The Baroque band Oslo Circles imbues this review of an earlier disc in the series, Purcell American Record Guide January/February 2021 91 could have set a laundry list to magnificent standing. As in other recordings in the series, music. These pieces are well worth hearing. the forces are economical to emphasize the Christophers fills out each recording with a intimacy of the music. There are only 9 cross section of shorter works in a variety of singers. They produce a convincing choral genres: anthems, theatrical songs, catches, effect in the anthems and welcome songs, but and instrumental pieces. Andrew Pinnock they are essentially an ensemble of vocal supplies program notes that relate the music soloists, and they get their solo moments. The to the intense political machinations of the strings are 3-3-3-3 with no double basses. period. Continuo harmony instruments are drawn What Shall Be Done in Behalf of the Man from organ, harpsichord, theorbo, and harp. (1682) is the first of the two welcome songs on The recorded sound is good, but not especially this recording. It was written on the occasion warm. of the permanent return from Edinburgh to A few years ago I reviewed a disc contain- London of the Duke of York (future King James ing two welcome songs for James II (Coro II). That and Charles’s dissolution of Parlia- 16151; J/F 2018). Later in that year John Barker ment in the previous year put an end of the reviewed the first of the recordings of welcome “Exclusion Crisis”, a Protestant movement to songs for Charles II (16163; N/D 2018) and prevent James, a Catholic, from succeeding to expressed his general agreement with my eval- the throne, and to name the Duke of Mon- uation. This is the third release in the Charles mouth, Charles’s eldest illegitimate son and a II series. It appears that the previous volume staunch Protestant, as heir apparent. The text (16173) was not reviewed in ARG. of the welcome song names York unequivocal- GATENS ly as successor to the throne—a somewhat del- RABL: icate proposition, since York was only three Clarinet Quartet; see ZEMLINSKY years younger than the king, so that either ACHMANINOFF: might plausibly predecease the other. The R 5 Preludes, 4 Etudes- Tableaux, 2 Moments Musicaux, 2 Song Tran- other welcome song here is From Those scriptions, Fantasy Piece; Andante from Cello Serene and Rapturous Joys (1684) to a text by Sonata Thomas Flatman. It may not be as politically Sergei Babayan, p—DG 4839181—61 minutes charged as the 1682 work, but as Andrew Pin- nock puts it, Flatman “took hyperbole to a Babayan has been a world-class pianist for ludicrous extreme” in comparing the king’s many, many years, but not as well known as he return to the raising of Lazarus. has become recently. As the teacher and piano The shorter works on the program include duo partner of Daniil Trifonov I have seen him Purcell’s best-known symphony anthem in performance twice at Carnegie Hall. And `Rejoice in the Lord Alway’. Among the theatri- both were among the five soloists in a cal songs are `Blow, Boreas, Blow’ from Sir marathon concert of all the Prokofieff piano Barnaby Whigg, `Retir’d from Any Mortal’s concertos at the Brooklyn Academy of Music Sight’ from King Richard the Second, and `Thy in February 2016 (May/June 2016). More Genius, Lo!’ from The Massacre of Paris, a play recently he has partnered with Martha Arg- written during the Exclusion Crisis and sym- erich in Prokofieff (DG 4799854, Sept/Oct pathetic to the exclusionist position. For that 2018). He signed a recording contract with DG reason it was not performed until 1689, after in 2018, and this is his first solo album for the the deposition of James and the enthronement label. of William and Mary. The three-part catch This is as varied and balanced a Rach- `Come, My Hearts’ (1685) proposes toasts to maninoff program as one could hope for. Charles and York, and so was excluded from There are very familiar works, two transcrip- catch collections published after 1688. The tions by Arcadi Volodos, one by Rachmaninoff, instrumental pieces are the Overture in D and a little `Morceau de Fantaisie’ that all but minor and the chaconne `Two in One on a the most complete recordings miss. Babayan Ground’ from the semi-opera Dioclesian has taken great care in constructing this (1690). Two recorders play treble in canon recital. The works are not arranged by date or over a ground bass. Of course, there are instru- opus number. The inclusion of Volodos’s tran- mental symphonies in the anthems and the scription of the `Melody’ Op. 21:9 balances two welcome songs. well with Rachmaninoff’s own of `Lilacs’ Op. As we have come to expect from Christo- 21:2, but they are not played back to back. The phers, the performances are technically out- gorgeous slow movement from the Cello 92 American Record Guide January/February 2021 Sonata is in E-flat, but its persistent use of F- the Collegium Vocale 1704 chorus (6-6-6-5). sharp (enharmonic of G-flat) gives the feeling Performances in Act I seem rather tame, or of alternation between E-flat major and minor, was I just getting used to a sound world I don’t with major winning out at the end. By placing normally inhabit? Ensemble, pitches, and bal- this transcription by Volodos between an ances are excellent; but neither singers nor Etude-Tableaux (Op. 39:5) and Moment Musi- orchestra are subtle or nuanced here. In fact, it cal (Op. 16:2), both in E-flat minor, Babayan sounds as if the singers are performing in a keeps a common tonal center with as much hall where they have to really project their variation as possible. voices into the audience; so dynamic and The pianism here is flawless. There are expression levels remain the same. tempos a little faster or slower than usual. This But starting with Act II the singers invest is everything that you would expect from a even the many extensive recitatives with an great Rachmaninoff recital. DG’s piano sound almost spoken drama, especially in the duel- is state of the art, and the booklet essay has a ing recitatives where two or more characters number of interesting comments by the react to one another. There aren’t many full- pianist. blown arias in this work, but Matias Vidal’s HARRINGTON mellow baritone early in the act is especially tender, and his interchanges with Deborah RAMEAU: Les Boreades Cachet later in the act are deeply felt and Deborah Cachet, Caroline Weynants, s; Mathias touching. The act ends with ebullient, tender, Vidal, Benedikt Kristjansson, t; Benoit Arnould, and vigorous praises of liberty and love amidst bar; Tomas Selc, Nicolas Brooymans, b; Col- solos, quartets, choir, and numerous ballet legium 1704—Versailles 26 [3CD] 165 minutes selections. Act III furthers the notion of pageant and Listening to Les Boreades (the god of the north entertainment as Alphise’s two rejected suitors wind and of winter) by Jean-Philippe Rameau sing, “Why resist the chains of love and bud- (1683-1764) is like moving to another planet ding flowers. Let us enjoy our finest years!” from Haydn (b 1732), Mozart (b 1756), and Sacré bleu! An orgy before the deluge (that 22- even Rameau’s contemporaries Bach, Handel, minute storm scene). By this point, recitatives and Telemann. The music’s style and instru- seem to go on for a lot longer than they actual- mentation seem closer to Henry Purcell (1659- ly do; but, again, the performances are so well 95). Louis XV’s court apparently was (among paced, the orchestra is so vital, and the singing other things) part entertainment, part distrac- so uniformly good that they’re never boring tion, part fashion show, judging from the long (especially with a remote control in hand). series of ballets, airs, minuets, gavottes, The storm music plunges without a break rigaudons, airs, and choruses that repeatedly directly into Act IV for six minutes, following stay the action of this (as the liner notes call it) by a gorgeous four-minute lament sing by “theatrical work”. Vidal, accompanied by delicate woodwinds The plot is simple: Queen Alphise (Debo- and soft sustained strings. Enter Polymnia, the rah Cachet) is desired by Calisis (Benedikt Muses, Zephers, Seasons, the Hours, and the Kristjansson) and Borilée (Tomas Selc), sons Arts for 22 minutes of dances and airs meant of Boreas, but she’s intent on marrying Abaris to soften up the gods, especially Boreas. (Mathias Vidal). Since she can’t marry Abaris Rameau opens Act V with Boreas unleash- and remain queen, she gives up her crown. All ing devastation via the cleverest, advanced heaven shakes loose in a fabulous 22-minute rhythms and harmonies. As the wind god says scene of storm, thunder, and earthquake, after to Alphise, “Unwanted husband or slavery? An which Alphise “is carried off into the air”. Ah, empire or fetters.” She chooses fetters, fol- but it turns out Abaris is the son of Apollo; lowed by a ballet with plenty of threatening thus, he keeps the winds from obeying Boreas sound effects. But Abaris, son of Apollo with and renders the wind god’s two sons the golden arrow, comes to the rescue with a amenable. Abaris and Alphise marry to “gen- message for people in power that is especially eral jubilation”, the kind that leave Mar-a-Lago timely right now: “Everything that hurts is a celebrations in the dust. crime. You would be feared, but can you be Vaclav Luks is founder and artistic director loved?” after which the text notes, “The decor of the -based baroque orchestra Col- changes”, followed by lively ballets with sweet legium 1704 (6-5-4-3-2 plus pairs of wood- moments of love, ending with “very lively con- winds, French horns, and a percussionist) and tradances”. American Record Guide January/February 2021 93 If this sounds like a plot outline more than this performance, Rameau’s music retains its a performance critique, it is because of the color and motion. Though it is Rameau “light”, work’s layout. For example, Act V at 33 min- it might be a useful introduction. utes is divided into 25 tracks. And the same is BREWER true of the other four acts. But was it the music itself, or the performers, or both, who man- RATHAUS: Piano Sonatas 1+3; aged to hold my attention? Even though the SHOSTAKOVICH: Sonatas 1+2 orchestra has no brass to stir things up other Vladimir Stoupel—Avi 8553481 [2CD] 104 min than two mellow French horns, the music Karol Rathaus (1895-1954) was of Polish Jew- never stagnates, the flow is always moving for- ish descent; he studied with Franz Schreker at ward, the conductor is alert and incisive, the the Hochschule fur Musik in Berlin, and the orchestra is peerless, and the singers are excel- First Sonata, from 1920, was his entrance lent; the two leads (Deborah Cachet and examination there. Judging from his writing, Mathias Vidal) are especially engaging. In fact, he was generally an Extremely Serious person. I find this work much easier to take than some Moods shift often, especially in the Spanish- of Handel’s operas where an aria can drone on tinged Scherzo; and our ears are filled with the for 15 minutes with an inane text (“I am going massive struggles of late romanticism. The to the store”), followed by a 12-minute aria style can veer from heights of virtuosity to gno- (“What will you buy?”), etc. mic restraint, but the dark intensity almost Recorded in Versailles, the engineering is never lets up. warm and resonant, and balances are superb. The Third (1927) steers an even wider The liner notes are informative and easy to berth around traditional form and tonality. At read, and the complete text is in French, Eng- the same time it is slightly less glowering, lish, and German. The packaging is attractive, though we are still oceans away from throb- with sumptuous photos of the opera house. bing Rachmaninoff. To contradict my state- FRENCH ment about Rathaus’s seriousness, the scam- pering, turbulent finale uses some wild, AMEAU: Pigmalion & Dardanus Suites R markedly Jewish-sounding dance material, & Airs Anders Dahlin, t) Orfeo Baroque Orchestra/ and there are the barest hints of jazz as well; Michi Gaigg—CPO 555 156—64 minutes even the opening notes ring like a spoof of Chopin’s `Minute Waltz’. Admirers of Medtner, These are selections from two of Rameau’s Scriabin, Lourie, and their associates should important compositions, the 1748 act de bal- have this music. let, Pigmalion, and the 1744 tragedie en Shostakovich’s brash, acerbic Sonata 1 is musique, Dardanus. The instrumental selec- dense and cluttered here, and the piano’s iron tions are essentially two suites of dances. In tone makes me feel pummeled. Lilya Zilber- each suite, Anders J Dahlin sings two selec- stein (Decca 4757425) plays with much more tions: from Pigmalion the air `Fatal Amour’ subtlety and personality. Stoupel doesn’t bring and the ariette `Règne Amour’, and from Dard- out individual voices much; instead we are anus the title character’s prison air `Lieux faced with a rabble-rousing, angry chorus. The funestes’ and the ariette `Hatons-nous; most difficult passages stretch his technique courons a la gloire’. The airs were in an updat- slightly beyond what is comfortable. All this is ed style based on Jean-Baptiste Lully; the ari- not to say his interpretation is ineffective or ettes were basically Italian arias in French. invalid—not in the slightest! (And Stoupel Texts and translations are in the booklet. does respect the quiet passages, keeping an Dahlin has a light and agile voice, well suited atmosphere of eerie tension.) to the haute-contre repertoire. 20 years ago I may have responded with Both of these works were composed for an enthusiasm, but these days, I tire of the “to a opera orchestra, and this smaller ensemble hammer, everything looks like a nail” lacks the presence found in the complete approach. The more approachable style of the recordings: for Pigmalion, see the brief Second Sonata normally makes it go down overview in Jan/Feb 2020, and for Dardanus, better, but again the playing is mostly brutalist Nov/Dec 2000 and July/Aug 2016. In particu- and undefined. There are problems of tech- lar, the interpretation lacks the elan of Gustav nique, too: repeated inner chords are inconsis- Leonhardt’s recording (DHM 77143, 1981), tent, and the rippling accompaniment pat- especially in the final Contredanse. Even in terns do not always flow. Rubato saves the pro- 94 American Record Guide January/February 2021 ceedings from turning mechanical, but in III AVEL: an excessive amount of it holds the music R Trio; CHAUSSON: Piano Quartet back. Trio Machiavelli; Adrien Boisseau, va The Rathaus and Shostakovich were Berlin 301417—61 minutes recorded a year apart with different engineers. Though the booklet (German and English) Over the past century, Ravel’s sole trio has points out similarities between the two com- steadily gained in stature, and it is certainly a posers, I would still rather pay for a single, full- cornerstone at this point. What does Trio length, all-Rathaus disc. Note that this label is Machiavelli bring to it? Intimate acoustics and not the same as Avie. a straightforward interpretation, sometimes ESTEP verging on very good. Each movement is per- suasive here (III is a wonderful slow burn), but RAVEL: Piano Pieces it just can’t go to the head of the class. In fair- Valses Nobles et Sentimentales; Tombeau de ness, I have heard this several times and hear- Couperin; Sonatine; Prelude; Pavane; A la ing this a few more times might elevate it in my Manière de Borodine; A la Manière de Chabrier; estimation. Menuet sur la nom d’Haydn The 11-minute first movement of Chaus- Ann Martin-Davis—Guild 7825—69 minutes son’s Quartet in A is like the opening of some massive piano concerto. The 19th Century This is an enjoyable single-disc Ravel recital. It hothouse atmosphere is simply tiresome after is subtitled `Le Langage des Fleurs’ which a while, and only III offers respite. Joined by relates to a ballet based on Valses Nobles et Adrien Boisseau on viola, Trio Machiavelli Sentimentales for which Ravel wrote the libret- make a fine case for this piece. The Schubert to as well as the music. This offers a central Ensemble was a bit better, but it may be too idea for the extensive booklet essay, which epic (Jan/Feb 2017). complements the pianist’s own notes. The two DUTTERER major works (Valses and Tombeau) are near and dear to my heart, as is the Sonatine. The REICHA: Grand Salon Symphony 1; Pavane has one of the most beautiful melodies BEETHOVEN: Septet ever written. The three pieces that refer to Le Concert de la Loge—Aparte 211—75 minutes other composers make for an interesting group, and the little two-page Prelude, written Over the past two centuries, Anton Reicha has as a sight-reading test, has been in my own often been disparaged at the expense of repertoire for years. Beethoven or some of the other more emphat- The piano playing here is what I aspired to ic romantics. There’s no question that he was do when working on these pieces many years rather theory-driven, and his contemporaries ago. Martin-Davis takes a gentler approach were sometimes baffled by his music. Listen- than I did, especially in the opening waltz of ing to the two composers as they are repre- Valses. Her slightly detached Prelude in sented here, a listener engaging in a blind taste Tombeau is true to the neo-Baroque idiom test would be hard pressed to say which was Ravel was emulating. The notorious closing considered a dabbler and which one is some- `Toccata’ is, like the Prelude, detached and times regarded as Zeus in the classical pan- clear but switches to pure legato in the central theon. section. As it builds to the closing climax of But Reicha’s Grande Symphonie de Salon 1 notes that cover the whole keyboard, Martin- is not necessarily the sort of music that will Davis misses none of the excitement, while redeem his reputation overnight. No matter keeping the phrases sensibly shaped and clear. who writes it, salon music observes different I found this a real discovery of a great laws. This world premiere recording is fresh, pianist with impressive teaching and scholarly and this nonet (culled from the larger orches- credentials. I noted that her notes in English, tra) is relishing it. It begins with brooding French, and German were not translated by romantic thunderclouds, but they quickly give anyone (as was the booklet essay), leading me way to lighter fare. Anyone who has heard his to believe that she is fluent in many languages. wind quintets will have a sense of the tone that She has trained over 4000 piano teachers in prevails. For that matter, strings play little role South East Asia and the UK. This should be in II, a very leisurely Adagio. Violinist Julien widely heard. Chauvin’s name looms larger on the marquee HARRINGTON than his confreres; but although he gets play- American Record Guide January/February 2021 95 ing time, the impression lingers that this is an OSNER: amplified wind quintet. The Finale has a won- R Requiem derfully woozy drunken tone, delivered in a Kelley Hollis, s; Feargal Mostyn-Williams, ct; polished, classical-era style rather than “sturm Thomas Elwin, t; Gareth Brynmor John, bar; und drang” assertiveness. If nothing else, this Crouch End Festival Chorus; London Philhar- monic/ Nick Palmer—Toccata 545—69 minutes piece opposes the image of Reicha as techni- cian and paints him as an entertainer in the Arnold Rosner’s Requiem (1973), no exaggera- same tradition as Mozart and Rossini. tion intended, is one of the great works of the For me, Beethoven’s Septet has never real- 20th Century. Rosner (1945-2013) was a post- ly merited its 40-minute run time. Nonethe- modernist at a time when modernism was less, it is performed here with warmth and unshakable in academic circles. He studied at 18th Century flavor, with II and IV having the SUNY/Buffalo—a notorious hotbed: the facul- mood of a summer reverie. The final move- ty laughed at him. They were wrong. They ment is lovely. I’d like to hear more cello and couldn’t deal with his love of Renaissance and violin, but otherwise there’s nothing to find early music (Dufay especially), his tonality and fault with here except perhaps that the album’s post-tonal language. total time of 75 minutes is 15 minutes too Written when he was 28, the maturity and much. vision is striking. Inspiration for this work was The notes are well done and accompanied triggered by his fascination with Ingmar by images of musical manuscripts, and there’s Bergman’s Seventh Seal. He wanted to adapt it an article on the music department of France’s for an opera, but Bergman refused permission. Bibliotheque Nationale. Because this album is He began to write it anyway, and some of it part of a larger, semi-official celebration of appears in the Requiem. His sources include Reicha’s 250th birthday, there’s also a text by the New Testament, François Villon, the Kama the Czech Republic’s ambassador to France. Sutra, Whitman (When Lilacs Last in the Door- DUTTERER yard Bloomed), Dante, the Kaddish, and the ROMBERG: Harp & Cello Sonatas Dies Irae. All are set with sensitivity and pro- Zsuzsanna Aba-Nagy, Zsuzsa Szolnoki found musicality. Gramola 99216—77 minutes The London Philharmonic is great, but Ms Hollis’s soprano is wobbly. Helpful notes by This release claims to be a World Premiere Rosner scholar Walter Simmons. Texts and Recording, but it isn’t. I reviewed its predeces- translations. Don’t miss this. sor played by Rachel Talitman, harp and Didi- GIMBEL er Poskin, cello (Talent 86; July/Aug 2004) and liked it. ROSSINI: Moses (1767-1841) was a cel- Silvia Dalla Benetta (Sinaide), Elisa Balbo (An- list as well as a composer. These are beautiful ais), Randall Bills (Amenophis), Alexei Birkus examples of his art and ability. As Christian (Moses), Luca Dall’Amico (Pharoah); Gorecki Heindl reminds us in his fine liner notes, it is Chamber Choir, Virtuosi Brunensis/ Fabrizio easy to mix up Bernhard with his cousin Maria Carminati—Naxos 660473 [3CD] 168 min Andreas, who was born in the same year, played the violin and also composed some If an opera has given a beloved tune to the lovely music. The harp is an unusual partner musical world, the rest of the work is probably for the cello. worth getting to know. This is certainly the How does the present issue compare with case with Rossini’s opera about Moses’s free- its predecessor? The sound is similar, but the ing of the Israelites from Egyptian bondage. playing differs a bit. Poskin is a little more solid The tune in question occurs in a big ensemble technically than Szolnoki, and the tempos prayer as the Israelites stand by the Red Sea, taken on the earlier release cut over four min- just steps ahead of the Egyptian chariots. You utes from the total. The recorded balance and may know it from Paganini’s setting. The opera sonority are similar—perhaps a little more dis- turns out to be fascinating, with many tunes tant in the earlier release. I’d prefer that one, on the level of that one or even finer! though this one is not to be ignored. 168 minutes is a lot of Rossini for some D MOORE people, barely enough for others. Here we have what must be one of the longest of Rossi- ni’s operas, because it is one of his serious 96 American Record Guide January/February 2021 ones, further expanded for performance at the rious minutes, to an accompaniment that Paris Opera. includes harp arpeggios (`Je tremble et The Italian-language version of the work is soupire’—I tremble and sigh). relatively familiar on recordings, under the If you don’t know the opera, you might be title Mosè in Egitto (Moses in Egypt; 1818). better off with a recording of the 1818 Italian There have been at least six CD or DVD version (such as the Scimone). The present recordings (plus several pirated ones—one recording comes from three staged perform- with Boris Christoff in the title role). I particu- ances in summer 2018 at the renowned “Rossi- larly recommend a shapely, well-recorded CD ni in Wildbad” festival (Black Forest), and it release under Claudio Scimone, with June shows some of the near-inevitable shortcom- Anderson and Ruggiero Raimondi, made ings when a complex work is recorded that when they were in splendid early-career voice. way. The orchestra, not very large, sounds Now Naxos (which has already made avail- smaller because it is recorded without much able two performances of the 1818 version, resonance. (Perhaps the mikes were kept on one on CD, the other on DVD) brings us the the stage to avoid audience noise.) Also, in the 1827 French work, whose full title translates as opening scenes, the chorus and soloists often “Moses and Pharaoh, or the Crossing of the sing slightly below pitch compared to the Red Sea”. orchestra. Were they standing far from the pit, The excellent booklet essays by Annelies making it hard for them to hear? But this same Andries and Reto Müller explain how Rossini choral group is perfectly in tune with the and his French librettists rearranged the order orchestra—which helps one appreciate how of the 1818 opera’s scenes, reworked much of gorgeously they sing!—at the beginning of Act the music, and added many new sections, 2 when God has afflicted Egypt with a plague such as an extensive ballet. of darkness. The result is apparently the first complete Alexei Birkus (from Russia) is often slightly CD recording of the 1827 French version, and I flat even when he is standing front and center, recommend it heartily to anybody interested near the orchestra; and, though he has a in the early history of French Grand Opera. sonorous voice that conveys Mosaic authority, Here Rossini tried, as he would two years later his coloratura is not always clean. in Guillaume Tell, to tell a story from the leg- Still, the work comes across well, thanks to endary past in a grand, inspiring way. He the otherwise fine cast, led by two remarkable thereby set a path that Meyerbeer, Halevy, sopranos: Silvia Dalla Bennetta (whom I have Donizetti, Verdi, Gounod, Saint-Sa}}ns, and admired in Rossini operas—Nov/Dec 2019, others would follow. May/June 2020); and Elisa Balbo (who sings He varied the orchestral colors greatly, here as beautifully as in another Rossini opera, offering solemn passages for brass choir and Mar/Apr 2019). even a touching flute solo. The latter opens the Tenor Randall Bills is eloquent and con- Act 2 aria where the pharaoh’s wife pleads with vincingly heroic at the top end of his range her son to give up his love for the Hebrew though sometimes thin at the bottom. Patrick maiden Ana{{s. (It’s complicated: the mother Kabongo, from the Republic of the Congo, is herself has secretly accepted Jehovah as Lord. exquisite in the smaller role of Eliezer. The rest The plot elaborates wildly on the Bible story.) of the cast produces healthy, stylish singing: Particularly striking are the many descrip- Luca Dall’Amico (as Pharaoh) is more precise tive passages, such as when the skies brighten than Birkus (Moses) but produces a less reso- again after the plague of darkness is lifted. nant sound. (Rossini was surely thinking of the “Let there Carminati, a conductor I have not previ- be light” in Haydn’s Creation.) Or, toward the ously encountered, keeps up the pace nicely; end, the turbulent closing of the Red Sea on and the orchestra (from Moravia, in the Czech Pharaoh’s troops. Republic) and chorus (from Poland) follow And then there are the reliable pleasures of him to the hilt. any Rossini opera, namely lilting melody, A 2003 La Scala DVD of the Paris version, often blossoming into exquisite or passionate though perhaps not as complete as the new coloratura. One of my favorite such passages is CD, includes singers who were, or would soon in the third-act finale: after Moses makes the become, major stars (Frittoli, Ganassi, Muraro, statue of Isis collapse and the Ark of the Schrott, Abdrazakov), conducted by Riccardo Covenant appear in the sky, everyone express- Muti (Sept/Oct 2006). The bits I have seen are es a kind of frozen astonishment for three glo- captivating. There’s also a recording with American Record Guide January/February 2021 97 Cecilia Gasdia, Shirley Verrett, and Samuel the style of Walther von der Vogelweide. And Ramey (under Georges Pr***tre)—blurry video there is one “tagelied” (dawn song) that bor- but clear sound. This new CD gives you every rows from the alba tradition going back at least note that Rossini wrote, in a shapely and large- as far as the Troubadours of the 12th Century. ly convincing performance. French-only Ensemble Peregrina aims for rather simple libretto at the Naxos website, with helpful track performances of these songs, preferring solo numbers in red. voice (Agnieszka Budzinska-Bennett, Marc LOCKE Lewon, Mathias Spoerry) with instrumental accompaniments—harp, sinfonia (Budzinska- ROUSSEL: Bacchus & Ariane Suite 2; Bennett), (Lewon), vielles (Baptiste see Collections Romain), and medieval transverse flutes (Mara Winter), all of which are attested in the UBINSTEIN: Le Bal; Allegro Appassionato R miniatures of the famous song manuscript Warren Lee, p—Naxos 574216—88 minutes known as the Codex Manesse (c. 1340). Texts This is the longest CD I have seen. Like much and notes are in English. of Rubinstein’s music to come my way, Le Bal LOEWEN is quite long-winded, but always well crafted, with easy-to-listen-to melodies and har- SAINT-SAENS: Liszt Sonata; monies. Chopin Sonata 2, arr Anton Rubinstein (1829-1894) was one of Simon Callaghan, Hiroaki Takenouchi, p the great pianists of all time. He is regularly Nimbus 5997—55 minutes compared with Liszt, and his legendary con- Sgince we re ularly publish Liszt transcriptions certs teaching career occupy a huge place in of other composer’s works under Liszt’s name, Russian music history. His compositions have I thought it proper to place these transcrip- not fared nearly as well. Gerald Abraham said tions under Saint-Saëns. There are a huge that Rubinstein was “a competent imitator of number of recordings of the original solo Mendelssohn or Schumann with little person- piano sonatas. I know of only one other of the ality”. Liszt (Melodiya 2463, May/June 2017) and Le Bal (1854, revised 1871) is a ballroom none of the Chopin in the two-piano arrange- scene in ten sections. It begins with the antici- ments. These are both very literal transcrip- pation of the dancer, followed by varied tions, and the only noticeable added notes are dances that culminate in a wild `Galop’. The octave doublings and some filling out of the final movement is a dream reflection of what harmonies or figurations that are beyond the has been. The program and construction of capability of two hands. the work is more interesting than the actual Both of these works count among my music. That tends to be predictable, with favorites, and I have been listening to the origi- repeated phrases, agreeable, but not memo- nals all my life. As I played this several times, I rable melodies, and a lot of notes. I give Lee kept asking why. Why take the time to write high marks for the sense he makes of it all. He these arrangements? Why invest the time in has the technique and sensibilities to bring it perfecting performances? Why listen? Now I off. But it is not something that I’ll listen to have to answer those questions. again. Saint-Saëns undoubtedly admired these HARRINGTON works and most likely had the occasion to play two-piano music with very competent part- UGEN: Songs R ners (including Liszt). Recreating a master- Ensemble Peregrina/ Agnieszka Budzinska-Ben- nett—Tacet 261—75 minutes piece with a partner or as a gift for two other pianists is likely why he made these arrange- This is the first complete recording of the ments, beyond the fact that it clearly would extant works of the minnesinger Wizlav von enhance one’s knowledge of the works. Rügen. The identity of the poet is uncertain, No pianist would minimize the time but he might have been Prince Wizlaw III, who required to learn and bring to performance died in 1325. Most of the 21 items here fall into level either of these two works. While the two- the category of Springtime love songs, with piano versions do decrease some of the tech- their familiar bucolic “natureingang” (nature nical problems, the ensemble requirements opening). There are a few “sangspruchdich- must add to the difficulty with two pianos. For tungen” (religious, moral-didactic songs) in a piano duo team, learning one or both of 98 American Record Guide January/February 2021 these might be viewed as ascending Mt Ever- numbers were separated by pages of spoken est. I listen because I love the works and a dialog. slightly different version makes me listen more It was composed in 1864 but did not get closely and even hear some lines that I’ve performed until 1877 (18 times) at the Theatre never noticed in the originals. National Lyrique. It was revived in Brussels 15 Callaghan and Takenouchi are well up to years later, then in Germany in 1904-5 the demands Saint-Saëns has put before them. (revised); and in Monte Carlo in 1907 (with an They are at their best in the most technically entire act removed). He reworked the whole demanding sections. Also, they do very well opera, turning the spoken passages into recita- when one part clearly has the main idea and tives. (He had already drafted the recitatives the other accompanies, giving great shape to years earlier for a promised production at the inner voices. The recorded sound is good. The Paris Opera that did not come to pass.) In this booklet notes talk much more about the pieces all-sung form it was staged in Brussels in 1914, than the arrangements. Since these scores are a full 50 years after most of it was composed. not readily available, I would have preferred The composer was nearly 80, though still quite more information about the arrangements. vital. But I would certainly recommend this record- The recording is the 1914 version, which ing to people who love these works and would enables us to hear a maximum amount of enjoy a different aural presentation. largely unknown music by this immensely HARRINGTON skillful and often-inspired composer. The all- sung version also allowed the Center for SAINT-SAENS: Le Timbre d’Argent French Romantic Music (which prepared Helène Guilmette (Helène), Jodie Devos (Rosa), score and parts, and arranged for the perform- Edgaras Montvidas (Conrad), Yu Shao (Bene- ances and recording) to select singers not all of dict), Tassis Christoyannis (Spiridion); Les Siè- whom are native Francophones. (Spoken dia- cles, Accentus chorus/ François-Xavier Roth log in a French opera can be excruciating with Bru Zane 1041 [2CD] 148 minutes a non-native cast.) The plot? Well, let’s just say that it’s a series You know how odd a piece Offenbach’s Tales of misadventures involving Conrad, a destitute of Hoffmann (1881) is, with its three different painter in 18th Century Vienna, who faints and stories encased in yet another story and a vil- has a series of dreams where his doctor, Spirid- lain who reappears as different characters. ion, accompanies him (in changing guises: a Well, Le Timbre d’Argent, which was largely marquis, a coachman, a Gypsy) to various composed 17 years earlier than the Offenbach, places where all kinds of strange things hap- resembles it in important ways—not least in pen. The “gimmick” in the plot, and in the the high quality of the music and its astonish- work’s title, is a magical silver bell that, when- ing variety. ever Conrad rings it, will bring him riches but Le Timbre d’Argent (The Silver Bell) has also cause someone to die. never been recorded before—and, until The locales include a theater (where the revived by these performers in 2017, had not characters are on the stage), a Florentine been performed in 103 years. palazzo, a country cottage, and the shore of a Saint-Saëns was thought unlikely to suc- lake. Two characters die from his greedy ring- ceed in the theater. He was a master of sym- ing: his girlfriend’s father and his friend and phonic and chamber genres and a great good angel Benedict. The latter returns as a pianist and organist, but he twice failed to win ghost to advise him to shatter the bell, at the Prix de Rome competition, which required which point Conrad awakens and, in the a cantata or operatic scene. Nonetheless, over opera’s last pages, accepts a normal life of hard the decades he did finally get all his operas work, modest income, and a wife of good performed, as Hugh Macdonald explains in a moral character. marvelous recent book, Saint-Saëns and the The cast includes three prominent female Stage. Only one of them, Samson and Delilah, characters. Conrad’s deeply worthy sweetheart became a central item in the international is Helène, Benedict’s innocent sweetheart is repertory. Rosa, and a mime plays twin roles in the Timbre uses a libretto by Barbier and dream scenes: the ancient enchantress Circe Carre, who supplied texts for numerous other (who steps out of one of Conrad’s paintings) operas, including Gounod’s Romeo et Juliette and an enticing dancer named Fiammetta and, yes, Tales of Hoffmann. The musical (who, in Act 3, transforms into a Gypsy along American Record Guide January/February 2021 99 with Spiridion). The Circe/Fiammetta charac- Motives or even entire melodies are anticipat- ter, inevitably, nearly disappears on a record- ed as hints of things to come; or they are later ing. One must keep reading the stage direc- recalled, altered to suit the drama. tions to follow her. The two sopranos, Helène Guilmette and Macdonald rightly describes the score as Jodie Devos, both French-speakers, are simply “a young man’s opera, with a prodigal abun- marvelous, and appropriately cast: Guilmette dance of fresh musical invention”. (Saint- rich and soulful as Helène, Devos naive and Sa}}ns was 28 in 1864 when he composed the straightforward as the simpler, cheerful Rosa. first version.) The two tenors contrast even more strik- You can get a sense of the stylistic range ingly. Lithuanian-born Edgaras Montvidas, as from the lengthy potpourri-type overture, the anti-hero Conrad, suffers marvelously yet which includes highly contrasting melodies ever-musically, as will not surprise anyone that will occur later. It begins with a brisk, who knows his recorded performances in highly syncopated passage that evokes Berlioz operas by Gounod, Felicien David, and Ben- at his best. (The two composers were friends.) jamin Godard. He sometimes sings a bit sharp The weirdness and frequent shifts in the plot in an exciting scene, and some of his vowels and the locale, and between reality scenes and are unclear. For example, “ses”—”his” or dreamed ones, prompted Saint-Saëns to write “hers”—can sound more like “ce”—”this”. All music of ever-fresh variety. For example, listen in all, though, this is yet another triumph for a to the mysterious chords in the cellos for the world-class artist. arrival of the diabolical Spiridion, flippant Yu Shao, as Conrad’s sensible and self- observations by that character (recalling controlled friend Benedict, produces clear Mephistopheles in Faust and well conveyed lyric sound, always on pitch. A native of China here by Tassis Christoyannis), and a “ghostly” who has studied and performed in France and (Macdonald’s word) male chorus where Con- Belgium since 2008, he pronounces his French rad’s student friends regret his misguided with more consistent clarity than Montvidas, desires and deranged state. but he is less responsive to specific words and Among other musical high points are a phrases. lovely song for Helène (`Le bonheur est chose Greek-born baritone Tassis Christoyannis, legère’), a gambling scene (analogous to the as the diabolical Spiridion, balances the nec- one in La Traviata), a Neapolitan song, a essary elements beautifully: one can under- Gypsy chorus and dance, a drinking song, and stand nearly every word without looking at the a purposely raucous Carnival chorus. libretto and sense the many shifts in the char- There are exquisite and situation-specific acter’s contrasted personas and moods. This choices of instrumentation, such as ominous role is a triumph for a singer whom I have brass in the gambling scene. In the opera’s already praised here in numerous song and opening scene, Saint-Saëns indicates Conrad’s opera recordings (Salieri, David, Gounod, downheartedness by using two English horns. Offenbach, Lalo). When the perky, silent Fiametta performs the The chorus and period-instrument orches- `Dance of the Bee’, the violas do the necessary tra, under Francçois-Xavier Roth, are im- buzzing. This number is a kind of striptease, mensely colorful, and all is captured in excel- with the dancer removing veil after veil in lent balance. It’s a studio recording made after order to try to rid herself of the annoying five staged performances at the Opera- insect. Comique. Timbre contains well-managed “I am” and Lovers of French opera will find endless “I want” songs (to use Broadway terminology) fascinations in Timbre. It is tuneful and color- for several characters, and effective scenes of ful from beginning to end. The small book that action and interchange between characters. comes with the recording contains excellent There are some delicious short choruses in a essays and the libretto, all capably translated. variety of styles. Larger ensemble scenes cre- One miscalculation: the compositional and ate much excitement through artful modula- performance history of the work is told again tions. and again by each writer. Eliminating these The preludes and other passages for repetitions would have left room for other con- orchestra alone are enchanting. The entr’acte siderations about a major work that listeners to Act 2 is for the combination of winds and are discovering for the first time. The synopsis, harp. (The composer also published a piano for example, is far too brief. arrangement of it called simply `Gavotte’.) LOCKE 100 American Record Guide January/February 2021 SAINT-SAENS: Piano Concerto 5; good enough pieces that researchers and per- see OSWALD formers should excavate his violin concertos and many other pieces. SARDELLI: Trio Sonatas 1-6 This is the third of Rashidova’s four discs Stefano Bruni, Giovanni Battista Scarpa, v; covering the caprices. They are good record- Lorenzo Parravicini, Bettina Hoffmann, vc; Paola ings, and the feat of a complete cycle is mind- Talamini, organ—Brilliant 95999—67 minutes boggling, amounting to hours of unaccompa- nied virtuosic music. Anyone looking to dis- I was fooled. I listened to the entire program cover technically demanding romantic music assuming Sardelli was a lesser-known Italian for unaccompanied violin would be advised to baroque composer, but he is very much alive listen to these. They take their place among today, writing in the style of a Venetian com- Ernst, Wieniawski, and Ysaye. poser from the 1720s. I was fooled because Reverberation is a cloak that conceals an Sardelli never wavers from his approach. The artist’s true sound. It grants perfect anonymity, music is predictable and sometimes fades into neither confirming nor denying the truth. We the background, easily digested. The perform- think of recordings as arbiters of truth, but ers display panache; violinistic interplay daz- often they work in the opposite direction. This zles. Cellos supply reliable , recording suffers from too much. I prefer drier and the organ fills the harpsichord’s usual role, recordings. Why listen to a muddy and indis- subtly filling out harmonies. It sounds as if an tinct performance from the other room? I entire chamber orchestra is playing thanks to could tell you Rashidova has a good sound, boomy acoustics. I am impressed with how but I really do not know. There is no way even dissonances rub exactly as they ought to. I—a music critic—can fight my way through Vivaldi is a glaring influence; there is one the smoky haze of reverberation. notable quote listeners may recognize from KELLENBERGER the Four Seasons in I of the third sonata. Grav- ity and spirituality characteristic of Bach’s can- SAY: Violin Sonatas 1+2; Cleopatra; tatas seep into 5:I, and you might recognize 1001 Nights in the Harem late Mozart in the pathos of 6:II—a Mozart Friedemann Eichhorn, v; Fazil Say, p; Aykut Koe- who was more drawn to baroque influences as selerli, perc; German Radio Saarbrücken/ Chris- he aged. Sardelli has resurrected history with toph Eschenbach—Naxos 574085—71 minutes earnestness and conviction. KELLENBERGER Fazil Say first appeared on the musical scene as a pianist, but composition now occupies SAURET: Caprices 14-19 more and more of his time. Indeed, he rather Nazrin Rashidova, v—Naxos 573975—79 minutes snuck up on me. Only one of the four works here is a first recording: the 2019 Second Today Emile Sauret (1852-1920), a concert vio- Sonata (subtitled Mount Ida); there have been linist, is best known for the devious cadenza at least two recordings of both the First Sonata for Paganini’s first violin concerto, a com- and the Concerto, and at least one of Cleopa- pendium of Paganini’s advancements on the tra, a solo-violin test piece for a competition. violin. Sauret’s reverence for the legendary vir- Say himself appears in most of them and clear- tuoso is demonstrated with this set of 24 ly knows what he wants from his collaborators. etude-caprices composed near the end of his That ranges from straightforward Turkic life in homage to Paganini’s illustrious 24 elements, as in much of the First Sonata and caprices. These caprices are grander in scope the Concerto (where a large array of Turkish and design than Paganini’s; the average time percussion instruments, deftly deployed by of the six caprices is more than 13 minutes; the Aykut Koeselerli, does a good bit of the heavy 15th clocks in at an astounding 18. If Pagani- lifting), to more general violinistic and pianis- ni’s are chapters, Sauret’s are books. Paganini tic “special effects”, as in the Second Sonata. dabbles in introspection while captivating The latter work is about environmental audiences with technical prowess. Sauret car- despoilation—specifically, the deforestation of ries thoughts along for a great while, allowing a mountain to make way for gold mining—and ideas to settle and percolate in a listener’s so there are all manner of extra noises, if you mind. It is not quite accurate to call the latter will, from playing inside the piano in I (`Deci- “deeper”, but he is less interested in bedazzle- mation of Nature’) to the most realistic bird ment and certainly in less of a hurry. These are song I have ever a stringed instrument pro- American Record Guide January/February 2021 101 duce in II (`Wounded Bird’). This is not the hand piano accompaniment bring to mind the genteel trills of Vivaldi’s `Spring’, nor the styl- Liebeslieder Waltzes of Brahms. Then each ized bird of ’s `Liturgie de singer alone takes a group of songs. Their voic- Cristal’ (the first movement of the Quartet for es are fresh, clear, and appealing. Diethelm is the End of Time), nor yet the cello-harmonic especially impressive in the three Kerob-Shal seagulls of George Crumb’s Vox Balaenae; this songs and the final three. is so close to the sound of an actual bird Notes, texts and translations (except for 5 (something in the range of a chickadee, songs). though of course not the same call) that at first R MOORE I suspected a recording was involved. The piano reverts to very simple, somber, tonal SCHNEIDER, E: Flute & Orchestra writing underneath it, like the soundtrack to a Lukasz Dlugosz, Agata Kielar-Dlugosz; Silesian nature documentary. Philharmonic & Chamber Orchestra/ Miroslaw This is not, incidentally, the only work Say Blaszczyk—Wergo 5127—69 minutes has written about Mount Ida and the devasta- Enjott Schneider (b 1950) taught tion there; the notes to this recording mention from 1979 to 96 and film composition from a “Mount Ida series”. These notes, which aren’t 1996 to 2012 in Munich. He was president of credited to anyone, state that the composer the German Composers’ Association (DKV) “has connected with audiences and critics from 2013 to 2020. He was also on the supervi- alike for more than 25 years, in a way that has sory board of the German music copyright become rare in the increasingly materialistic society (GEMA) from 2003 to 2020. and elaborately organized classical music Schneider is an incredibly prolific compos- world”. I can’t see that “materialism”, as such, er, having written 9 operas, 7 symphonies, plus has diddly to do with this phenomenon, if many other orchestral and choral works, 16 phenomenon it is. organ symphonies, and scores for 600 films. In THOMSON 2019 he won the German Film Music Award. SCHMITT: Songs In 2018 he was given the Orlando di Lasso Sybille Diethelm, Annina Haug, Nino Aurelio Medal for sacred music. Gmünder, Rene Perler; Fabienne Romer, Edward In the first few weeks of 2020, the Beijing Rushton, p—Resonus 10265—71 minutes and Tianjin orchestras commissioned a work on the coronavirus to open the first program Florent Schmitt’s orchestral works are well they would play after the shutdown on March known, but his songs hardly ever find their 6. He completed a 48-page score between Feb- way onto recordings. This album of 25 songs, ruary 10 and 20, but then the date for reopen- including 22 recorded here for the first time, is ing was postponed to April, then to May. an important response to their neglect. Wuhan 2020: Tragedy and Hope was eventual- (Schmitt’s name is tainted by his Nazi collabo- ly performed on August 14 in Beijing and ration, but these songs are very engaging and August 17 in Tianjin. After Krzysztof Penderec- well performed.) This seems to be the only ki died (March 29) the Silesian Philharmonic album of his songs available. of Katowice commissioned a Sad Mazurka as a My colleague Roger Hecht has aptly char- memorial piece. It was written one minute at a acterized Schmitt’s compositional style as “a time, with two versions of each section posted combination of the French Wagnerian and online and the audience voting for which sec- impressionist composers”. I was struck by his tion they preferred. Beginning Monday April 6, chromatic inventiveness and adventurous 2020 over 12 consecutive days the parts of the style, particularly in the second song, `Star’, of work were composed and decided on. It was Kerob-Shal where the piano writing to depict the first time in history that a classical compo- the twinkling of stars anticipates Messiaen’s sition has been created with continuous par- bird calls. The liner notes refer to his music’s ticipation from the audience. gorgeous sensuality, biting wit, laconic charm, All the selections are recorded for the first and unleashed savagery. Many of the songs time. These are multi-movement works that have a dreamy and sometimes a somber quali- have evocative titles for the movements as well ty. as the whole. Pictures of Yang Guifei (2015) for These fine young singers blend their voices flute and orchestra was followed more recently nicely in six Songs for Four Voices to begin the by Tree Worlds (2019) for flute, strings, and program. The triple meter songs with four- harp and Water: Element of Infinity (2019) for 102 American Record Guide January/February 2021 two flutes and orchestra. Inspired partly by the CHUBERT: Khalil Gibran quotation “Trees are poems that S Octet the Earth writes to heaven”, he has written and Amaury Coeytaux, Loic Rio, v; Laurent Marfaing, rewritten many tree pieces in recent years. va; Francois Kieffer, vc; Knut Erik Sundquist, db; One earlier incarnation is Four Tree Pictures Sabine Meyer, cl; Dag Jensen, bn; Bruno Schnei- (2011) for recorder, 2 guitars, and low string der, hn—Mirare 438—62 minutes quintet, or flute, harpsichord, and string When Beethoven wrote his Septet as a warm- orchestra. Its movements are `Birch’, `Cedar’, up exercise for his first symphony he invoked `Rowan or Mountain Ash’, and `Chestnut’. The the classical divertimento tradition, casting the four movements of Tree Worlds are `Birch’, work for four strings and three winds, and `Apple’, `Chestnut’, and `Hornbeam’. His Musi- unfolding it in six movements of contrasting cal Portraits of the Celtic Tree Calendar for two dispositions and structures. His effort was fifth-bass or baritone guitars, flute, and string such an enduring hit with the Viennese public orchestra was recorded on Wildner in 2009. that he later resented it, feeling that he had Schneider’s long affinity for Asian culture, crafted better compositions. When the Austri- which culminated in his opera Marco Polo an noble and amateur clarinetist Ferdinand (2017), informs much of what’s here in both Troyer asked the young and sickly Franz Schu- style and texture. The writing is very effective; bert to craft a companion piece to the Septet, this is a composer who really knows how to the composer had already composed six sym- make things “sound”. One could also say he phonies and his style had become fully roman- writes music that is very scenic. The concert tic. He added a second violin to Beethoven’s piece for two soloists uses flute, alto flute, and instrumentation; and his effort was twice as piccolo backed by a considerable array of long, lyrical, and intense. pitched instruments and non-pitched percus- The private premiere at Troyer’s town- sion. The scoring for flute, strings, and harp gives Tree Worlds a subtly Celtic feel while house (he played the clarinet part), was well tremolos, trills, and runs in the flute evoke received; but at the April 1827 public reading sounds from nature. The mood of these four in memory of the recently deceased pieces is more contemplative, whereas the Pic- Beethoven, critics found its length bother- tures of Yang Guifei are more dramatic. The some. The next year, Schubert succumbed to a best thing about Schneider is that his pieces long illness; and the Octet languished. In 1861, are easily grasped but do not descend into Vienna Conservatory violin professor Joseph banality. Hellmesberger re-introduced the Octet at an Lukasz Dlugosz has a rich sound he important concert; and in later years he super- deploys through a wide range of expression. It vised a critical edition of Schubert’s complete should come as no surprise that he was award- works. His advocacy ensured that Schubert’s ed Poland’s Bronze Medal for the Glory of Art scores entered the performance canon and in 2012. Agata Kielar-Dlugosz plays so well it that the Octet etched a permanent place in the can be impossible to tell them apart. The chamber music repertoire. orchestras supply terrific backing, and from This September 2018 recording is an inter- the podium Miroslaw Blaszczyk keeps the bal- national project. The Paris-based Modigliani ances just right. When music worth hearing is String Quartet, Norwegian double bassist Knut played to the hilt, you have every reason to try Erik Sundquist, German clarinetist Sabine something new, as in this case. Meyer, Norwegian bassoonist Dag Jensen, and A 25-page booklet contains plenty of back- Austrian horn player Bruno Schneider all join ground and biography in English and German. forces; and the presentation is fully profession- All three works have been published. I enjoyed al: resonant timbres, lovely phrasing, effortless a mixed program I heard from these two on technique when needed, and exquisite bal- the Polish label Dux a little while back ance, blend, and teamwork. The musicians (Jan/Feb 2018—Vivaldi). here lean a bit more toward the composer’s GORMAN classical roots, keeping Beethovenian weight at arm’s length; but they still supply plenty of SCHNITTKE: Cello Concerto 1; romantic gusto. The slow movements have see KAPUSTIN profound lyricism and the fast movements tight rhythm and infectious energy. This is a Only pessimists are really happy; nothing terrific album to have in any music collection. turns out as bad as they expect it to be. HANUDEL American Record Guide January/February 2021 103 SCHUBERT: Piano Sonata in A minor, SCHUBERT: Songs D 845; Sonata in G Sharon Carty, mz; Jonathan Ware, p Yasuyo Yano, fp Genuin 20697—65 minutes IBS 102020—76 minutes The idea for this album, “Schubert’s Four Sea- tI ha e the sound of fortepianos. Having just lis- sons”, was to create a program of songs that tened to Sheila Arnold’s beautiful rendition of relate to the seasons of the year, using two long Schubert’s G-major Sonata on a fine modern ballads as bookends for the program. `Viola’ piano (J/A 2017), the rattling of the old instru- and `Ganymed’ represent Spring, `Das Som- ment was a slap in the face (or on the ear, if mernacht’ and `Romanze’ relate to Summer, you will) and I soon turned it off. Pianos, `An der Mond in einer Herbstnacht’ and unlike string instruments, have truly improved `Litanei auf das Fest Allerseelen’ connect with until at least the mid 20th Century, and I don’t Autumn, and `Griesengesang’ and `Das Win- understand why anyone would not play key- terabend’ refer to Winter. The second long bal- board music of any period on the best instru- lad, `Klage der Ceres’, brings the album full cir- ment available now. Even though the Japanese cle back to Spring. The smart selections make lady who made this recording seems compe- a good program of familiar and less familiar tent as a Schubert interpreter, she has been songs. wasting her effort as far as I am concerned. I The songs are mostly gentle and the per- hope she will choose a concert grand next formance overall is subdued. Carty’s voice is time—this is billed as Volume 1 of a series— lovely and her readings are clear and nicely and that Switzerland, where the pianist lives phrased, but the program suffers from same- and this recording was made, will also be ness. All the songs are wonderful and each is spelled correctly then. performed well, but they are all at pretty much REPP the same level of affect. Most of the variety and energy in the program comes from Ware’s fine SCHUBERT: Songs & Instrumental Pieces playing. If you’d like a calm and comforting Rosemary Standley, , s; Airelle Bee- group of some of Schubert’s finest songs, you son, tpt; Ensemble Contraste may find this satisfying. Alpha 418—53 minutes Notes, texts, translations. R MOORE hThis is Sc ubert as you’ve probably never heard it. The program offers arrangements SCHUBERT: Symphonies 2+3 (recompositions is more accurate) of 14 well B’Rock Orchestra/ Rene Jacobs known songs with accompaniment by various Pentatone 5186759—55 minutes instruments including trumpet and percus- sion and two instrumental pieces in jazzy What a stupid name for an orchestra! And in arrangements. their picture they are mostly young and in in “Vocals” is how the album lists Standley. blue jeans—super-cool. There are about 27 “Nondescript” would be more accurate. It strings and about 13 others—40 players. By reminds me of a pop singer like Sting record- any definition, this is a chamber orchestra. I ing songs of Dowland. The idea of having two do not want Schubert played by a chamber voices singing `Death and the Maiden’ is fine; orchestra. Nor do I want the players to have but even Sandrine Piau, who joins her in three grown up with “rock”—that is a disadvantage. songs, sounds out of place here. The best track I doubt whether the players (all either Euro- of the album is an arrangement of the gor- pean or—occasionally—Japanese) grew up on geous Impromptu in G-flat from D899 with the early Schubert. melody line assigned to a cello. Jacobs is known as a PPP (Period Perfor- I suspect this release will find a very limit- mance Practice) advocate. What that essential- ed audience, appealing neither to those who ly means here is that Schubert is not allowed love the music as Schubert intended us to hear to be a romantic. Tempos are strict and boring. it nor to those who like pop music or nightclub “Vivace” is mistaken to mean “super-fast”. I jazz. don’t think they have fussed over the instru- Notes, texts, translations. ments. The fuss instead is over practice— R MOORE above all, nothing even slightly “romantic”. The Allegretto of Symphony 3 is by far the fastest I have ever heard. So is the finale, which 104 American Record Guide January/February 2021 includes the repeat. Mr Jacobs in his notes uet is not too fast (5 minutes—still a minute refers to Rene Leibowitz, who said that II faster than Beecham), and the whole sympho- should be much slower than it is often taken— ny takes only 27 minutes. A number of famous it’s the slow movement, after all. But Jacobs conductors took all the repeats and ended up disagrees, and we are stuck with what Lei- around 40 minutes—just too much. bowitz warned us about: 4 fast movements. By the way, I suspect monaural sound, That can’t be right. since there is no claim that it is stereo—though Well, all of this is sterile. For 60-some years in 1958 many recordings were stereo. It really I have loved these symphonies. I have heard doesn’t matter, because it is beautiful sound— worse performances than these, but I will warm and never too close-up or harsh. This is never listen to these again. a Decca Eloquence reissue, and their remas- VROON terings are always superb. The Weber overture is conducted by Antal SCHUBERT: Symphonies 4+6; Dorati (8 minutes). MOZART: Symphonies 39+41; VROON WEBER: Oberon Overture London Symphony/ Hans Schmidt-Isserstedt, SCHUBERT: Arpeggione Sonata; see Collections Decca 4840353 [2CD] 120 minutes SCHUMANN: Piano Pieces Spend an evening with these and you will Nono Gvetadze—Challenge 72855—67 minutes agree with me that they are pleasant and attractive performances in excellent sound. This young Georgian pianist, born in Tbilisi, They are all from 1958. Of course, Beecham student at the conservatoire and later in the was still alive, and this is Beecham territory. Hague, demonstrates her artistry once again. Nothing is as charming and elegant as Those a bit confused by the appearance of Beecham was. But I don’t think you can find “einsam” here are alerted that it is not a name, Beecham recordings of all four of these sym- but German for “lonely” to indicate the phonies. pianist’s response to the pandemic and her The Schubert 4th is conducted by satisfaction on discovering the composer in Susskind. It’s quite similar to the Ormandy this isolated period of her life. (same period), and it has a rather fast minuet While the presentation seems a bit (Allegro Vivace—an old problem that both obsessed with her hands, they fortunately do Ormandy and Susskind got wrong. Böhm, not get in the way of her playing such stan- Barenboim, Vaughan, and Viotti got it right— dards as Kinderszenen and Kreisleriana. On even Muti did. The “Vivace” should not speed the contrary, these are agile, pleasant perform- up the Allegro!). ances which show considerable strength when Schubert 6 was a Beecham speciality, and needed. The use of pedal never turns to over- he was usually slower than what we hear here. use, and the children may be boisterous some- Again, it’s a matter of more expression, more times, but never rambunctious. elegance—though there is elegance in this Other contents include the `Arabesque’ in recording, too. an especially felicitous reading, `Prophet Bird’ The Mozart is excellent, but a bit plain. from Forest Scenes and `Einfach’ from 3 London critics at the time considered the E- Romances. Sound is good, if not exceptional flat Symphony a speciality of this conductor. and the notes decent. They liked his tempos, and the Times called BECKER his performance “light and strong”. The same critic described this conductor’s Mozart in SCHUMANN: Songs 9 general as “crystal clear, without false senti- Detlef Roth, bar; Ulrich Eisenlohr, p ment, but full of beautiful, airy sound”. It is. But Naxos 574029—65 minutes I have to admit that I prefer George Szell in this symphony. The same description applies to For this ninth program in his Schumann proj- Szell, but he adds (very subtly) more feeling in ect, “Romances, Ballads and Melodramas”, the Andante, more expression in general. Eisenlohr has selected songs having a dramat- And Beecham’s Jupiter is in a class by ic narrative with texts by some of the leading itself. So many performances of 41 seem European poets of the 19th Century. Some of heavy, but this one is light and airy. The Min- the late songs have a dark and menacing quali- American Record Guide January/February 2021 105 ty, which probably reflect the composer’s anxi- record something that has been exhausted in ety and mental instability. recordings (see our Overview). We didn’t need From 1840, Schumann’s inspired “Year of a new one, and any “original” ideas here are Song”, we hear the three songs of Op. 45; from unattractive. Romances and Ballads, Book 1; and the three VROON songs of Op. 49 from Book 2. The most familiar SCHUMANN: Symphony 4; of that Op. 49 group is `The Two Grenadiers’. see MENDELSSOHN Less often heard is the third song, `The Nun’. Rarely heard is the second song, `The Hostile HAPERO: Sinfonia; Credo; Partita; On Brothers’—who end up killing each other in a S Green Mountain; Serenade battle for a woman they both desire. We also Vivian Choi, p; Boston Modern Orchestra Pro- hear Five Songs, Op. 40 from 1840. ject/ Gil Rose—BMOP 1072—84 minutes The remaining 10 songs are from 1849-52. In the last years of his life Schumann turned to H arold Shapero (1920-2013) was a nightmar- melodrama—spoken text with piano accom- ishly archconservative composer, who rejected paniment. Three are included here: Two Bal- mid-century academic modernism and lads, Op. 122 and `Pretty Hedwig’, Op. 106. We savored imitations of standard tonal reper- also get Four Hussars’ Songs, Op. 117 and the toire. He studied with Boulanger and Hin- ballad `The Singer’s Curse’, Op. 139. demith, became friends with Bernstein at Har- Roth’s melodramatic narration is engaging vard, where he studied with Walter Piston, and and nicely shaped. In singing he does a fine had an influential lunch with Stravinsky. He job enunciating the text and shows a clear bought into the neoclassicism of the time, but affect for it, but he sounds too tentative and is he was no Stravinsky. His music is tonal in a less satisfying than in his narration. I would warped way. like to hear more legato in the line. His bottom The program opens with the Sinfonia in C notes are sometimes inaudible, and he strains minor (1948)m which uses Handel concertos for the top notes. as a model. After the French overture opening Eisenlohr’s playing is up to his usual high the work progresses in a complex neo-tonal standards, and he makes the most of the piano language. Credo (1955) places the text in writing in the narrated ballads. abstract, purely musical terms. The words are Notes in English and German. Texts and translated into melodies and harmonized in translations on the Naxos website. Stravinskian manner. Partita in C, for piano R MOORE and small orchestra (1960), is a suite with Baroque dances along with a scherzo, an aria, SCHUMANN: Symphonies 1+4 a cadenza, and a virtuosic finale. Gurzenich Orchestra/ Francois-Xavier Roth On Green Mountain (1957) is for jazz Myrios 28—55 minutes ensemble (in the spirit of Gunther Schuller’s Third Stream jazz-classical fusion). The classi- This is a hit-or-miss conductor. He has done cal part in this piece comes from the accompa- things that I really liked, but in other music he nying chord progression of Monteverdi’s misses the point. This is not romantic Schu- madrigal Zefiro Torna. The piece’s title is mann. It is too businesslike. The main part of I Monteverdi’s name. The chords become a is Allegro molto vivace. “Vivace” seems to catchy jazz riff, which I dare you get out of your license conductors to speed. That wrecks the head (surgery might help). The jazz part movement here. II is a minute or two faster reminds me of high school jazz bands, typical than in my favorite recordings, and it seems of the type in many colleges and high schools less felt that way. III, the Scherzo, is not too fast (in conservatories!) but seems choppy to me. It must be smoother. The program closes with Serenade in D Even that Scherzo is majestic in some record- (1945) for string orchestra after Mozart—more ings! in genre than style. In Symphony 4, all the movements are too The composer’s notes are followed by fast. The Romance, for example, at less than 4 helpful notes by Rodney Lister in the booklet. minutes, is 2 minutes faster than Furtwangler, This extremist postmodernism will be of inter- who obviously influenced Bernstein and est primarily to historians and students who Barenboim. seek examples of the genre, though only in So there’s no reason to bother with this. As comparison with the master (Stravinsky). The so often nowadays, a conductor decides to music is more difficult to perform than you 106 American Record Guide January/February 2021 might think, but this great band gives it their SHOSTAKOVICH: Piano Sonatas; all. see RATHAUS GIMBEL Viola Sonata; see Collections Violin Sonata; see PROKOFIEFF SHOSTAKOVICH: Quartet 8; Piano Quintet; SIBELIUS: Quartet; see VERDI GOLEMINOV: Quartet 4 Victor Chouchkov, p; Sofia Quartet SILVESTROV: Symphony 7; Piano Concerti- Gega 420—64 minutes no; Cantata 4; Ode to a Nightingale Inna Galatenko, s; Oleg Bezborodko, p; Lithuan- Despite clocking in at only 8:27, Marin ian Symphony/ Christopher Lyndon-Gee Goleminov’s compact, expressive “microquar- Naxos 574123—73 minutes tet” is the main draw here. It is reminiscent of Bartok in its drama, gestures, and extended Valentin Silvestrov (b. 1937) is a Ukrainian tonality, but it is in no way imitative; Golemi- composer who was involved in the avant- nov’s harmonies and themes are his own. Brief garde in the 1970s; he later moved to a post- bursts of aggression alternate with nocturnal modern style, with “...nostalgia for sounds half- passages or dance episodes, textures and heard, barely remembered from a past full of instrumentation varying all the while. beauty and spiritual aspiration”, as the con- The Shostakovich pieces are competent ductor’s excellent booklet essay says. Silvestrov but unpolished; the competition for both has left us divided, with Allen Gimbel finding pieces is far too fierce. I wish Gega had given much of his music “hauntingly beautiful”, and us an all-Goleminov album: they could have Mark Lehman wanting to “shove a big, floofy reissued his Third and Seventh quartets. The banana-cream pie right smack dab into (his) sound is fine if not exemplary; notes are in otherworldly kisser” (Nov/Dec 2007). Rob English and Bulgarian. Haskins liked his pieces that didn’t turn into ESTEP “absolute kitsch” (Mar/Apr 2017); heck, Silve- strov even wrote a piece called Kitschmusik. SHOSTAKOVICH: Symphony 5 He struck me as a sedated Schumann (Sept/ Bavarian Radio/ Mariss Jansons Oct 2013). BR 900191—44 minutes Ode to a Nightingale (1983) uses a Russian translation of the Keats poem, taking it into an The Germans spell the composer’s name eerie, completely foreign world. The soprano Dmitrij Schostakowitsch. I’m glad the rest of is given basically eight short melodic phrases; the world resists! I also think this is a short multiply those in 19 minutes of music and you program, not good value. It is short partly get a lot of repetition. The bird-song motifs in because Jansons is a fast conductor—and cold, the orchestra make the piece sound like I would say. I know no faster Largo than this, stripped-down Messiaen. Ode grew on me a yet even so it does not cohere especially well. little after the first time through, as I learned to Jansons was a peppery guy and conducted approach it on its own terms. More adventur- accordingly. His lack of emotion almost seems ous harmonies helped, as well as the fact that English. It’s certainly not Russian! And in a it takes a stand for something, where the other piece I have loved all my life he left me pieces wouldn’t dare have an opinion. unmoved. I’d call this a “so what?” perform- Cantata No. 4 sets poems by three different ance—utterly routine. men. The melodies come to a halt at the end of The sound is excellent, as is the orchestra; every phrase; as critic Raymond Tuttle wrote, but this is hardly competitive in a huge field of “Silvestrov’s music is usually in the process of recordings. fading into nothing...” That is an apt descrip- VROON tion, and it isn’t necessarily a compliment. The Word Police: The Dis Problem Ev erybody seems to use “disinterested” to mean “not interested”, but that is not what it means. A disinterested person is someone who can be objective and see things clearly, because he is not involved. 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 no such word. “Discomfort” is a noun. There is a verb, “discomfitted”, that means to make uneasy or puzzled.

American Record Guide January/February 2021 107 Concertino for piano and small orchestra derivative that the piece goes from bland to (2015) imitates some of Gavin Bryars’s sound corny. world (The North Shore), but it lacks his wit. It The performance doesn’t help; there are is an ethereal but finally disappointing collec- irregularities in Sokolov’s technique, and Pol- tion of cheap melodies and gauzy orchestra- lick’s bowing is uncontrolled and her intona- tion. The symphony, like the cantata, is more tion tragic in several places. `Reminiscence’ adventurous, but it alternates drama—or what for piano four hands (2013), is more of the passes for it in Silvestrov’s world—with the same soggy pablum with syrupy Hollywood facile gestures that inundate the other pieces. harmonies. `Elegie’, a 2001 work for solo viola, The performances are fine, and the sound is is spare rather than maudlin, but it still doesn’t rather gauzy, too. say a lot. ESTEP The slow movements of the 13 Postludes for viola and piano (2018) are dutifully pretty, SIVELOV: Piano Concertos 2+5; cut from the same cloth as the sonata. The Concerto Classico faster movements keep trying to spike the Niklas Sivelov; Malmo Symphony/ Victor Aviat; punch, but their decorous housemates don’t Livgardets Dragonmusikkar/ David Bjorkman let them get far. The contrasts help the set as a Naxos 573181—65 minutes whole go down better, though, and Pollick is in Swede Niklas Sivelöv was a child prodigy on better control of the viola. But if you like Silve- organ who switched to piano and then studied strov, ignore everything I said about the com- piano and composition at the Royal College of positions themselves and buy Sokolov as well. ESTEP Music in Stockholm; he now teaches piano at the Royal Danish Academy. All three concer- OMMER: Songs 1 tos—Classico with full orchestra, No. 2 with S Jochen Kupfer, bar; Marcelo Amaral, p strings, No. 5 with brass band—are spiky and Naxos 573827—65 minutes perky; they remind me in favorable ways of Martinu, Bartok, and Michael Torke. Sivelöv is After having been relegated to the musical a cerebral composer by his own admission, margins for a century, the songs of Hans Som- and though his style is accessible and enjoy- mer (1837-1922) are being rediscovered. able, nothing here stirs my soul. Even account- Jochen Kupfer and Marcelo Amaral have ing for the warm, almost-glowing, expansive searched through Sommer’s 300 or so songs slow sections or movements, the general (both published and unpublished) and select- impression is that the music churns away— ed 25 of them, all but 3 recorded here for the another similarity to Martinu. The Concerto first time—and with pleasing results. Sommer Classico is the best of the three, but all the the- was a pioneer in establishing copyright prac- matic material lacks a strong profile. tices. His success in establishing that practice ESTEP that prevented easier availability of his works. Hans Friedrich August Zincken (his birth SKALKOTTAS: Duo; see KODALY name) was a German composer and mathe- SLAVENSKI: Quartet 4; see KUNC matician who served as the director of the Braunschweig University of Technology, where OKOLOV: 13 Postludes; Violin Sonata 2; S he taught mathematics from 1875 to 1881. He Reminiscence; Elegie Karen Bentley Pollick, v, va, p; Ivan Sokolov, p went on to become director for several years Toccata 560—69 minutes and was a leading figure in his field of dioptrics. From early in his life music was his Ivan Sokolov (b. 1960) is a pianist and com- true passion, though his prospects for a career poser. Like many other composers (see Silve- in music were dim. strov above), he moved from an avant-garde In 1881, at the age of 47, having become style to roughly a neoromantic one, and all the independently wealthy, Sommer abandoned pieces here are in that vein. If I may anthropo- his scientific career and pursued his lifelong morphize the sonata (2018), I’d say she spends devotion to music with encouragement from her first three movements gazing drearily out . This may be when he adopted the windows dripping with rain, hoping some name Hans Sommer. stranger will come by and notice her sweetly When he died in 1922 his friend Richard mournful demeanor. In the finale she arises Strauss eulogized him as “an outstanding and emotes with vigor. But everything is so artist, a composer with an ideal disposition” 108 American Record Guide January/February 2021 and called Sommer’s opera Lorelei “one of the There are at least 18 double-bass concertos by finest and most interesting things written in him. The four-movement symphony is a nice Germany at the moment”. His finely crafted addition to separate the two concertos. songs are solidly in the romantic tradition. Patkolo is an outstanding Both artists are new to me. Jochen Kupfer player with a history of awards. He studied is a rising star in the world’s opera houses and with Klaus Trumpf, who wrote the liner notes concert halls. He is listed as a bass-baritone, for this release, at the University of Music in and he has both the low and upper ranges at Munich, where he himself became a professor his command. His phrasing, lovely legato, at the age of 24. He teaches at the University of clear and attractive timbre, and use of dynam- Basel, Switzerland. This technically demand- ics are all exemplary. He sounds thoroughly at ing music is played with fine accuracy and home in lieder and (in a video I heard of him musical polish, and I am sure we will hear singing Wotan) sounds just as at home in Wag- much more from him soon. More Sperger ner. He has a big voice that he can reduce to a would be a great pleasure, since this music is commanding hush, as in his soft release at the unexpectedly beautiful. Nicely balanced end of `Schöne Nacht’. recording! Amaral has gained a reputation as a D MOORE sought-after accompanist of singers and instrumentalists. Winner of the Pianist Prize at STANFORD: Sacred Pieces the 2009 Song Competition, Magnificat & Nunc Dimittis in G, B-flat; When he has performed worldwide with internation- Mary through the Garden Went; I Heard a Voice ally renowned artists. Both artists do a splen- from Heaven; Latin Magnificat; O for a Closer did job here. Walk; Te Deum in C Until recently it was hard if not impossible with HOWELLS: Requiem; Gloucester Service; to find any recording of Sommer’s songs other The Fear of the Lord; Like as the Hart; Long, Long than one archival 78rpm record of one song Ago; All my Hope on God is Founded made more than 100 years ago by Leo Slezak. Wayne Marshall, org; Cambridge Singers/ John Recordings of his songs are now starting to Rutter—Collegium 524 [2CD] 93 minutes appear. I reviewed a fine release of his orches- tral songs (S/O 2012). Krishan Oberoi This was originally released in 1992 as I Will reviewed an album of songs with piano Lift up Mine Eyes and adds the Stanford Nunc accompaniment (S/O 2018), and Avi released Dimittis in G, Latin Magnificat, and the Nunc another in 2018 performed by Sebastian Dimittis from the Howells Gloucester Service, Noack and Manuel Lange. This release by which were not included in the original Kupfer and Amaral is the best of the three. release. The Cambridge Singers were formed There is practically no duplication on any of by Rutter in 1981, initially using students from them. Since Naxos lists this as Lied Edition 1 I Clare College, Cambridge, where he had been hope we can look forward to more of his songs the chapel music director. Their primary pur- from Kupfer and Amaral. A performance this pose was to make recordings under their own good may help others take note of these songs label, Collegium—which now number nearly and bring them out of the margins. 40 and include several highly acclaimed Liner notes give biographical detail of the Christmas albums. They are a superb group, composer’s life. Texts and translations on the whose intonation, blend, ensemble, musician- Naxos website. ship, and interpretation are all in perfect R MOORE accord. Many of their recordings, including this SPERGER: Double Bass Concertos 2+15; one, were made in the Lady Chapel at Ely Sinfonia 30 Cathedral, where the acoustics are of an aston- Roman Patkolo, db; Kurpfalz Chamber Orchestra ishing perfection. The 1992 sound has aged Mannheim/ Johannes Schlaefli CPO 555 101-2—69 minutes well, and the remastering has delivered clear, resonant sound. You won’t hear better per- Johann Matthias Sperger (1750-1812) is a formances of these pieces. Informative notes Haydn-Mozart style composer and double- by Rutter on the music and composers, with bassist whose 45 symphonies and 30 concertos texts and translations. are worth exploring, judging by what we have DELCAMP here and the few earlier recordings I have. American Record Guide January/February 2021 109 dy of the Wagner operas. The more popular TOHR: S Suite for Organ & Violin; 5 Inter- operettas include A Waltz Dream (1907) and mezzos for Piano & Organ; Organ Sonata in D his most famous show, The Chocolate Soldier minor Jan Lehtola, org; Anna-Leena, v; Annikka Kon- (1908). tori-Gustafsson, p—Toccata 280—75 minutes Straus’s orchestral works are the subject of this program, and they are a revelation. The Richard Stöhr (1874-1967) was born in Vienna, Piano Concerto written early in his career but studied under Robert Fuchs and taught theory, unearthed in the 1950s, is a complex work with composition, and music history at the Vienna a jaunty I, a somber and church-like II, and a Academy of Music. In 1939 he fled the Nazi III that is joyous and enthralling. This fascinat- invasion, emigrating to America and teaching ing piece is truly unexpected from a composer first at Curtis, then at St Michael’s College in mostly known for light music. The concerto is Colchester, Vermont. His output as a compos- quite difficult, tasking the pianist with a com- er includes 7 symphonies, 2 operas, choral plex score. The performance by pianist Triendl music, 150 lieder, 15 violin sonatas, chamber is superb, and the orchestral playing and con- and solo piano music. In his 50-year career as ducting are first rate. A wider audience should a teacher his students numbered in the thou- appreciate this melodic and multifaceted sands and included Barber, Bernstein, Erich showpiece. Leinsdorf, , and even Marlene The Serenade for Strings was originally Dietrich. written in a period when Straus was Max Aside from an unpublished collection of Bruch’s student in Berlin. Bruch was a chorale-preludes, this program has his entire taskmaster, and even the mention of light output for the organ. This is pleasant, well- music or operetta was forbidden. Bruch want- crafted music in a late 19th-early 20th Century ed Straus to write a Requiem, but Straus tonal idiom with a strong influence from balked and wrote instead this five-piece suite Reger. I found the suite particularly effective that he later renamed a Serenade. It, like the and engaging, but the sonata is tedious, Piano Concerto, is in a classical-romantic style sounding like re-worked Reger. favored by Bruch, but the Serenade is a lighter Lehtola plays the sonata on a 1931/2005 3- piece enhanced by the string orchestra. It is manual, 53-stop Kangasalan organ in St Paul’s melodic, and although not as consequential as Church, Helsinki, and the chamber pieces on a the Piano Concerto, it is quite accomplished 2013, 2-manual, 18-stop Veikho Virtanen and very enjoyable. organ in the Church of Reconciliation in Hol- The Tragant-Waltzes is also a suite, but of lola, Finland. The pianist and violinist are both waltzes derived from the Straus one-act dance excellent. Notes on the music and composer, play The Princess of Tragant. These lighter- with photos and specifications. than-air waltzes are infectious, melodic, and DELCAMP charming. The final item on the program is one of Straus’s most familiar pieces, the STRAUS: Piano Concerto; Serenade; Reigen Reigen-Waltz (Round Waltz), though you may Waltz; Tragant Waltz not recognize it by that name. It was written Oliver Triendl, p; German Radio/ Ernst Theis for the 1950 Max Ophuls film La Ronde. The CPO 555280—58 minutes film is based on the play Reigen by Arthur Schnitzler. It follows the escapades of several Oscar Straus is wrongly thought to be a rela- lovers in a “round dance of love” in France’s tion to the Strauss waltz dynasty. Early in his “fin-de-siècle” period. This delightful film is career, Straus removed the second “s” from his enhanced by Straus’s intoxicating waltz played name so as not to be confused with the other at the opening, ending, and in between. For Strausses. Although much of his work was many years the Los Angeles classical radio written for the stage, he also wrote about 500 channel KFAC used to introduce its afternoon cabaret songs, chamber music, orchestral and program with this waltz. choral works, and worked in German, English, This is a highly enjoyable disc, and the and French language films into the 1950s. Piano Concerto will leave you wondering why Straus was particularly adaptable to the such an outstanding work hasn’t been per- changing operetta scene in the 1920s and formed more often. The orchestra plays all the 1930s mirroring advancements in the form by music with the right amount of flair and deft- Lehar and Kalman. His first operetta, written ness, making all the selections impressive and in 1904, was the The Merry Nibelungs, a paro- enjoyable. If you only think of Oscar Straus as 110 American Record Guide January/February 2021 an operetta writer, here are examples of his but the Brentano songs are seldom recorded. highly accomplished work in other forms. Texts and translations are included, along with FISCH informative liner notes. ALTHOUSE STRAUSS: Don Juan; Death and Transfigur- ation; 6 Brentano Songs STROZZI: Cantatas & Arias Louise Alder, s; German Symphony Berlin/ Robin Elissa Edwards, s; Richard Kolb, theorbo, archlute Ticciati—Linn 640—69 minutes Acis 90277—58 minutes Ticciati, who is still in his 30s, had his first Ivn the se en works that are Part 1 of Barbara major position with the Scottish Chamber Strozzi’s Opus 8, one observes the composer Orchestra from 2009 to 2018; he added on the stretching the boundaries of genre. Early- Directorship of the Glyndebourne Festival in baroque arias were usually tuneful and strong- 2014 and the German Symphony Berlin in ly metrical (often in triple meter), while can- 2017. Here he tackles two of the most popular tatas consist of recitative and aria-like singing Strauss tone poems along with a seldom-heard over basso continuo, much like scaled-down set of songs, the Brentano lieder, Op. 68. operatic scenes. But as Richard Kolb notes, the Don Juan, which premiered in 1889, was terms were fluid, as Strozzi shows in the far from Strauss’s first work—it is Op. 20—but blended style of her Opus 8, published in 1664. it is the one that put the composer, then just Edwards’s talents are on full display from 24, on the map as a leader of the New German the beginning of this release. Her nimble fiorit- School. It combined orchestral virtuosity and uras in the cantata L’Astratto are breathtaking. melodic lyricism in a new and wonderful way, The way she bends pitches in the aria Non c’e setting the stage for Strauss’s long career. Tic- Piu Fede draws attention to Strozzi’s chromatic ciati plays the opening, which some have inflections. Tu me ne Puoi Ben Dire might be likened to the popping of a champagne cork, the best example of Strozzi’s blended style. The with great panache, by which I mean it’s a aria is so full of rhapsody that it seems to defy sweeping gesture that you couldn’t transcribe gravity. Edwards slips easily from tuneful song- if your life depended on it. The lyrical sections, like textures to wild melismas to bring out though, are quite broad, so the overall time is Strozzi’s ardor. Kolb breaks up the sequence of more in Furtwängler territory (18 minutes) vocal pieces with two Correntes by Bernardo than Klemperer (17) or Kempe (16). Death and Gianoncelli. Texts and notes are in English. Transfiguration is similar in that the total time LOEWEN is a trifle slow (24 minutes), and the pacing is similar to Furtwängler’s back in 1950 (VPO). SUK: Serenade for Strings; see Collections The big climactic sections (roughly letter G up SZYMANOWSKI: Piano Sonata 3; to L, leading to the G major section and Q up see MESSIAEN to the big A-flat statement of the transfigura- TARREGA: Guitar Pieces tion theme) are effective and exciting. In short Michael Winkler—Eos 234200—56 minutes a fine job on both tone poems. Strauss wrote lieder all his life, but most of Here are 24 works for solo guitar by Spanish them (and many of our favorites) are early, composer and guitarist Francisco Tarrega before about 1906; many of them were written (1852-1909) These include his “greatest hits”, for his wife, Pauline de Ahna. The Brentano along with a few nice surprises, delivered with songs are later (1918), but they are a superb a clear, meaty tone by Swiss guitarist Michael set, challenging for the singer and quite varied; Winkler, who has often recorded as a member they were orchestrated later, in 1933 and 1940. of the EOS Guitar Quartet. If you are a fan of The fifth (`Amor’) requires a Zerbinetta voice, the romantic period, this is for you! light and agile. `Lied der Frauen’, which Delicate ornaments abound in `Capricho describes women in fear of losing their hus- Arabe’ with Winkler always singing the canta- bands, is an 8-minute piece, intense and dra- bile melody expressively, placing luscious matic. Soprano Louise Alder has full measure spaces between some phrases. His very enjoy- of these songs. She is a lyric, with a voice suit- able, even-sounding tremolo is evident in `Re- ed to Pamina and Zerlina in Mozart, Sophie in cuerdos de la Alhambra’ but in this romantic- Rosenkavalier. In a sense these songs are the ally conservative performance, he could have high point of the program, because we have used more tone colors and dynamics, not to lots of good recordings of Don Juan and D&T, mention rubato. American Record Guide January/February 2021 111 No Tarrega compilation nowadays would haps toward the end of his life he finally fig- be complete without his `Gran Vals’, which was ured out how to compose music that I enjoy. the source for the famous Nokia ringtone a few Plantier’s violin was made by Giovanni years back. Not sure what this melody is? Just Battista Guadagnini in Parma in 1766. Luis’s listen to this and you’ll recognize it! cello was made by Nicolas Augustin Chappuy Other favorites include the charming `La in 1777. Alborada’, with nicely-balanced, simultaneous MAGIL right-hand harmonics and left-hand ligados; `Mazurka (en Sol)’, which truly captures a TARTINI: Little Sonatas 25-30 dancelike mood; and `Maria (Gavota)’ with its Peter Sheppard Skaerved, v clearly balanced lines. This is consistent in all Toccata 454—67 minutes the dance pieces included in this program, These unaccompanied sonatas are historically including `Rosita (Polka)’. significant for two reasons. Tartini was one the To balance out the many Tarrega “hits” 18th Century’s greatest performers and teach- that guitarists so often program, Winkler in- ers of the violin, and his teaching line would cludes some less often heard pieces: `Tango produce such distinguished progeny as Heifetz Maria’, `El Columpio’, and `Isabel’ (a waltz), all of them convincingly delivered and deserving and Milstein. His Devil’s Trill Sonata with the of more exposure. The sweetly played `Pavana’ famous cadenza is a mainstay in belongs here as well. standard repertoire. His stature is such that all The second half is mostly miniatures (un- of his works merit recordings; four of the son- der 2 minutes). Winkler treats each of them atas on this disc are overdue first recordings. with respect and care. The other reason for their importance is their The recorded sound is realistic, with ap- place in the solo violin genre, succeeding bar- parently little added to the natural reverb in oque masters such as Westhoff, Biber, Bach, the chapel where it was recorded. Winkler’s as- Geminiani, Locatelli, and Telemann. The gen- sured technical connection with the instru- re then hibernated through the classical era ment and his feel for the music make this a re- until Paganini’s groundbreaking caprices re- cording to hear! vived interest 50 years later. MCCUTCHEON Called “sonatas”, these pieces resemble Bach’s partitas more than his sonatas; they te- TARTINI: Violin Sonatas ther to rhythm and distance themselves from Duo Tartini—Muso 40—80 minutes improvisation or fantasy. In musical depth they lie between Bach and Telemann. Tartini One baroque composer I had never warmed to was looking back more than forward; like Bach is Giuseppe Tartini (1692-1770). I’d never real- he was viewed as atavistic in his later years. He ly been able to put my finger on why this is lived well into the classical era but is rarely so—he was as competent a composer as most spoken of in the context; he shares this anach- others of his era. When I saw this I thought, ronistic distinction with romantic luminaries “Well, here’s 80 minutes of tedium.” I am like Rachmaninoff, Saint-Saens, and Strauss. happy to report that I was wrong. Perhaps it is of little import that Mozart was al- Duo Tartini (violinist David Plantier and ready a teenager, an accomplished composer, cellist Annabelle Luis) play the last violin and a widely traveled performer when Tartini sonatas written by the master, and the effect of died. a violin-cello duo does wonders for this music. The playing is competent, sometimes a lit- Dispensing with the usual keyboard instru- tle rough, sometimes a little out of tune—slop- ment gives greater prominence to the cello. py errors that seep into concert performance Luis alternates bowed and pizzicato notes, giv- but usually evade studio recordings. He mostly ing variety to the music’s textures. This may be captures the pieces in a way that does not dis- her choice as the accompaniment for music of tract much from the music. For anybody inter- this era was largely written in for ested in exploring the unaccompanied violin the accompanist to realize. The duo plays very in a baroque context beyond Bach, this would well together, and it is obvious that they know be a logical stop. I cannot say I am enthusiastic each other well and are not afraid to exercise about it, but it’s a first recording, and I suppose their own imaginations. it is fair to say that it is better than nothing. For the first time, I can give an unreserved KELLENBERGER recommendation to an all-Tartini disc. Per- 112 American Record Guide January/February 2021 robust sound is good on its own merits but in CHAIKOVSKY: T Swan Lake (excerpts) context does not project the proper energy or / Santtu-Matias Rouvali buoyance; when it is time to impress us in the Signum 648—43 minutes cadenza, the music sounds measured and In 2021 Finnish conductor Santtu-Matias Rou- sluggish. Some clever impishness enters in the vali, 35, will become only the sixth principal second section, but one does not feel the waltz conductor of London’s Philharmonia Orches- from violin or orchestra. tra since its founding in 1945. He will have The Serenade displays crystalline sound been preceded by Esa-Pekka Salonen, but lacking a tremulous vibrato. He sometimes Christoph von Dohnanyi, , has too wide and thick a vibrato, defying Tchai- Riccardo Muti, and —quite a kovsky’s character. The resonance and timbre lineup. of his sound is rare and worth listening to, but One thing he is not, at least on this album, he does not phrase with the heart, and his ges- is a ballet conductor. His tempos, which feel tures are combined piecemeal. Tchaikovsky very controlled, are strict rather than flowing, should flow like characters on a ballet stage. and they’re too deliberate to have balletic “lift”. Is it my preconceived notions about this Nor is his conducting subtle. He draws out concertmaster of the notoriously tradition- harmonies usually not attended to, but too steeped and proud Berlin Philharmonic, or often they do not feel integrated into the does he play everything like German music, ensemble. The principal trumpet has two with deep, philosophical sound, with weight solos, and neither of them is perfect—no and struggle behind every note? His sound wrong notes, but he lacks an even touch. And a should adapt more to the music. There is a piccolo line at the end of the waltz, which I’ve common misconception that music personali- never paid attention to, sounds more “hey, ties are not what they were in the Golden Age, look at me” than blended. where personality dwarfed adherence to style The sound projects everything from treble and era of composition. This half truth is not to bass, which is surprising for a recording in wrong because the performers today have less Royal Festival Hall, but instruments sound personality, but rather the old guard of per- somewhat spotlighted. Four engineers are list- formers intuited style, particularly in romantic ed, and someone seems to have tamed the compositions, at a much more personal and percussion and bass drums in the finale, visceral level, many having direct or far which is followed by applause. Ugh. stronger indirect connections to the com- If this album had been 73 rather than a posers. As a youngster, Kreisler played for measly 43 minutes, it’d still be a waste of Brahms; Leopold Auer was a close acquain- money. For an album of highlights from this tance of Tchaikovsky; Milstein studied with ballet, stick with Eugene Ormandy and the Ysaye, the consummate late romantic violinist, incomparable on who in turn had studied with both Vieuxtemps Sony’s Essential Classics, a series of reissues and Wieniawski. One should not conflate with more outstanding performances than any Braunstein’s lack of versatility with strong per- other I know. sonality. FRENCH This is a respectable if unremarkable recording. TCHAIKOVSKY: Violin Concerto; Sere- KELLENBERGER nade Melancolique; Waltz Scherzo; Pas de deux; Lensky’s Aria; Letter Scene TCHAIKOVSKY: Rococo Variations; Guy Braunstein; BBC Symphony/ Kirill Karabits see DVORAK Pentatone 5186747 [SACD] 70 minutes TELEMANN: 6 Flute Partitas; Cello Sonata The violin concerto is solid. Braunstein Manuel Staropoli, rec & fl; Gioele Gusberti, vc; achieves a refreshing amount of charm in II, Manuel Tomadin, hpsi & org and his muscular playing works well in most of Brilliant 95517—72 minutes III. His limitations with the bow surface in the difficult double-stop passages in I. Sometimes The first score printed in present-day Germany he is too thick and aggressive, and the music to mention the transverse flute explicitly was sags. He never quite captures the playfulness actually dedicated to four oboists. Telemann’s or the grace of Tchaikovsky’s balletic writing. set of Small Chamber Music pieces was pub- Waltz Scherzo feels a little stodgy; his lished in in 1716. He admitted in a American Record Guide January/February 2021 113 preface that he kept the writing short and sim- 91601, S/O 2016) in a rich recording that I ple “to present something that could meet enjoyed. Richard Boothby took them up two everyone’s taste”. A Sonata in D for cello and years later (Signum 544 N/D 2018) in a lighter continuous bass dating from 1728 or 9 con- sounding but just as impressive reading. cludes the program. Now we meet a new contender, Renate Details about the instruments are given in Mundi. She plays both gamba and cello, the booklet. In the leading role we hear a notably with the ensemble La Tirata. Her inter- in C, another in B-flat, a pretation of these fine fantasias is perhaps a in C, and a flute modeled after touch more feminine but technically up there. one by Denner, which could mean Johann Telemann’s style lends itself well to a certain (1655-1707) or Jacob (1681-1735), probably brightness and lightness. My only criticism is the latter. Together, Staropoli, Gusberti, and that the recording leaves no more space Tomadin give us deft, stylish readings made at between fantasias than it does between the A=415. We hear a group sound rather than a individual movements, making unclear the recorder soloist raised above the others. The division between works and movements. balance in the cello sonata is optimal too. D MOORE Tempos, which range from Largo to Presto, seem apt. For an idea of the variety here, com- THEOFANIDIS: Violin Concerto; pare the Allegro movements that constitute Viola Concerto Aria 1 & 2 in Partita 4 in G minor. Chee-Yun; Albany Symphony/ Our Index lists nine similar albums, but Albany 1816—53 minutes given Telemann’s vast output they cover a con- Texan Christopher Teofanidis (b. 1967) has siderable range of selections. The most com- had a significant career thus far with ample parable present all six partitas as here (Well- awards. He is a neoromantic with modal ten- Tempered 5169, CPO 999497, M/A 1995 & dencies, not necessarily Greek in origin in Musicaphon 51539). Well-Tempered had a spite of his name. scoring of oboe, bassoon, and harpsichord The Violin Concerto (2008) is in the usual with modern wind instruments. It was record- three movements. I is passionately romantic ed in 1968 for the Musical Heritage Society and with with exotic flavors. II is sweet, written for issued in stereo sound. The other two had the birth of his daughter, and III is a breathless period instruments and assorted instrumenta- dance sure to elicit an appreciative ovation. tion. CPO supplied a track for each movement, The four-movement Viola Concerto (2002) making an album of several dozen tracks, like was written for Kim Kashkashian. The opening this one. The Musicaphon put each partita on movement is a dramatic affair in the romantic a single track, making an album of six tracks sense. II is mournful. III is a memorial to the that were not terribly long, but a little incon- victims of 911 inspired by a Sikh melody heard venient to isolate any movements. In Sept/Oct at the Yankee Stadium service following the 2020, Brad Lehman reported that he enjoyed attack. IV is an intense development of previ- Brilliant 95683 with Andrea Coen on harpsi- ous materials. chord (solo; no winds). These are professionally executed pieces, GORMAN but I doubt they will change the repertoires in the long run. Performances should delight the TELEMANN: 12 Fantasies composer. Notes by the composer, mostly con- Renate Mundi, gamba sisting of puffery. Perfect Noise 2104—80 minutes GIMBEL It’y s alwa s a pleasure to hear Georg Philip Telemann’s music, a little lighter in nature TOGNI: Sea Dreams; Earth Voices; Totus than Bach, more rococo than baroque. The Tuus; Requiem et Lux; Da Pacem Domine; Of viol fantasies are in three movements, some the Father’s Love Begotten; Psalm 98; Respon- fast-slow-fast, some otherwise. They were sio Introit; Silentio Katie Partridge, s; Oliver Munar, Timothy Shantz, published in 1735. This is only the third time I t; Sarah Hahn-Scinocco, Sarah MacDonald, fl; Jeff have come across them in toto and there is a Reilly, bcl; Tova Olson, Victor Cheng, perc; Lumi- reason for that: they had been lost until about nous Voices/ Timothy Shantz 2015 when Thomas Fritzsch discovered them Leaf 236—62 minutes in the so-called Ledenburg Collection. He pro- ceeded to record them himself (Coviello Peter-Anthony Togni (b 1959) is a Canadian 114 American Record Guide January/February 2021 composer, keyboardist, and broadcaster based symphonique, and triple chorale. These are at Acadia University in Wolfville, Nova Scotia. large-scale pieces using two or three themes, The notes tell us that his music is “spiritually which are then developed much in the man- rooted and introspective”, which means he has ner of Franck’s Chorales. things in common with just about every other His other major sacred piece is Seven choral composer coming before us these days. Poems for Organ on the Seven Last Words of Togni’s a cappella works are pleasant enough, Christ. This is a monumental work, lasting especially the lyrical and lovely `Totus Tuus’ over an hour and, in the words of Messiaen, and the bouncy Psalm 98, which is sung in “the direct expression of a powerful originality French. This choir from Calgary serves him at the service of a profound faith”. well, though their intentions are not flattered There are also several collections of small- by the engineers. Luminous Voices would er pieces, most notably the delicate Sei sound a lot more luminous if the sonics Fioretti—six movements illustrating the stories weren’t so glaringly close. and sayings of St Francis d’Assisi—and the Sea Dreams is a set of three songs for choir, Suite Evocatrice, inspired by the forms of 17th solo soprano and tenor, and a pair of flutes. Century French organ music. There are several Togni turns to TS Eliot, the Alma Redemptoris other gems worth exploring that will not be Mater, and the Perpetual Angelus to express familiar to most organists. his reverence for the sea and for those who sail Tournemire’s music, like Messiaen’s, may it. The booklet presents the texts in English, be an acquired taste. It is a subtle, complex, Latin, and French. I’m assuming that Eliot is and wholly original symphonic impression- sung in English and the others in Latin, but ism, laced with refined harmonies and infused can’t tell for sure. Diction seems not to have with the language of Gregorian chant and the been a priority, and I can’t make heads or tails atmosphere of the liturgy. out of the words. It’s the hyperactive flutter- Van der Ploeg plays it all with understand- tonguing and other noodles and doodles from ing and virtuosity, greatly helped by three mar- the flutes that dominate the proceedings. velous organs: the 1922, 4-manual, 64-stop Earth Voices brings on the percussion to Charles Mutin in the Collegiate Church of St speak in the whispers of spring and set the Peter in Douai; the 1936, 3-manual, 34-stop rhythms of life. The joins the pro- Auguste Convers in Cathedral; and ceedings to bless the Virgin Mary’s name in the 1885, 3-manual, 55-stop Cavaille-Coll in the `Responsio’ and to hint at the inner quiet the Church of Notre Dame in Auteuil. Exten- of salvation in `Silentio’. sive notes on the music and specifications. Togni writes adeptly for instruments as The recorded sound and playing are superb. well as for voices, so if you’re up for something DELCAMP new, this collection might be something to seek out. Better sound, though, would have TUMA: Stabat Mater; see BIBER made me more enthusiastic. GREENFIELD VAINBERG: Mazel Tov Katia Guedes (Madame), Anna Gütter (Fradl), TOURNEMIRE: Organ Pieces Olivia Saragosa (Bejlja), Jeff Martin (Reb Alter), Tjeerd van der Ploeg Robert Elibay-Hartog (Chaim); Cham- Brilliant 95983 [4CD] 296 minutes ber Academy/ Vladimir Stoupel Oehms 990 [2CD] 80 minutes I reviewed an earlier volume in Van der Ploeg’s perusal of Tournemire’s magnum opus, Fvor se eral decades now, many musicians on L’Orgue Mystique (S/O 2015). The 51 suites set the European Continent have been keen to the portions of the Mass the organist was explore the Jewish musical heritage, which expected to improvise, using the appropriate had been suppressed in the 1930s and 40s by Gregorian chant themes for that day in the Fascist and Communist regimes. For example, church year. klezmer bands (often made up entirely of non- This program presents another aspect of Jewish players) are today fashionable in Ger- Tournemire’s output: secular pieces drawing many and Poland. their inspiration from the symphonic style of And musicians and concert presenters in his teacher Cesar Franck, variously titled sym- various countries have discovered a major phonie sacre, symphonic chorale, fresque neglected Jewish composer: Moissei (or symphonique, fantasie symphonique, piece Mieczyslaw) Vainberg (1919-96). Born in American Record Guide January/February 2021 115 Poland, Vainberg ended up fleeing the advanc- and pacing sound much the same no matter ing Nazi troops by moving to the who is singing or what she or he is feeling. in 1943. (Record companies sometimes spell The vocal performances are competent but his name Weinberg or Vajnberg.) rarely manage to make the emotional content We have reviewed dozens of all-Vainberg specific. One exception: Katia Guedes (from CDs since late 1986, including his cello con- Brazil) looks youngish in her photo but already certo, many of his 22 symphonies, and much has a troubling throb and a shrieky edge in the string chamber music. The reviewers were high register. Her vocal mannerisms were often very impressed and moved. clearly considered appropriate to the charac- Vainberg also composed seven operas. The ter: the grumpy lady of the manor, who ends two-act opera recorded here (1975-82) is up objecting to all the pre-wedding singing based on a one-act play written by the and celebrating. But her vocal excesses wore renowned Yiddish short-story writer whose me down. pen name was Sholom Aleichem, famous for In a few spots the small audience laughs, his tales about the silly townspeople of Chelm apparently at some amusing stage business. and for creating the indelible Tevye the Dairy- The libretto is given in German only. The man, who would become the central character booklet is generously laid out, with longish in the 1964 Broadway musical Fiddler on the biographies of the singers and large photos of Roof. The title of the 1889 play was Mazel Tov. them. If the bios and photos had been omitted Here the sentiment is translated “Wir Grat- or reduced, there might have been room for an ulieren!”. English translation—which would have made The main characters are a grumpy rich the whole package useful to more listeners. Russian woman (Madame), her cook Beylya, The printed libretto also has numerous her maid Fradl, plus two men—Reb Alter, an glitches. Several times the names of a charac- impoverished bookseller, and Chaim, a ser- ter who is singing is printed small and incor- vant from a neighboring estate—who end up porated into the sung text, as if somebody is pairing off with the cook and the maid, with singing that name! The reverse happens as clear intent to marry soon. Mazel Tov! well: the first sung line in a track is printed This is the first Vainberg vocal work that I large, above the singing character’s name, as if have heard. It comes to us in an effective “ver- it were the title of a scene or aria, with the sion for chamber ensemble” by Henry Koch. result that the printed text (below the name of The “German adaptation” is by Ulrike Patow. the character who is singing) starts with line 2 The words may be a roughly accurate equiva- instead of line 1. Also, one set of lines is lent of the Russian (I have no way of knowing), assigned to the wrong character entirely. but they often don’t fit the vocal line. The The chamber ensemble (11 players) exchanges, if one reads them on the page, feel sounds tight and precise. The recording comes very conversational, but to the ear they are from a staged performance (2012) in the small awkward: individual words and syllables are “black-box” theater found in Berlin’s Konz- often elongated and in ways that impede aural erthaus. I wish it showed Vainberg to better comprehension. effect. It comes to life only at a few moments, LOCKE such as the folk song-like orchestral prelude to Act 2 and a song that Reb Alter and the other VAINBERG: Symphony 6; three lovers sing in celebration of their future 21 Easy Piano Pieces Elisaveta Blumina, p; Konzertchor Rutheneum; marriages. Act 1 ends very touchingly, with Altenburg Gera Philharmonic/ Laurent Wagner Reb Alter singing a condensed (though quite Klanglogo 1532—66 minutes distorted) paraphrase of the famous inscrip- tion on Sholom Aleichem’s gravestone, includ- Mieczyslaw Vainberg was a Shostakovich pro- ing, here, the words “He ridiculed the great tegé. Like his mentor’s Symphony 13, Vain- world...His whole life long he was a schlimazel berg’s Symphony 6 (1963) commemorates the [unlucky man]...and wept in silence.” After Nazi massacre at Babi Yar. The work is in 5 which all five characters moan “Aha”. Vainberg movements played without a break; 3 of them repeats the “Aha” passage (or Koch and Patow for youth choir. I is orchestral, beginning with do in this adaptation) at the beginning of Act 2. horn calls. There’s a slow, treading theme with Otherwise, the work is mostly grim, slug- pizzicato accompaniment. The movement gish, sometimes angular recitative. The mood often uses solo instruments over sustained 116 American Record Guide January/February 2021 pedal notes, but eventually fills out to an emo- AN DER PALS: Concert Piece for Violin tional climax. It ends in a long decrescendo. V and Orchestra; Cello Concertino; Piano Con- The general effect is one of desolation. certo; The Monk Wanderer Suite II sets Lev Kvitko’s poem “The Little Fid- Gordan Trajkovic, v; Tobias van der Pals, vc; Mar- dle”, about a boy playing his homemade violin. ianna Shirinyan, p; Helsingborg Symphony/ The music is in a lighter mood. Trumpet fan- Fredrik Burstedt—CPO 555 316—63 minutes fares begin III, an extroverted scherzo, very much in the manner of Shostakovich. IV is the A previous release of Van der Pals’s music gen- most intense segment, setting Shmuel Hakim’s erally struck me as uninspired (Jan/Feb 2019). poem “A Trench Is Dug in the Red Clay”. The This one has more to recommend it. The Con- reference is to the specific site of the massacre. cert Piece for violin (1911) is in two move- The vocal writing has a passionate vehemence, ments. I is meditative, its themes gaining inter- matching in expressiveness a text of aching est from whole-tone garnishing. II by contrast reminiscence for irreparable loss. In V, the is more extroverted and sweetly lyrical. words of Mikhail Lukonin’s “Sleep, People, The Piano Concerto (1938) at less than 10 Sleep” finish the symphony in a mood of minutes’ length could be dubbed a concertino. restrained hope. Vainberg’s vocal writing is It opens with a clarinet theme, the pianist effective in its combination of extended arioso adding accents, the movement continuing with tunes recalling childhood. with appealing harmonies. The middle move- The performance is a good one, with trans- ment—less than 90 seconds—is a perpetual parent sound that does the most for the motion scherzo. The finale opens grandly, music’s lean textures. The Rutheneum Choir leading to an abrupt end. Who’d ever imagine sings with accurate pitch and expressive a concerto that was too short? phrasing. The notes have German and English The Cello Concertino was originally writ- ten as a saxophone piece for Sigurd Rascher. texts, though the performance is in Russian. The cellist here, Tobias van der Pals, arranged Still, the words do give you the emotional and finished the music for cello. (The notes are import of each poem and of Vainberg’s sensi- vague as to his relationship to the composer.) I tive musical response to them. His choice of is dramatic, with dense sonorities. II floats a poets is significant. Halkin was sent to the long cello line that’s harmonically adventur- Gulag and Kvitko executed, both as part of ous. As with the Violin Concerto, some phrases what would undoubtedly become an anti- in the development branch out into whole- Semitic purge had Stalin lived. Lukonin was tones. The finale is lively, with some good writ- deemed acceptable by the regime; did his ing for the soloist. The contrast of moods is inclusion point to a truce? effective and the balance of solo parts with I suppose the common factor in the odd orchestral are skillfully handled. coupling is that both involve young people. The movements of the Monk Wanderer The 21 Piano Pieces are teaching works rough- Suite (1931) are collectively called Music of the ly equivalent to the later books of Bartok’s Spheres. As with Holst, they’re named after Mikrokosmos. They readily express their titles. some planets plus the moon and the sun. The Thus `The Skipping Rope’ uses leaping figures, notes include the composer’s poetic phrases and `Baba Yaga’ has a faint flavor of Mous- printed before each movement. The music sorgsky’s witch. `Granny’s Fairytale’ has inter- itself often shows some pleasant British influ- esting harmonies that could engage a young ence. The Prelude is Delian; other segments— player, while the stomping march of `The Grey Venus and Saturn—do resemble Holst. The Wolf’ dispenses with the subtlety of Prokofi- work is enjoyable, if not especially vital. It’s eff’s. Some pieces aren’t all that easy. `Hide hard to pick out a theme or progression where and Seek’ needs fluency in scales as well as you could say “That’s got to be by Van der facile finger work in its alternating phrases. If I Pals”. All the movements are well scored, espe- had kids with an aptitude for the piano, these cially The Sun, which has sonorous trumpet would be on their music rack. Blumina’s per- writing, and Saturn, a cortege for the lower formances are excellent; she interprets them brass. The soloists acquit themselves well. The with an intelligence that shows what they orchestra, both of itself and as an accompany- ought to sound like and why they’re worth ing ensemble, is able, as is Burstedt’s conduct- playing. ing. O’CONNOR O’CONNOR

American Record Guide January/February 2021 117 more recalcitrant and refused to recognize the ASKS: V Distant Light; Lonely Angel; disc at all. Dona Nobis Pacem Daniel Rowland, v; Maja Bogdanovic, vc; Con- I have not heard the Juilliard’s recording, sensus Vocalis; Stift Festival Orchestra/ Thomas but I doubt it’s much like this, which seems to Carroll, Benjamin Goodson have a lot less, er, beef on the bone than I’d Challenge 72830-72 minutes expect of the Juilliards; the Vertavos are quick, lithe, and rather narrow-toned, as perhaps Distant Light (1997) is a violin concerto writ- befits a quartet that once sat, and mostly ten for Gidon Kremer—a romantic, single- played, through an all-day-and-night Haydn movement work with endless extended lines, festival involving the complete quartets. They Latvian dance, three (one with a lit- might have thrown a little more stereotypical tle aleatoric episode), and a general aura of “Italianate” passion into their Verdi (the Hagen loneliness. It has become a repertoire item. Quartet mostly outplays them), but the giddy, Check indexes for competitors. This one is a “orchestral” passages they have down pat. concert performance recorded in a 15th Cen- In the Sibelius things are complicated by tury Dutch church and supervised by the com- the nature of the piece, which despite the poser. Some will be bothered by in the rock evocative subtitle doesn’t give up its “intimate concert applause following both concertos. voices” easily. Half of it seems too straight-out Couplings might make a difference, too. romantic to be as late Sibelius as it is, while the Lonely Angel is Violin Concerto 2 (1996, other half has a curious bare-bones quality, rev. 2006). It is a shorter single movement, a like a late Sibelius symphony’s string parts Meditation with endless line climbing into the played without any other instruments. What- heavens and floating back down. Mr Row- ever the intimacy really is here, it’s kept in dis- land’s vibrato is too rapid for my tastes. Mari guise; compared with this, Janacek’s “Intimate Samuelsson on DG is better. Letters” don’t just wear their heart on their Plainscapes (2002) is for mixed choir, vio- sleeve, but shout its existence to the entire uni- lin, and cello. It was inspired by the Latvian verse. countryside, plains, birds, and nature. The The performances are, at any rate, terrific; I piece is beautiful, with a choir acting as can’t see anyone complaining of either, except orchestra. The combination works well in this perhaps wishing for a bit more Italian flavor in parts of the Verdi. chamber-choral context. THOMSON The program ends with Dona Nobis Pacem for mixed choir and strings. A heart- WEBER: Clarinet Concertos breaking rendering combining plainchant Jorg Widmann, cl; Denis Kozhukhin, p; Irish with mournful Latvian spirituality makes an Chamber Orchestra—Alpha 637—69 minutes appropriate ending. German clarinetist, composer, and conductor The applause at the end is especially egre- Jorg Widmann enlists Russian-born pianist gious. The Concerto and choral work are stu- Denis Kozhukhin and the Irish Chamber dio recordings. Notes by the composer. Orchestra for an all-Weber concert that he GIMBEL leads as soloist and conductor. The program VASKS: Castillo Interior; see KODALY includes the Concertino, the Grand Duo Con- certant, the Clarinet Quintet scored for string VERDI: Quartet; orchestra, and the overture to Der Freischutz, SIBELIUS: Quartet where Irish Chamber Orchestra principal clar- Vertavo Quartet—LAWO 1201—53 minutes inet Katherine Spencer enjoys a brief moment in the spotlight. The two composers on this recording have Once again, Widmann sports his wonder- nothing whatever in common, save that they fully expressive personality, outstanding fin- became famous for writing things very unlike gers and articulation, daring tempos, and dra- string quartets and wrote one quartet each. matic flair. He also brings his very free-blowing Apparently that is sufficient matter on which set-up that is marvelously clear in lyrical lines to hang a coupling, because this is not the first and annoyingly thin and out of tune at loud time these two have been together: in fact, my volumes and in heated technical passages. As computer thought this was the Juilliard Quar- usual, his supporting cast complements his tet’s recording of the same coupling when I zesty readings well. Kozhukhin handles the first popped the disc in, until it became yet formidable keyboard part in the Grand Duo 118 American Record Guide January/February 2021 Concertant with skill and brilliance; and the HITACRE: musicians of the Irish Chamber Orchestra play W The Sacred Veil Lisa Edwards, p; Jeffrey Zeigler, vc; Los Angeles with the aplomb, weight, and smoothness of Master Chorale/ Eric Whitacre their German colleagues indulging in one of Signum 630—80 minutes their favorite romantic composers. HANUDEL Eric Whitacre, a popular, much-performed composer, has written extensively for orches- WEBERN: Piano Pieces tra, wind ensemble, music theater, film, televi- with CHAU, GACHE, AMODEI, STODDARD, sion, and choir. Composed in 2018, this 12- JOHNSON, OATFIELD, MATZION: The movement work was inspired by the death of Kinderstuck Project; MCMANUS: 4 Pieces for the poet Charles Silvestri’s wife in 2005. The Children; BELET: 3 Kinderstucke; FURMAN: texts, written by Silvestri in collaboration with Trip to 12-Tone Town Whitacre, are about confronting loss and deal- Janis Mercer, p—Centaur 3771—40 minutes ing with the fragility of life: “Whenever there is This album is creative and inventive, but not birth or death, the sacred veil between the easy to listen to if you do not find 12-tone worlds grows thin and opened slightly up, just music your cup of tea. I don’t either, but I com- long enough for Love to slip, silent, either in or mend Mercer both for her skill in interpreting out”. This is a gorgeous soundscape beautifully these works and in collecting (and in many sung by the Los Angeles Master Chorale with instances, commissioning) other works on the atmospheric cello and piano accompaniment. program. It brings together the small handful It has grown on me every time I listened. of works Webern composed with works Extensive notes by the composer, with inspired by them. texts and photos. Beautiful. DELCAMP Mercer’s performances of Webern’s com- plete works are incredibly expressive, even OLF-FERRARI: I Quatro Rusteghi lyrical, and she manages to bring coherent W Munich Radio/ melodic lines out of these thorny, dissonant CPO 555140 [2CD] 130 minutes pieces. She brings contrasts out. `Klavierstuck’ is delicate and sprightly. In Sept/Oct 2018 I reviewed a fine new record- The idea of 12-tone for children may seem ing of Ermanno Wolf-Ferrari’s delectable surprising and impossible, but The Kinder- comic opera I Quatro Rusteghi (The Four Cur- stuck Project commemorates the 60th anni- mudgeons—or, perhaps, The Four Stubborn versary of his death in 2005 by completing his Fathers), conducted by Vasily Petrenko. First unfinished project of children’s piano pieces. performed in 1906 in Munich (in the German It is a little up in the air whether these pieces translation heard here: Die Vier Grobiane) and would be good teaching tools for children—or in 1914 in Milan (in the original Italian—or, for are perhaps meant to be performed for chil- the most part, Venetian dialect). dren. I am not sure how accessible these works Wolf-Ferrari (1876-1946) was born in would be for children. `The Little Wooden Venice to a German father and Italian mother, Horse’ (Denise Matzion) may be too advanced studied in both countries, and was also active for the average young student. These works in both. have interesting titles and even in the 12-tone The libretto for Rusteghi is freely based on framework evoke the characters and moods a 1760 comedy by Carlo Goldoni. The plot, they suggest. `Subarctic Penguins’ (Christina which I summarized in my previous review, Oatfield) and `Laughing Man’ (Donavan John- hangs on the insistence of four fathers that a son) explore the higher registers of the piano young couple should only get married if, in chromatic, rhythmic pulses. Four Pieces for according to local tradition, the two individu- Children, based on the same fragment by als do not get to know each other at all before Webern, is meant more as a preliminary the wedding ceremony. Each of the roles is approach to Webern, according to the com- important, making it a bit like Cosi Fan Tutte, poser. Trip to 12-Tone Town does interesting but with 11 characters instead of 6. things with the tone row in a retro style. The music is tuneful, attractively harmo- Your mileage may vary, but this is overall a nized, and exquisitely orchestrated, as record good effort at making Webern’s legacy relevant collectors know from a few orchestral to modern audiences. excerpts—notably the intermezzo before Act 2. KANG If you are wondering what Italian opera American Record Guide January/February 2021 119 around Puccini’s time could be like without Von Halem, both of whom have voices that the verismo intensity, here’s a good answer. ripen toward the bottom instead of becoming The work is extremely attractive and poised, gravelly. Such true basses and bass-baritones not least through its conscious evocation of are in short supply in the opera world. Von style elements from operetta and from Mozart- Halem was 74 when the recording was made, era opera. This time around, though, I couldn’t but sounds as firm and clear as all the others. help but also be reminded (because of the In a long career, was he careful not to take on German words) of the sunnier moods of roles that were too heavy and not to sing in Mahler, as at the beginning of Act 1, Scene 4. halls that were too large? Particularly delightful is Wolf-Ferrari’s skill The recording comes from performances at differentiating the characters and their shift- in 2014, when Ulf Schirmer was artistic direc- ing moods, from sneaky and suspicious to tor of the (superbly responsive) Munich Radio grandiose or elated. The main “father” charac- Orchestra. The performances took place in the ter (Lunardo) has a tendency to repeat a word acoustically superb Prinzregenten Theater or phrase several times, as if comically sputter- and, by the aural evidence, were not staged: ing in annoyance. the singers all sound as if they are standing There is also much amusing unison and near each other without moving. Quick chordal singing for the fathers and other exchanges are always clearly audible. The groups of characters (Act 1, Scene 8). Passages microphones pick up a few moments of quiet suggest that Wolf-Ferrari was familiar with chuckles from the well-behaved audience. Verdi’s Falstaff and perhaps also took some There is Applause only at the ends of acts—as inspiration from Wagner’s Meistersinger, a has long been the general practice in German work that had much success in Italy in transla- opera houses. tion. The famous “Grossvater-Tanz” (used by I Quatro Rusteghi has had several record- Schumann and Tchaikovsky) gets quoted ings. The Petrenko has many strengths: excel- prominently at the ends of Acts 2 and 3 lent vocal control on the part of all the singers, (though this goes unmentioned in the written a fine orchestra, and rich and clear recorded discussions of the opera that I have consulted). sound. Still, the heavily international cast gives The orchestra also gets some chances to the impression of having been well trained in a shine, as in the Intermezzo, based on a tradi- tricky and quick-moving Italian/Venetian text tional ballad sung by Marina in Act 1, Scene 5, that is not quite native to most of them. that sounds a bit like the `Carnival of Venice’ The new recording, despite the oddity of tune. The scene-changing music that precedes being sung in German, is perhaps the most Marina’s ballad offers a refreshingly expansive convenient way to get to know, in fine modern moment in a work that otherwise chatters at us sound, this exquisitely crafted and rarely almost without pause (but quite amusingly). staged comic opera. The libretto is printed in And often, in the opera’s main scenes, the German and good English, whereas the orchestra—a bassoon, the brass section, etc.— Petrenko recording supplied the Italian libret- comments on a character’s most recent state- to but, in English, only prose summaries of ment. each scene. The booklet includes a fine essay The singers here are as professional and and synopsis. These are translated a bit more even sometimes as eloquent as the ones in the stiffly than the libretto, but you’ll get the drift. Petrenko recording; most of them are native For a sense of how vital this work can be German-speakers. Jürgen Linn, Zoryana Kush- when sung by Italians, I urge opera lovers to pler, and Christine Landshamer are one pair of listen to its first recording (1951), conducted parents and their daughter; Susanne Bern- by Alfredo Simonetto. It deserves to be hard, Peter Schöne, and Markus Francke are released on CD. another and their son (the two young people Still, I am thrilled to have gotten to know eventually realize they love each other and get this amazing light opera now in a second lan- married); and, as other busybodies, Christine guage (German) and would love to hear it in a Buffle, Nathalie Flessa, Uwe Eikötter, Victor third: English. Edward J Dent’s “splendidly von Halem (a veteran basso, whom I saw years witty translation”, under the title School for ago as a superb Osmin in Mozart’s Abduction), Fathers, was a resounding success in London and Friedemann Röhlig. in 1946. I must express special appreciation for LOCKE Landshamer and Francke, compact and elo- quent as the two young lovers, and Linn and 120 American Record Guide January/February 2021 (libretto by Jennifer Thorp), and punctuated RIGHT: Sacred Choral W by a witty spoken narration assigned to the Magnificat & Nunc Dimittis; 3 Carols; Penitential title character himself. Written by William Prayer; Hymn of Salvation; In Memoriam; Missa Towers, Beowulf’s story is told here with a Brevis; Bread of Life; Thy Perfect Grace; I Come superb blend of humor and suspense by the Into Deep Waters; Prayer for Peace; Rejoice in the Lord Alway esteemed British actor Timothy West. Julian Thomas, org; Canticum/ Mark Forkgen The opening choruses have the jaunty Toccata 457—71 minutes appeal of Britten’s Ceremony of Carols. As the piece progresses, there are homages to Gaelic Christopher Wright (b 1954) is a retired British rhythms and British folk songs, jazz, and the schoolteacher whose career as a composer has contemporary Broadway style of classically- been going great guns since he left the class- oriented composers like Ricky Ian Gordon and room in 1994. He has written string quartets, Jason Robert Brown. The meltingly beautiful instrumental solos, and choral works that have chorus `When I Was King’, sung by the chil- been performed at festivals and on broadcasts dren’s chorus, might have sprung from the pen in the UK, Canada, Australia, and New of Stephen Schwartz. Young gracefully inte- Zealand. His style reminds me of England’s grates these disparate elements into an - pre-Rutter choral tradition—polite but snappy nently pleasing whole. dissonances and splashes of color from the The work is performed with gusto by the King of Instruments animating his sacred fare. Armonico Consort, the AC Academy Warwick He’s pretty good at it, too, especially in setting and AC Academy Scholars. Full texts are up his contrasts between introspective included. Though it has the earmarks of a con- moments and outbursts of joy. cert work, one can imagine an inventive stag- You hear those extremes often—from the ing that might find an audience in an intimate jaunty Magnificat to the hushed “Who takes off-Broadway theater or on the West End. away the sins” in the otherwise ebullient Glo- ALTMAN ria of his Mass, and the attractive `Rejoice in the Lord’ that closes the program. The choir is YSAYE: Solo Violin Sonatas; not a world-class outfit, but there’s no mistak- Unfinished Sonata ing their enthusiasm for the music. That Niklas Walentin—Naxos 574214 [2CD] 86 min counts for something in a release like this. So while I’m not proclaiming the Second Coming The principal distinction of this set is that it is of RVW, Benjamin Britten, or William the first that I know of that includes the recent- Matthias, I can commend Christopher Wright ly discovered Unfinished Solo Violin Sonata to you as a composer who knows his business that apparently was originally intended to be and brings a nice story line with him. dedicated to the Spanish violinist Manuel GREENFIELD Quiroga, who was the dedicatee of Sonata 6. The first recording of the unfinished sonata, XENAKIS: Dhipli Zyla; see KODALY which I reviewed, was made by Philippe Graf- fin (May/June 2019). If there is anything YOUNG: Beowulf remarkable about it, it is that it lacks the inspi- Armonico Consort/ Christopher Monks ration and invention of the six published Signum 632—61 minutes sonatas. I hope it will soon be forgotten. All it aPerh ps I am not the only person whose first will do is to necessitate two discs to accommo- awareness of Beowulf came when, as a teenag- date all seven sonatas. er, I saw the 1977 film Annie Hall. Diane The other six sonatas by the great violinist Keaton’s character expresses an interest in are among the very finest in the repertoire. enrolling in an adult college class, and Woody Danish-Swiss violinist Niklas Walentin does a Allen counsels her somberly, “Just don’t take good job playing them. My only serious objec- any course where they make you read tion is that he changes the final notes of Sonata Beowulf.” 1:II, and his change is less effective than what Well, any sense of forboding that sur- Ysaye had written. These sonatas have become rounds this epic fable is effortlessly dissipated deservedly very popular in the past three by Toby Young with his delightful and accessi- decades, and there are quite a few other ble musical-dramatic adaptation. It is scored recordings that are better than this one. Best for harp and keyboards, chorus and soloists are the sets by Thomas Zehetmair (Jan/Feb American Record Guide January/February 2021 121 2005), Rachel Kolly d’Alba (March/April 2011), Miroslav Weber, an established 42-year-old and Viktoria Kaunzner (July/Aug 2017). violinist, earned second place with his Septet MAGIL in E for violin, viola, cello, clarinet, bassoon, and two horns. The four movements vividly ZEMLINSKY: Clarinet Trio; depict the composer’s Czech homeland. RABL: Clarinet Quartet Alexander Zemlinsky, a rising 25-year-old Christoph Zimper, cl; Kristina Suklar, v; Florian pianist-composer, came in third with his Trio Eggner, vc; Peter Ovtcharov, p in D minor for clarinet, cello, and piano. Gramola 99228—52 minutes Though modeled after the Brahms Trio in A minor, it pursues a folk aesthetic and lasts 27 In the halls, salons, and theaters of late 19th minutes. Century Vienna, conservatives and progres- After the competition, Brahms wrote to his sives quarreled over the future of German- publisher Simrock and asked the company to Austrian music. Although each camp boasted issue the Rabl and the Zemlinsky. Though left a lineage back to Beethoven, they differed out of this favor, Weber was older and more sharply over how much to preserve and how recognized; in 1899, Aibl of Munich published much to move forward. In 1885, a group of his Septet. As the next ten years unfurled, so conservatives established the Vienna Musi- did the fate of each piece. cians Society to protect classical tradition Rabl continued to compose; but he amidst the Wagner revolution. They invited increasingly turned to conducting and vocal , their idol and model, to be coaching. He also began to champion the pro- honorary president. gressive works of the New German School; and While Brahms was a source of comfort to in 1903, his Wagnerian opera Liane, based on many in the Society, he challenged their think- a Teutonic fairy tale, was produced. After this, ing in other ways. In 1887 the Society began a he worked exclusively from the podium and composition competition to encourage new the piano. His handful of opus numbers—all chamber music in the vein of their revered completed before the age of 30—eventually composers. Brahms served as a judge; and in became a footnote, and he died quietly in order for each piece to have a fair hearing, he 1940. Two years before that, Hindemith wrote coached rehearsals and insisted that Society a quartet for piano trio and clarinet as he pre- members pay the performers. He also stated pared to leave Nazi Germany; and the next that, while the string quartet was a fine medi- year, Messiaen wrote his Quartet for the End of um for the first year of the competition, the Time in a German prisoner-of-war camp. Was Society needed to dispense with the notion either composer aware of the Rabl Quartet? that no other genre could match its supposed Messiaen said that he wrote his Quartet for musical perfection. In 1888, the medium was a piano trio and clarinet because that was the cappella choir with at least four voices; in only instrumentation available to him. 1892, piano with at least one other instrument; Weber maintained his high profile and in 1893, at least three mixed voices and piano; busy career. In 1898, his String Quintet won and in 1896, at least one wind instrument. first prize in the Prague Chamber Music Soci- The 1896 competition took place only a ety competition; and he appeared all over Ger- few years after the honorary president’s promi- many and Bohemia as a violinist and conduc- nent contributions to clarinet chamber music: tor. He died in 1906 at age 51; but if his wistful the Trio, the Quintet, and the two sonatas. It romantic oeuvre didn’t catch on beyond the also happened during his battle with cancer. occasional contest, the modernist tide (He died the following April.) A record 18 sub- doomed it. A few of his works survive in print missions arrived by the July 1 deadline; and of and on recordings, even the Septet; but for the these Brahms and his two fellow judges select- most part, Weber and his music are forgotten. ed 12 for performance over 5 concerts. 10 of Zemlinsky persisted as a composer, con- the 12 included the clarinet. ductor, and teacher over the next four decades, Walter Rabl, a 23-year-old pianist pursuing obtaining important music director positions a doctorate in musicology at the German Uni- and working with some of the most important versity of Prague, took home first prize with his musicians of the early 20th Century: Mahler, Opus 1 and a first in music history: piano trio Schoenberg, Stravinsky, Berg, Weill, and Klem- plus clarinet. The four-movement Quartet in perer. In 1938 he fled Nazi Germany for New E-flat demonstrates the young musician’s text- York, where he passed away unknown and book grasp of the Brahms heritage. Joseph neglected; but unlike Rabl and Weber, his 122 American Record Guide January/February 2021 place in music history is secure, and his com- Professor of Piano at Yonsei University in positions continue to be performed and South Korea. recorded. The concert is thoroughly professional and Here, four Austrian-based musicians keep artistically convincing, replete with rich and alive the memory of the 1896 Vienna Musi- beautiful timbres, evocative phrasing, sizzling cians Society competition in their pairing of technique, seamless collaboration, and a fiery the popular Zemlinsky Trio with the rarely and intense romantic ethos. The performances heard Rabl Quartet. Christoph Zimper is Pro- remind the listener how fresh and urgent these fessor of Clarinet at the University of Music works must have sounded to the Society as its and Performing Arts Vienna; Kristina Suklar is members perceived the ailing Brahms and his Associate Concertmaster of the Radio Sym- legacy to be under siege. Even so, each piece phony Vienna; Florian Eggner is an active looks to the horizon; and though the Zemlin- chamber musician and festival director in Aus- sky is the bolder of the two, particularly in its tria; and when not giving masterclasses in cyclic elements, both Rabl and Zemlinsky Austria, the Russian-born Peter Ovtcharov is wear their emotions on their sleeves much like their progressive colleagues. HANUDEL Collections Collections 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.

Lento Religioso ing is a constant delight, with refined tone BERG: Sonata; KORNGOLD: Lento Religioso; quality and precision of ensemble. These give BRUCKNER: Adagio; BRIDGE: Lament; the Korngold a crisp, more modern sound. LEKEU: Adagio;WAGNER: Tristan & Isolde Their dynamic control is also firm, so the Prelude; STRAUSS: Capriccio Sextet music never sounds bloated or ill-propor- Sinfonietta/ Candida Thompson tioned. Ms Thompson conducts with a steady Channel 36620—78 minutes hand, plus the flexibility these mostly postro- mantic pieces need. It’s all strings and all slow, This is a collection of slow movements or but it’s also all valuable. arrangements for string orchestra. The Berg O’CONNOR uses Wijnand van Klaveren’s arrangement; the Wagner one by Adrian Williams. The Korngold Roger Desormiere is from his 1949 Symphonic Serenade. It’s a BIZET: Patrie Overture; Jeus d’Enfants; movement of somber beauty, quoting from the CHABRIER: Habanera; CHARPENTIER: composer’s Oscar-winning score for Anthony Depuis le Jour; CHOPIN: Les Sylphides; Adverse. Bruckner’s adagio is from his Quintet. DEBUSSY: Marche Ecossaise; DELIBES: Cop- A beautiful movement in itself, it gains even pelia Suite; Sylvia Suite; GOUNOD: Ah! Je Veux more from the larger string ensemble. Bridge’s Vivre; O Legere Hirondelle; IBERT: Divertisse- brief Lament eulogizes a young girl lost in the ment; IPPOLITOV-IVANOV: Caucasian Sketch- Lusitania sinking. es; OFFENBACH: Les Oiseaux dans la The selection by Lekeu—a major talent, Charmille; POULENC: Les Biches Suite; stricken at the ridiculous age of 24—proves yet PROCH: Deh! Torma me Bene; TOMMASINI: again how clumsy and whimsical are the fates. The Good-Humored Ladies; TCHAIKOVSKY: He was overwhelmed when he first heard Tris- Sleeping Beauty Suite; THOMAS: Je Suis Titania tan and Isolde, thus his beautiful essay makes Janine Micheau, s; Paris Conservatory Orchestra; the ideal lead-in to the Wagner prelude. National Symphony Williams’s arrangement is skilled, though the Decca Eloquence 484 0416 [4CD, mono] 3:51 famous Tristan chord does lose some bite without its woodwind color. Roger Desormiere (1898-1963) began as a Strauss’s wonderfully mellow Sextet sacri- composition student of Vincent d’Indy. As a fices nothing being played by larger numbers. conductor, he led several important French The Amsterdam Sinfonietta is an ensemble of premieres, including Messiaen’s Three Little 20 or so strings; their roster varies. Their play- Liturgies and Stravinsky’s Symphony in Three American Record Guide January/February 2021 123 Movements. After hearing him conduct Antal Dorati on Mercury Debussy’s Pelleas, Virgil Thomson described Mozart & Haydn him as “among the very great musicians of our London Symphony & others time and the great French conductors of all Decca 4840385 [4CD] 5:23 time”. His career ended tragically with a seri- ous stroke in 1952, after which he was unable This is for Antal Dorati fans. These are all Mer- even to converse. Despite this, the young cury recordings, from 1952 to 1962. Mozart’s would visit him often, and made Symphony 40 is here twice. The early one was sure that the recorded set of his complete in Minneapolis (1952), the later one in London works included Desormiere’s Soleil des Eaux. (1962). There are more repeats in the LSO These discs completely back up Thom- recording, and the minuet is a bit faster. The son’s claim. On track after track, I found myself sound is terrific in both. I would not reject thinking “I wouldn’t need to hear this music either recording, but I prefer Bruno Walter and done any other way.” With his balancing preci- Beecham. sion and lightness of touch and strength of The first disc also has Eine Kleine Nacht- expression and eloquence of interpretation, musik and 3 marches, 3 German Dances (K he’s ever in the Goldilocks Zone of conduct- 605), and the delightful Minuet in C, K 409. ing—everything done just right. These items are not done much—at least not The performances are also fine. The by major conductors—and they are all enjoy- National Orchestra was a British pickup group, able. but picked up the right players. I recall the CD 2 has Mozart 36 and 40 (LSO; 36 in Paris Conservatory Orchestra when they made 1956), with Haydn 59 (Bath Festival 1964). The some good LPs for Decca’s budget label, Rich- other Haydn symphonies—45, 81, 94, 100, 101, mond. In the Sylvia Suite, their ensemble in and 103—are played by the London Sympho- the pizzicato movement—a trap even for the ny, The Bath Festival Orchestra, and the Phil- best of orchestras—is executed with precision harmonia Hungarica. I don’t think 45, 59, or 81 and humor. are among Haydn’s best; and the others have I’d seen the name Janine Micheau, but been recorded a lot. I prefer Decca sound to never heard her sing. My loss, as she was a Mercury (richer; more bass), so I am happy lyric and coloratura soprano of major stature. with the complete Dorati Haydn set on Decca. She sings with a clean, clear tonal quality, on I also prefer Beecham and Bernstein to Dorati pitch and with firm rhythm in some tres diffi- in most of these symphonies, but again I can- cult ornamental flourishes. At the same time, not complain about his conducting. All of this her soulful singing of `Depuis de Jour’ from was music he did well. Charpentier’s Louise proves her ability to float VROON a sustained line with superb phrasing. Des- ormiere’s accompaniments are again first-rate. King Frederik IX Conducts There’s the feeling that conductor and soloist KUHLAU: Elves’ Hill Overture; LUMBYE: are a true partnership where each respects and Dream Pictures; Galop; SCHUBERT: Symphony reinforces the other. 8; WAGNER: Tannhauser, Rienzi, & Flying Let me preface my impressions of the Dutchman Overtures; Siegfried’s Funeral March; recorded sound by noting that I have no BEETHOVEN: Symphonies 1, 3, 7; GRIEG: Last patience with dinosaur sonics, regardless of Spring; GADE: Echoes of Ossian; BERRESEN: how “historically important” the performance Royal Guest Prelude; WEBER: Euryanthe & might be. Though these discs are not stereo, Freischütz Overtures that’s no bar to their enjoyment. The set proves Royal Danish Orchestra, Danish Symphony that even back in the late 1940s-early 1950s Dacapo 8204001 [4CD] 4:18 Decca was becoming a hallmark for top-quali- ty recordings. The sound is thoroughly enjoy- King Frederik IX of Denmark was born in 1899 able, with minimal background noise. The and was king from 1947 to 1972. Although he orchestral choirs are well balanced, and the was a self-taught (amateur) conductor, he recordings have a good range of register caught the bug when he was 16. His mother response. Even in tutti passages, there’s little liked to play piano with an ensemble of family congestion. This set is for people who want— members, friends, and members of the court, need—to hear French conducting at its best. which her son conducted. In his 20s he made O’CONNOR recordings with a larger ensemble, and by 1938 he was offered the chance to conduct 124 American Record Guide January/February 2021 occasional pieces with the Royal Danish erate character. The `Funeral March’ is very Orchestra as a gesture of thanks for his patron- slow but deliberate. III has farting horns, and age. In 1941 he first conducted the Danish IV is soggy. Consider it a triumph compared to National Orchestra. Beethoven’s Symphony 1, which is soggy, with This album contains recordings from 1946 poor ensemble and the most excruciating to 1954, with inferior monophonic sound rem- sound on the album; it says “recorded in 1969” iniscent of the claustrophobic Studio H sound but it sounds more like 1929. on Toscanini’s NBC Symphony recordings `Siegfried’s Funeral March’ from Götter- (and worse). Three works (Beethoven’s Sym- dämmerung has poorly tuned brass and loses phony 1, and Wagner’s `Funeral March’ and pulse. Why is it in stereo and the unremark- `Flying Dutchman Overture’) were recorded in able performance of The Flying Dutchman 1969. Only the `Funeral March’ is in stereo. Overture from the same year is not? The As for the performances, my standard criti- album’s worst engineering is in the two Weber cism for each work is that, when the music is overtures, which sound like they were record- slow, the tempos are lumbering and ensemble ed in the 1920s. is not tight, but when things speed up the Why anyone would want this album other ensemble is tighter and the playing can than fans of the king and his family is beyond become exciting (sign not only of an amateur me. but of many younger soloists and conductors). FRENCH Thus the king waxes hot and cold in Kuhlau’s Overture to Elves’ Hill but turns in a fine three- Eugen Jochum minute Galop from Lumbye’s Salute to August BACH: Prelude & Fugue in G; BEETHOVEN: Bournonville. And Schubert’s Unfinished Symphonies, all; Piano Concerto 1; Consecration Symphony lacks cohesion in I and is four- of the House, Coriolan, Egmont, Fidelio, Name square and lumbering in II. Day, Leonore Overtures 1, 2, 3; BRUCKNER: `The Last Spring’ by Grieg and the Symphony 5; BRUHNS: Praeludium 3; Tannhauser Overture have so much surface DAQUIN: Noel 10; MOZART: Symphonies 35, noise that they must have been transferred 36, 38, 41; Piano Concerto 14; MENGELBERG: from very grainy 78 rpms. The Grieg at six min- Magnificat; SCHUBERT: Symphonies 4+8; utes is strung out enough to last all summer! SCHUMANN: Symphony 4; STRAUSS: Tannhauser’s initial tempo is lethargic, espe- Rosenkavalier Waltzes, Till Eulenspiegel; Don cially with very slow-moving triplets. In the Juan; WAGNER: Preludes to Flying Dutchman, Rienzi Overture I sat nodding my head to each Meistersinger, Tannhauser, Tristan tedious beat. When the tempos picked up, Liselotte Rebmann, s; Anna Reynolds, mz; Annie both overtures edge toward interesting. Wood, a; Anton de Ridder, t; Gerd Feldhoff, b; But, oh boy, Beethoven’s Symphony 7! Veronica Jochum, p; Adalbert Meier, organ; Right off the bat, woodwind tuning is exe- Netherlands Radio Chorus; Concertgebouw, crable, the French horns are wobbly, and the Bamberg Symphony, Bavarian Radio, Berlin Phil- sound like Morse code. From start to harmonic finish the tempos have to be the slowest on Decca Eloquence 4840600 [15CD] 980 minutes record. And the trio in III is really awful. The king gives Niels Gade’s Echoes of Oss- Eugen Jochum (1902-87) was among the last of ian a decent, nicely shaped performance, but the old-time German romantic conductors, a it’s not the last word in refinement. Nor does musical descendant of Bach, Mozart, and the canned 1949 radio-type sound help. Beethoven, and one of the great Bruckner Hakon Borreson’s Prelude to The Royal Guest interpreters. He was a conductor of great ener- (1919) is rather Elgarian with its touches of gy who inspired orchestras to warm, spirited, nobility and playfulness. The performance and disciplined music-making. Niek Nelissen’s confirms another generalization about the excellent booklet essay on the conductor and king’s conducting: he’s better with one-move- these recordings tells us that Jochum talked ment works because he’s able to get a firm grip often in rehearsals, yet musicians who played on the structure, giving the flow form and aim. for him believed it was his musical spirit that In Beethoven’s Symphony 3 once again the inspired their performances. woodwinds are immediately sour and tempos The son of an organist and conductor, are slow. But this time the conductor’s concept Jochum attended Augsburg’s Academy of is indeed heroic or emperor-like. Accents from Music and the Munich Conservatory, where he the strongly effective timpani define I’s delib- studied conducting under Siegmund von American Record Guide January/February 2021 125 Hausegger, a composer recognized now, but Youtube with Astrid Varney and Ramon for a long time, famous only for leading the Vinay.) first recording of Anton Bruckner’s Ninth Sym- In 1958 Jochum returned to the Concertge- phony. Jochum began his own association bouw podium and in 1960 recorded the Schu- with Bruckner on his conducting debut in 1926 mann and Schubert Fourths in performances when he programmed the Seventh Symphony that are full and energetic. He also taped with the Munich Philharmonic. He moved on Beethoven’s Consecration of the House, Cori- to the Kiel Opera, then Mannheim, where he olan, Egmont, Name Day, and Leonore No. 3 caught the attention of Wilhelm Furtwängler. overtures. The performances are good, though In 1932 he took over the Berlin Radio Orches- Egmont is so fast that it loses some power. The tra and two years later the Hamburg Philhar- sound is OK but not great, especially in the monic, despite not being a member of the Nazi Leonore. 1960 also gave us stereo remakes of party. Apparently, his claim that to join the Don Juan and Till Eulenspiegel plus Rosen- part would violate his Catholic religion satis- kavalier Waltzes that are too driven and fast. fied the less-than-fanatic party leaders in Things settle down, but more delicacy and Hamburg, though his presence on Joseph sensitivity would be welcome. The tone poem Goebbels’s Gottbegnadeten-Liste [God-gifted recordings are similar to their predecessors. List] of artists probably gave them—and FRom 1961 to 1963 Jochum split the direc- Jochum—cover. He remained at that post until torship of the Concertgebouw with the young 1949. Meanwhile, 1941 to 1943 he worked with , serving as mentor for the the Concertgebouw in the Netherlands, thanks man who would become the orchestra’s long- to their efforts to engage “acceptable” German time music director. In 1960 and 1961, he conductors. After the war, he cleared de-Nazi- recorded Mozart Symphonies 35, 36, 38, and fication only when the Americans withdrew 41 in performances that are vigorous, regal, their objections in 1948. A year later, he songlike, and in some outer movements fast. I become the first music director of the Bavarian wish he had recorded more Mozart sym- Radio Orchestra, remaining until 1961. phonies with the Concertgebouw, but Philips This collection contains all of Jochum’s and the orchestra did give us great perform- recordings for Philips save for four large Bach ances of the middle and mature ones with religious works and Beethoven’s Missa Solem- that are somewhat heavier than nis. His first recording for the company was of Jochum’s. the Beethoven Fifth in 1951 with the Berlin Jochum’s association with Bruckner is rep- Philharmonic (BPO). The performance dis- resented by two sets of the composer’s sym- played expressive breadth and grandeur with- phonies: the DG and a superior EMI with the out losing energy, momentum, or clarity, all in Dresden Staatskapelle. From Philips, there is good monaural sound. A year later, he and the only this 1964 recording of the Fifth from a Concertgebouw recorded an excellent Schu- concert with the Concertgebouw in a Bavarian bert Unfinished, marred slightly by sound that church that had a wonderful acoustic for this is too bright in the highs. That year he also music. The performance is typical Jochum recorded Rudolf Mengelberg’s Magnificat plus Bruckner: organic, breathing, emotional, and Strauss’s Don Juan and Till Eulenspiegel in spiritual. The outer movements are powerful, performances that are aggressive and dramatic the Adagio glorious with a stupendous climax, thrillers. In 1957 he made a Wagner disc with and the Scherzo surging and churning. The the Bavarian Radio Orchestra (BRO). The per- orchestra sounds great save for a bright trum- formances are spiritual, drawn out, sinewy, pet that becomes annoying after a while. and energetic when called for. Particularly Jochum’s Beethoven symphony set, plus effective is the gorgeous Tristan prelude. That Fidelio Overture, Leonores 1 and 2 and a was his only project with the BRO associated (superior) remake of 3, was made from 1967 to with Philips, but he made many recordings 1969. It was his second set of the symphonies, with that orchestra for DG, including a Bee- made between the BRO set for DG and one thoven symphony set and part of a Bruckner with the London Symphony for EMI. The symphony set the orchestra shared with the Philips performances are straightforward, rich, BPO. (The only Wagner operas he recorded powerful, elegant, lyrical, and beautifully commercially were Lohengrin and Meis- played with reasonably consistent tempos. The tersinger for DG, but there is a wonderful, First is laid back, but the Second exhibits more good sounding 1953 broadcast recording of life than usual, making for one of the best per- Tristan with that orchestra on Andromeda and formances of it. The stellar Eroica is strong, 126 American Record Guide January/February 2021 vigorous, and cleanly presented, with trum- disc covers, the Bruckner Fifth takes up two pets that sound like stentorian gods when they discs; it only takes one—the other has the sound forth near the end of the slow move- bonus works. Finally, the remake of Leonore 3 ment. The Fourth can seem insignificant was in 1968, not 1969 as listed in the booklet. between 3 and 5, but this strong performance HECHT holds its own. No. 5 displays expressive breadth and grandeur without losing energy, Armin Jordan at momentum, or clarity. It is similar to the 1951 DEBUSSY: Afternoon of a Faun; Epigraphes Fifth, though a little faster in I and II. 6 is rich Antiques; ROUSSEL: Bacchus & Ariane 2; and full-bodied. I could be a bit more relaxed, CHAUSSON: Poem of Love and the Sea but II is glorious, and the rest is first-rate. 7 is Felicity Lott, Suisse Romande Orchestra terrific, mainly because Jochum does not con- Audite 95648—75 minutes centrate too much on rhythm and maintains a full sound and strong line. 8 is fast and serious, The Epigraphes are Debussy piano pieces but great in any case. The 9th is regal, stately, orchestrated by Ernest Ansermet, who also and full sounding, with all lines clear. II is well recorded them (I have that recording). They controlled, animated, and displays fine wood- have not been recorded much as orchestral wind color. III flows like the river in the Sixth, pieces. This is Ansermet’s orchestra, but he and the violins are stellar. IV is clean, clear, died in 1969. Still, it sounds the way he made and powerful with great climaxes and terrific them sound—even in Lucerne at the festival in fugues. The quartet is fine, with a warm bass 1988 and 1994. entrance and a soprano singing like an angel Despite the generally beautiful sound, I just before the ending. The chorus is big and don’t find the Chausson an attractive record- wonderful. This set was highly praised in an ing. Maybe it’s the way Felicity Lott is miked— ARG review (M/A 1991) but overlooked in the or maybe she was just out of sorts that day. She Beethoven Symphony Overview (J/A 2003) has an irritating edge to her sound. It may be and unforgivably by me (since I have the LPs) that I am used to a more subtle sound: my in a roundup of sets in my review of Andris favorite recordings are by Victoria de los Ange- Nelsons’s mediocre one with the Vienna Phil- les and Montserrat Caballé. Chausson was a harmonic (M/J 2020). It belongs with the elite student of Massenet and Franck, but he was cycles mentioned there, along with the Krips, a also friends with—and influenced by— recent discovery that I find underrated in the Debussy and Albeniz. It is not a mistake to give Overview. this song cycle a slight Spanish edge. In 1969 Jochum became principal conduc- And I cannot now like the Roussel—the 19- tor of the Bamberg Symphony (until 1973) and minute Suite 2 from the ballet. I say “now” recorded these Mozart and Beethoven concer- because when I was a student in Chicago Jean tos with Bamberg and pianist Veronica Martinon made quite a convincing case for the Jochum, whose rich full pianism resembles composer. Here his music seems brash and her father’s conducting. The recording is dissonant. somewhat close to the piano but not enough I saw Jordan conduct this orchestra, and I to prevent enjoyment of some powerful read- thought he was excellent. I expected to be dis- ings. As for the “bonus” disc, the Bruhns, appointed, because I remember seeing Anser- Daquin, and Bach organ pieces are attractive, met; but Jordan maintained the orchestra’s upbeat, and very well played; Mengelberg’s tradition quite well. Magnificat is warm and nicely spiritual. VROON The stereo sound is rich, full, colorful, and detailed. The Beethoven LPs sound a bit LCO Live warmer, but these CDs are fine. The entire col- Vaughan Williams, Suk, Dvorak lection is a joy—and inexpensive. Christopher Warren-Green A few minor caveats. The front covers of Signum 638—71 minutes the CD containers of the Beethoven symphony discs are taken from the Philips Festivo single This is a group of 32 strings—too few to be LP issues. The pictures are beautiful, but the really lush (and, after all, they are English!). program labeling is wrong on all of them, e.g., Still, they vary from gentle to emphatic, and the disc in the one that reads Symphonies 1 they put the Suk across well (or is it just and 8 contains 1 and 2! The correct listing is on because it’s the least known of the three sere- the plain back covers. According to the front nades?). Great care is taken in phrasing in all American Record Guide January/February 2021 127 three pieces, but I’d prefer more strings and Gewandhaus Orchestra under both Walter and some majesty. Think of Ormandy and Slatkin Furtwängler. So, by the time Munch made it to in the Vaughan Williams Tallis Fantasia and the podium he was well seasoned in the Stokowski in the Dvorak. orchestral repertory. The “live” is meant to tell us that this was His debut as a conductor came relatively recorded in concert, before an audience late—he was 41—but he leapt to the top ranks (2019). It does have the immediacy one some- very quickly. In this he was aided by his times senses in concert recordings. There is no wealthy wife, who was the granddaughter of applause. the founder of Nestle. So, right at the start VROON Munch was able to hire the Walther Straram Orchestra and rent the Theatre des Champs- Charles Munch Decca Recordings Elysées to launch his career in 1932. By 1935 BARRAUD: Symphony 3; BEETHOVEN: Sym- he was making recordings with Cortot (Saint- phony 8; BERLIOZ: Benvenuto Cellini Overture; Saens’s Fourth Concerto), and soon after he Romeo & Juliet excerpts; Les Troyens—Chasse was entrusted with a new orchestra, the Paris royale et Orage; Corsaire Overture; Symphonie Conservatory Orchestra. The first effort with Fantastique; Requiem; BIZET: Symphony; this group, the recording premiere of Ravel’s Danse Bohemienne; Arlesienne Suite; Carmen Left-Hand Concerto, came in 1938 and is Suite; BRAHMS: Violin Concerto (Renardy); included in this collection. Munch was active DEBUSSY: Iberia; Berceuse Heroique; FAURE: through the war; and in 1949, aged 58, he was Pelleas & Melisande Suite; Pavane; FRANCK: appointed successor to Koussevitzky at the Symphonic Variations (Joyce); Symphony; Boston Symphony, where he remained until HAYDN: Sinfonia Concertante; D’INDY: Fervaal 1962. Following Boston he moved to Paris, Prelude; MENDELSSOHN: Symphony 5; guest-conducted, and presided over the MOZART: Adagio & Fugue; OFFENBACH: founding of the Orchestre de Paris in 1967, Gaité Parisienne; PROKOFIEFF: Symphony 1; shortly before he died from heart attack while RAVEL: Piano Concerto Left Hand (Blancard); on tour in Richmond, Virginia. Bolero; Daphnis & Chloé Suites; Piano Concerto These 14 CDs contain all the recordings (Henriot-Schweitzer); RESPIGHI: Pines of Munch made for Decca, as well as records Rome; Fountains of Rome; ROUSSEL: Petite done for L’Oiseau-Lyre, DG, Philips, Polydor, Suite; Festin de l’Araignée; Suite in F; Bacchus & and Vega. This is a great deal of music, but a Ariane Suite 2; SAINT-SAENS: Danse Macabre; lot of Munch’s recordings are not here. Missing Rouet d’Omphale; SCHUMANN: Symphony 4; are many early performances including TCHAIKOVSKY: Symphony 6 (P); WIDOR: wartime ones, which can be found in the 13- Fantaisie (Herrenschmidt) CD Warner set. And hundreds of pieces are on Paris Conservatory, French Radio Orchestra, Hungarian Radio, London Philharmonic, Phil- the blockbuster 86-CD set of (mostly BSO) harmonia, Concertgebouw, Bavarian Radio recordings for RCA Victor, issued by Sony. (See Decca Eloquence 484 0219 [14CD] 4:18 also N/D 2012.) The recordings here fall into three neat cat- Munch (1891-1968) was born in Strasbourg, egories: 1. early pre-war, all 1938-39 and fitting on the border between France and Germany. on one CD (Ravel Concerto, Widor, Haydn, Strasbourg had been given to Germany after and Mozart; 2) eight monaural discs of post- the Franco-Prussian War (1870), so Munch war recordings from 1946-1949, mostly with was raised in German territory and served in the Paris Conservatory Orchestra; and 3) five the German army in WW I. After that war the discs from the very end of Boston through the Alsace region was returned to France, and by Berlioz Requiem of 1968, his last recording. It WW 2 he had become a staunch French patri- adds up to 9 monaural CDs, all before the ot. He began as a violinist at the Strasbourg Boston years and 5 CDs in stereo after Boston. Conservatory (run at that time by Hans Pfitzn- The earliest performances all sound quite er), but then studied at the Paris Conservatory good; you wouldn’t guess “pre-war”. The and later in Berlin with . His youth, Haydn and Mozart are a little dated stylistical- then, brought him into close contact with the ly, but they are sprightly and never objection- musical cultures of both France and Germany. able in a romantic way. The Widor Fantasy, He became a fine orchestral violinist, serving new to me, is quite a nice piece, and we hear for eight years as concertmaster of the Gürzen- the premiere recording of the Ravel concerto, lich Orchestra in Cologne (under Abendroth), nicely done by Jacqueline Blancard. and then as concertmaster of the Leipzig Munch specialized in French repertory, 128 American Record Guide January/February 2021 and, once established with his Paris Conserva- Suites (both 1967 with the New Philharmonia). tory Orchestra, he seems to have exhausted All of these are quite good. The light, efferves- the French orchestral catalog. Central to his cent Bizet symphony is a perfect vehicle for work was Berlioz, represented here by late, Munch’s talents, and it’s hard to find anything stereo recordings of Symphonie Fantastique you would want to change in the suites. The and the Requiem, along with earlier monaural music always sounds fresh and spontaneous, recordings with the Paris Conservatory never calculated or over-rehearsed. Orchestra: some overtures and instrumental In addition to Franck, Saint-Saens, and excerpts from Romeo et Juliette and Les Bizet, the generation after Berlioz is represent- Troyens. None of these pieces strikes me as ed by Fauré (Pelleas et Melisande and Pavane) poorly done, but Munch here faces his stiffest along with D’Indy’s overture to Fervaal. What competition: himself! The overtures are very pleases me here is Munch’s ability to capture good, particularly the exciting parts of Ben- the light, delicate textures of French music venuto Cellini and Le Corsaire; but Munch without losing backbone and strength. The covered this repertory in a much-admired opening of the Bizet symphony, which crack- recording of overtures with the BSO, where the les and explodes like a sprung trap, has no lack sound is stereo. The big pieces—Symphonie of energy. Fantastique, originally done for Philips, and One additional piece should be men- the Requiem, recorded for DG—are both with tioned, Gaité Parisienne, which is a collection “guest” orchestras—non-French groups that of excerpts from Offenbach’s stage works, Munch did not conduct regularly. In both arranged by Manuel Rosenthal (1904-2003). pieces these groups certainly perform well; but The music was used for a ballet that premiered Boston, where Munch had imprinted his style in 1938, and later orchestral versions have over the years, has the more exciting playing. included different numbers of pieces. Here we The symphony sounds too refined for me and have 21 little pieces, ranging from half a lacks the grotesque and terrifying moments minute long to about 3-1/2 minutes. These that other performances have. In the Requiem miniatures, some delicate, some rhythmic and the choral work (Bavarian Radio) is very good, dancey, are a perfect vehicle for Munch. particularly in quieter places like `Quaerens The later French repertory includes, unfor- me’; but in Munch’s Boston recording the col- tunately, too little Debussy (only Iberia and a legiate group (New England Conservatory berceuse); but Ravel and Roussel (whom Chorus) brings a youthful enthusiasm and Munch programmed often) are present in commitment that are more exciting. And Peter good measure, along with the Third Symphony Schreier, who overdubbed the `Sanctus’ solo of Henry Barraud (1900-97). The Ravel months after the main recording was finished, pieces—Daphnis, the Piano Concerto in G is little more than satisfactory; he is no substi- with a fine Nicole Henriot-Schweitzer, and tute for Leopold Simoneau in the Boston even good old Bolero—are all delightful. It is recording—in this work Simoneau alone is also good to hear several works of Roussel, worth the price of admission. who was a fine neo-classical composer. Bar- French composers, coming shortly after raud’s work is certainly worthy, but I wouldn’t Berlioz, are well represented in the postwar seek it out. All of these pieces are nicely done, monaural recordings, mostly with the Paris and again you’re hardly aware you’re listening Conservatory Orchestra. One disc is given to to 70-year-old monaural. As before, though, Franck—the Symphonic Variations, with sen- Munch has to self-compete; I would prefer the sitive piano playing by Eileen Joyce and a fine later stereo recordings with the BSO, particu- account of the D-minor Symphony—and two larly their Daphnis et Chloe suites. colorful tone poems of Saint-Saens: the won- We also have some Russian and Italian derfully delicate Rouet d’Omphale and the music. Prokofieff’s Classical Symphony is a Danse Macabre (with the Concertgebouw delight when played with the effervescence Orchestra). Except Danse Macabre they were that Munch gets from the Paris players; the recorded in London in 1946 and sound quite performance, though a little unkempt, is alive good; the Danse was done in Amsterdam in and spontaneous. Even more impressive—in 1948. fact one of the finest performances on all 14 Bizet is represented by two early record- discs—is Tchaikovsky’s Pathetique Symphony. ings (Symphony in C and La Jolie Fille de The second theme in I has rarely sounded so Perth, both 1947 with the LPO) and late stereo lush and lovely, and the finale with its tragic performances of the Carmen and L’Arlesienne end is perfectly calculated. American Record Guide January/February 2021 129 The Italian side is covered by two works of would not place it in the first rank if only Respighi: Pines of Rome and Fountains of because the sound and balances are not. All in Rome. These are perfect for Munch, who all Munch makes a good impression in the brings excitement to the bigger parts. More German repertory, and it is interesting to note impressively, he brings wonderful atmosphere that the most “Germanic” pieces (Schumann to the many quieter sections; I particularly and Brahms) are done with non-French liked the third of the Pines (Janiculum), where orchestras, the London Philharmonic and the the ending (with the nightingale) is beautifully Concertgebouw. done. Recommendations are a little tough. If you While Munch’s basic affinity was to French are interested by historical performance and and Russian repertory, he didn’t ignore Ger- Munch’s specialties, he is someone you should man music. He certainly must have absorbed a know. I wouldn’t steer you to Munch for Ger- great deal when he was in Leipzig, and he pro- man repertory, but for everything else he is grammed German music regularly in Boston. very fine. Both this and the Warner set are bar- It is interesting, though, that in the six years gains (about $45 to $52. The various boxes of after Boston he was based in Paris and con- RCA material, which would probably be first ducted almost entirely French music. choice, seem to be unavailable now, but they Nonetheless, we have about 2-1/2 discs of Ger- will probably show up again. man music here. The Haydn and Mozart were Munch was said to be much better in the recorded 1938-39. The playing reflects an older concert hall than in a recording studio because style, but it is sprightly and buoyant, not at all his music was so alive and spontaneous. He embarrassing to modern tastes. The others— did not particularly like to rehearse, and in Beethoven, Mendelssohn, Schumann, and recording he hated splicing and re-recording. Brahms—are from the monaural post-war In a sense, then, we’ll never get the best of the years. Munch tended to take this kind of music fast, and the Beethoven Eighth is a great exam- man. That said, though, there is a sense of ple. The opening movement is quick, almost moment, of spontaneity that comes from these driven, but he slows for the second theme, and recordings. Everything is in very good sound then (no repeat) charges through the develop- for the period, and the monaural selections ment at fever pitch. This is not grand, reveren- sound almost as good as the stereo ones. Con- tial conducting, but it is musical and very gratulations, then, to Decca and particularly exciting. It sounds like a real performance, Mark Obert-Thorn, who restored all the mon- where the musicians have thrown some cau- aural recordings. tion to the wind and gotten excited them- ALTHOUSE selves. Later movements bear this out. The music is never heavy, ponderous, or philo- Great Classic Film Music 2 sophical. French charm has replaced German Philharmonic Promenade Orchestra/ Iain weight. The Mendelssohn Reformation Sym- Sutherland—Ariadne 5009—74 minutes phony and Schumann’s Fourth are in the same mold: a little quick, flowing and never heavy, This rather odd collection is music that but also exciting and spontaneous. Conduc- appeared in films, but not necessarily written tors like Furtwängler and Klemperer have for films. Authenticity to the source material made a majestic statement out of the Schu- doesn’t seem to matter. For example, you get mann (and one wonders if Munch played it the Overture to Gershwin’s Funny Face; it was under Furtwängler in Leipzig). Munch not used in the 1957 film, but for the 1927 achieves similar excitement, but without the stage show. You also get `September Song’, philosophical musing. In the Brahms Violin used in the 1950 film September Affair, but Concerto the star of the proceedings is soloist written by Kurt Weill for the 1938 stage musical Ossy Renardy, a Viennese violinist (born Oskar Knickerbocker Holiday. Also included is John Reiss) who immigrated to the US and had a Lanchbery’s arrangement of Cole Porter film promising career ahead of him when he was and stage songs for the 1982 film Evil Under killed in an auto accident while traveling on the Sun. There is also a medley of music from icy roads in New Mexico in 1953, aged only 33; Finian’s Rainbow and “themes” from Maurice this was apparently his only concerto record- Jarre’s Lawrence of Arabia in kitschy arrange- ing with orchestra. It’s a wonderful youthful ments that aren’t attributed to anyone. The performance with a splendid cadenza Lawrence of Arabia medley starts with Gersh- (Kreisler’s). Munch gives fine support, but I win’s opening notes for `Wintergreen for Presi- 130 American Record Guide January/February 2021 dent’ from Of Thee I Sing, which I don’t recall 20th Century Polish Chamber Music being in the Lawrence film. SZYMANOWSKI: Violin Sonata; BACEWICZ: The only tracks of interest are Robert Sonata 4; PANUFNIK: Trio Stolz’s `March’ from the 1940 film Spring Huberman Trio—Divine Art 25206—55 minutes Parade (the only recording I’m aware of) and Benjamin Frankel’s jaunty `Carriage and Pair’ The Huberman Trio is named after one of from the 1950 film So Long at the Fair. These Poland’s greatest violinists, Bronislaw Huber- reissues, from apparently other “classical man (1882-1947). Violinist Magdalena pops” collections, were recorded over several Ziarkowska-Kolacka and pianist Barbara years in various studios and concert halls with Karaskiewicz are joined by cellist Sergei widely varying sound and volume. The orches- Rysanov. Ziarkowska-Kolacka studied music at tra playing ranges from acceptable in the stu- the Paderewski Academy of Music in Poznan dio recordings to under-rehearsed and sloppy and is deputy concertmaster of the Leopold- in the concert recordings. Iain Sutherland’s inum Orchestra in Wroclaw. She is writing her pacing is flaccid (as in other recordings I’ve doctoral dissertation on Bronislaw Huberman. heard from this conductor). Sloppy and flaccid Karaskiewicz studied at the Karol Szymanows- are two terms you don’t want connected to a ki Academy of Music in Katowice and the Fry- recording of Korngold’s Main Title from The deryk Chopin University of Music in . Sea Hawk, but that’s what you get here. This is Rysanov attended music conservatories in not recommended. Baku and Moscow and is principal cellist of FISCH the Czestochowa Philharmonic. All three musicians are excellent and do full justice to Turkish Piano Trios the music. Alnar, Tuzun, Baran, Balci The best-known work here is Szymanows- Bosphorus Trio—Naxos 579071—69 minutes ki’s (1882-1937) late-symbolist masterpiece, the Violin Sonata from 1904. This is one of the These four trios blend traditional Turkish very best performances of it that I have heard, music and Western forms quite well. All were rivalling the accounts by David Oistrakh, Tas- written from 1950 on, and their nationalism min Little (Nov/Dec 2017), and Chee-Yun Kim isn’t in a fervent romantic style but more influ- (Sept/Oct 2020) and with better sound than enced by impressionism. Hasan Ferid Alnar the Oistrakh or Kim. especially wrote with spare textures; his 1966 Andrzej Panufnik (1914-91) and Grazyna trio rewards careful attention and a willingness Bacewicz (1909-69) were from the next gener- to be satisfied with less. The piano part is often merely in octaves. Ferit Tuzun’s brief offering ation of Polish composers. Panufnik’s trio is from 1950 is fuller and has a little more viscer- late romantic with slightly modern harmonies al excitement. It finally isn’t compelling, need- scattered here and there. It is his Opus 1 and ing either contrast or increasing intensity he wrote it when he was 20. Sometimes it has a toward the end. slight air of foreboding and touches of the kind Ilhan Baran’s Transformations (1975) does of sardonic humor that are common in the have the needed contrasts, ranging from ethe- music of Soviet composers like Prokofieff and real pizzicato sections to vibrant dances. The Shostakovich. The composer would later have Morgenstern Trio (Azica 71326, Sept/Oct 2019, to endure the same kind of bureaucratic p170) is more inventive and engaging; the oppression that his Soviet counterparts were Bosphorus Trio doesn’t quite do enough to sell subjected to. it. Oguzhan Balci’s Trio 1 (2019), with move- Bacewicz wrote her Violin Sonata 4 in ments titled `Sunrise Red’, `Pure Water’, and 1949. It is in a similar late-romantic vein as `The Mare’, brings out the best in the players Panufnik’s Trio with the same 20th Century with its gleaming, tense lines and propelling Slavic sardonicism. It is remarkable how this rhythms. I would like more intensity at the style became popular when the authorities highest swell of `Pure Water’. Also, as the would probably have preferred a more opti- movement wound down, the different speeds mistic, naive mood. Both the Trio and Sonata 4 of the violinist’s and cellist’s vibrato became are very fine works, but many may prefer the distracting. Though the musicians need more sunny optimism of Szymanowski’s Sonata, fire, I’ll happily return to the Baran and Balci which was written before the skies of Europe trios. Sound is fine; notes are in English. had been clouded by two horrible wars and ESTEP several oppressive regimes. American Record Guide January/February 2021 131 Rysanov’s cello was made in Brescia crafted and usually includes sly humor. I is around 1650 by Giouita Rodiani. Good sound. fast, intricate, and rhythmically vigorous. II is a MAGIL waltz-like Intermezzo, and III has the intricacy and energy of I. Pianist Peter Marshall delivers Premier! a lively reading, even though he is rather over- Cheetham, Rheaume, Johnston, Koetsier whelmed at the end. American Trombone Quartet; Peter Marshall, p So, is American Trombone Quartet worthy Mark 54634—40 minutes of the name? Yes, it is an outstanding ensem- ble with big, resonant, well-matched tone This quartet consists of tenor trombonists qualities and technical skills. They sound ter- Nathaniel Lee (University of Virginia, Char- rific, and I look forward to hearing them again. lottesville Symphony), William Mann (Georgia KILPATRICK State University, Des Moines Symphony, Columbus Symphony), Zsolt Szabo (Western The Precious Sun’s Light and Splendor Carolina University), and bass trombonist Telemann, Handel, Bach, Purcell, Philidor, Jemmie Robertson (University of Florida, Beethoven, Gluck, Brahms, Dubois Gainesville Orchestra). I must say that the Pfeiffer Trumpet Consort group’s name is audacious. It must have Cantate 58051—67 minutes seemed like a bold move, for four people to name themselves the American Trombone Iyt is alwa s a pleasure to hear this fine ensem- Quartet. But I suppose the name was ble: trumpeters Joachim, Harald, and Martin unclaimed, so why not? All they have to do is Pfeiffer; timpanist Mathias Muller; and organ- prove themselves worthy. Are they? ist Matthias Neumann. This was recorded in It is a program of first recordings. I really Hamburg in 2014, three years before the like the idea behind John Cheetham’s 11- group’s previous release (Jan/Feb 2020: 161). minute Variations on a Brahms Chorale, The program, with plenty of ensemble where the chorale is the one orchestral trom- changes to keep things interesting, opens with bone sections wait a very long time to play in two pieces from Telemann’s lively Hamburg the finale of Brahms’s Symphony 1. That Admiralty Music (1723). A suite by Handel chorale is only four measures long, so combines a movement from his early oratorio Cheetham extends it by repeating the third La Resurrezione with several from Water and fourth measures in a different key, and Music, each movement played by a different then in another; and then by repeating the ensemble—including solo organ. A Bach set four measures in yet a different key; and then has a little three-minute Concerto from a can- by continuing to extend and work the idea out. tata, then continues with a chorale for trum- It is a beautiful, dignified, and ingenious pets and organ, a dramatic organ fantasia theme, as are the seven variations that follow. (`Komm, Heiliger Geist, Herr Gott’), and final- Mark Rheaume’s four-movement, 11- ly the ubiquitous `Jesus Bleibet meine Freude’ minute American Suite is based on the interval for solo trumpet and organ. Another Bach set of a perfect fourth, an interval Aaron Copland offers imaginative settings of three chorales. used extensively in music that sounds very Seven little selections from Henry Purcell’s American. I especially enjoy the fast and intri- King Arthur also show great imagination in cate II (Scherzo). III is a Coplandesque setting arranging and varying. The Overture passes of the song `Ten Years’. IV is an `Anthem’ with passages around between the trumpets, organ, alternating declamatory and lyrical materials. I and timpani. In an Air, timpani are heard in enjoy the questions this piece raises, the enig- duet with organ, giving them unusual promi- mas it leaves unanswered. nence. Glockenspiel is a tinkling presence in A little five-minute Quartet 1 by Paul John- an organ solo; the rare sound of three flugel- ston begins as a lovely chorale with a high- horns with organ is warm, and the Finale is pitched melody, then takes on gentle swing suitably splashy. elements, works its way through various keys, Timpani is heard without accompaniment and gives each member of the group chances in Philidor’s little `Marche de Timballes’ and to shine. as accompaniment with organ in an unusual The album ends with a 3-movement, 14- setting of Beethoven’s `An die Freude’. minute Concertino for trombones and piano The program ends with 3 romantic songs by the prolific Belgian composer Jan Koetsier by Brahms and two Gluck miniatures. (1911-2006), whose music is always skillfully KILPATRICK 132 American Record Guide January/February 2021 Bassoon Alone Jaffe and Frolich are more alike in age, Scott Pool—MSR 1734—78 minutes judging by their photographs. They work together with notable warmth and dexterity. Iv ha e always liked the mellow sound of the Nikolai Rakov’s Poeme, Romance, and Sere- bassoon, and I find a program of solo bassoon nade are from 1943, and Balakirev’s Romance music much easier to listen to than solo flute was written back in 1856. or oboe or clarinet. Do remember, though, that When you come right down to it, it isn’t this is 78 minutes of one sound. In the first easy to tell these players apart. The cellists piece, an arrangement of `Carnival of Venice’, both use consistent vibrato and have similar you keep expecting an orchestra to push its phrasings. This is Russian music played to a way in—or at least a piano, as in the original. turn by European musicians. Both are fine The second piece is by Persichetti and involves programs, played and recorded beautifully. I pitch-bending, which I hate. It dates from am lucky that I don’t have to choose between 1969. The most recent work here is from 2015 them. and by Alexandre Ouzounoff. It just sounds D MOORE like rehearsal exercises to me. Antonio Lauro died a year before Per- Music We Love sichetti (1986) and was known for guitar Victoria Mullova, v; Misha Mullov-Abbado, db pieces. These bassoon pieces reflect their gui- Onyx 4220—54 minutes tar origins—and I certainly would rather hear them on guitar! Among the other pieces here This is an unusual collection of works from a are Libby Larsen’s `Jazz Variations’ and George variety of sources played by a violinist mother Perle’s Inventions (which begin with a loud and her double-bassist son, who does not pick and repeated fart-like noise). up a bow. Scott Pool was once principal bassoon in The music includes three pieces com- Savannah, Georgia and now teaches at Corpus posed by the bassist, called `Blue Deer’, `Brazil’, Christi in Texas. But he has played and taught and `Little Astronaut’. They are attractive and in many places in Europe as well. substantial and go well with their comrades, VROON which include Schumann’s `Traumerei’ and Bach’s Violin Sonata in B minor (if you can Russian Tales take these without keyboard accompaniment) MIASKOVSKY: Cello Sonatas 1+2; GLAZOU- and lesser-known recent composers like Laer- NOV: 2 Pieces; Chant du Menestral cio de Freitas (b. 1941), who wrote `O Cabo Andreas Brantelid; Bengt Forsberg, p Pilanga’, Shalom Hanoch (b. 1946), who turns Naxos 573985—55 minutes in `Shir Lelo Shem’, John McLaughlin (b. 1942), Russian Impressions who depicts `Celestial Terrestrial Commuters’; MIASKOVSKY: Cello Sonata 2; RAKOV: 3 Lenine (b. 1959) and Dudu Falcao (b. 1961) Pieces; GRECHANINOFF: Sonata; BAL- who share `O Silencio des Estrelas’, Antonio AKIREV: Romance Carlos Jobim (1927-94) whose `Sabia’ brings Ramon Jaffe; Andreas Frolich, p him back to life, a traditional Brazilian folk Paladino 110—67 minutes song, `Caico’, and Lepo Sumera (1950-2000), who ends this attractive program with a theme Here we have two similar productions, held from Kavadine Karbes, otherwise known as together by Nikolai Miaskovsky (1881-1950), Spring Fly. whose strong and lovely Cello Sonata 2 of 1948 All of this is pleasant listening and played suggests that you might not want both record- with clarity and warmth by these relatives. We ings. Sonata 1, written back in 1911, is also well are given pictures of them but not informative worth our attention as are the Glazounov liner notes. My ears took it well and I hope to works, the `Melodie’ and `Serenade Espag- hear from them again. nole’ that he originally wrote in 1888 for cello D MOORE and orchestra and then arranged with piano, and the `Minstrel Song’ of 1900. Rossini for Cello Brantelid and Forsberg have written their Andrea Noferini; Massimo Giorgi, db; Denis own liner notes. Brantelid is a 33-year-old cel- Zardi, p—Tactus 791817—75 minutes list, but Frolich is up in his later 60s. They have played together since 2002 and put across this “oAll Ab ut Rossini” might have been a more program to fine effect. accurate title for this program, since it includes American Record Guide January/February 2021 133 Bohuslav Martinu’s Variations on a Rossini hazy and spread. As a result, the blend and theme, Mario Castelnuovo-Tedesco’s setting of teamwork vary from passage to passage and `Figaro’ from The Barber of Seville, Gaetano from satisfactory to disappointing. Clarinet Braga’s `Leggenda Valacca’ (Angel’s Serenade), fans should find enough to enjoy; but better and Vittorio Monti’s `Czardas’. Rossini is repre- duet albums have been made. sented by his big 3-movement Duet for cello HANUDEL and double bass, here played to a turn by Noferini and Giorgi. Baroque Recorder Pieces Zardi enters, and we have Rossini’s own Tabea Debus; Jonathan Rees, gamba; Alex variations on `Une Larme’, `La Promenade en McCartney, g & theorbo Gondola’, Tarantella from Soirees Musicales 8, Delphian 34243—70 minutes the Ballet from Moise et Pharaon, `Un mot a Paganini’, and an Allegro Agitato, all played The Young Classical Artists Trust, a British with piano. charity akin to the American Concert Artists Noferini has been with us for a while. I Guild, presents this program of selections have him playing ’s Concerto mostly from the 14th Century to about 1750. (Naxos 572416: March/April 2011); Offenbach Many are arrangements or originally were Duets (Brilliant 94475; July/Aug 2014) and The sung. Two others are new and were written in Cello Virtuoso (Bongiovanni 5073: Sept/Oct 2019. Details of the instruments are given in 1998, p. 266). He is one of the most virtuosic the booklet along with dates for composers or and musical cellists around, and he works so when pieces were published. All three per- well with his musical companions that I have formers are entirely beyond technique. From no hesitation in recommending this. her treble and alto voicings, German Tabea D MOORE Debus gives us serenity and spunk; her collab- orators support with perfect precision. Their Double affinity and energy just might inspire you to Bach, Mendelssohn, Stamitz, Telemann, dance during the Spagnoletta by Caroubel Tchaikovsky published back in 1612. Try to resist it! Michel Portal, Paul Meyer, cl; Wallonia Chamber GORMAN Orchestra—Alpha 415—65 minutes Brandon Patrick George, flute In January 2018 the legendary French clar- Steven Beck, Jacob Greenberg, p inetist, saxophonist, composer, and crossover Hanssler 18039—67 minutes artist Michel Portal visited Swiss-born clar- inetist and conductor Paul Meyer and the Exceptionally neat, clean, and unobtrusive Royal Chamber Orchestra of Wallonia in articulation and breaths that interrupt the flow southern Belgium for a concert designed to characterize the approach to the Bach Partita delight clarinet fans of all ages. The program in A minor. I also don’t get the sense that he’s includes the Telemann Concerto for Two really communicating anything much here. It Chalumeaux, the Stamitz 4 sounds intentional, and I’d like to contrast that for two clarinets, the Mendelssohn Concert- with natural or inspired. Occasional orna- pieces, and the Tchaikovsky `Autumn Song’ ments and the general approach to the line(s) from his piano suite The Seasons in a tran- neither harm nor help. There are many better scription for clarinet and string quartet by performances. He’s much better on the weird- Japanese composer Toru Takemitsu (1930- nesses in Kalevi Aho’s two-movement Solo 3 1996). Portal and Meyer conclude the album (1990-1), the first movement of which con- with a piece for musical clock by Carl Philipp stantly alternates among notes played ordinar- Emmanuel (CPE) Bach, rendered as a duet for ily, altered fingerings, harmonics, and other two clarinets. such stuff. Overall, the performances are good, full of Flute and piano sound absolutely great nimble technique and lively phrasing. The together in the Prokofieff Sonata and Boulez orchestra is professional, presenting the con- Sonatina. Our flutist seems to have a lot of certos and concertpieces with polish and vigor power while still sounding gentle—the legacy and painting a gorgeous backdrop in the of his French training from Michel Debost at Tchaikovsky. Portal and Meyer share the same Oberlin and Sophie Cherrier at the French creative intent; yet their timbres are strikingly National Conservatory. For the Prokofieff, he divergent: one clear and resonant, the other and Greenberg give us a great rendition. I can’t 134 American Record Guide January/February 2021 believe he chooses to tongue the Ds at the top The young French mezzo-soprano Anna of the triplets in the first movement, but Reinhold sings most of these selections. As a maybe it’s easier for him that way. A moderate native speaker and graduate of the French tempo for II, but the music works fine with National Conservatory, where she studied with more whirlwind or relative leisure. Same Isabelle Guillaud, there are many ways she is approach for the finale: not trying to use speed ideally suited to this repertory. Her vibrato to make the writing work. With Beck, the seems a little too big and delivery a little too Boulez also gets an exemplary treatment. Only operatic, so she doesn’t always communicate a few people have recorded this piece, and the intimacy and simplicity many of us might these two nail it to the wall. Whether you think French songs ought to have. Understate- might enjoy the piece even done this well is ment and mystery and reverie are what these another matter, but here’s the opportunity to texts are about. The potency and poetry of the find out. flute sounds is not too much—it is just right. GORMAN Kossenko and Olivier intertwine with and sup- port the voice wonderfully. We even get to French Flute & Voice hear an early example of flutter-tonguing in Caplet, Debussy, Delage, Emmanuel, Gaubert, Caplet’s `Listen, my heart’ from 1924. Thus it is Hue, Ibert, Koechlin, Ravel, Roussel largely satisfying performances that are pre- Alexis Kossenko, Magali Mosnier, fl; Sabine sented to us in sound that is absolutely accu- Devieilhe, s; Anna Reinhold, mz; Emmanuel rate and clear. A substantial booklet includes Olivier, p—Aparte 227—68 minutes texts and translations. The distinguished French performer, compos- GORMAN er, music teacher, and conductor Paul Taffanel (1844-1908) has been commemorated in text 20th & 21st Century Flute by Women by Edward Blakeman through a biography BONIS: Sonata; BOULANGER: Nocturne; GAL- published in 2005 and in sound by Kenneth BRAITH: Atacama; GRIER: Sonata; TAILLE- Smith and Paul Rhodes in a 3-disc set from FERRE: Forlane; Pastorale Divine Art (May/June 2011: 198). His playing Erin K Murphy; Kirstin Ihde, p became the international standard even before Albany 1829—53 minutes the French flute school’s transatlantic - These selections were written between 1902 nents came to New York and Boston in the and 2001. Lita Grier’s Sonata is the companion early 1900s, having been invited by Walter Damrosch and . to the Eldin Burton Sonatina we never knew Louis Lot (1807-96) was the preeminent we’d been missing all along—that is, a delight- French flute maker of the late 19th Century. ful addition to our mid-20th Century Ameri- The two instruments lent for this recording by cana most characterized by Blitzstein, Cop- French flutist and saxophonist Bernard land, Foss, Harris, and Schuman. Although Duplaix were owned by the eminent perform- Nancy Galbraith (b 1951) uses extended play- ers and teachers Adolphe Hennebains (1862- ing techniques such as flutter tonguing, whis- 1914) and father and son Joseph (1895-1983) tle tones, circular breathing, singing while and Jean-Pierre Rampal (1922-2000). The playing, pitch bends, and air sounds, her piece Hennebains instrument was made in 1877 and is a very accessible and . the Rampal was made in 1880. Accompanying Whether or not it evokes a Chilean desert to them is an Erard piano from 1902. you, it has something to say worth hearing. Behind much of the program is the neo- Erin Murphy has a sound with lots of body. classicism that led to the revival of the Olym- Her very vocal and relaxed approach to play- pic Games by educational reformer Pierre de ing is maintained from the softest to the loud- Fredy, Baron of Coubertin, and the architec- est moments. Since this concept traces finally tural style of the Columbian Exposition of back to the great French flutist , 1893, having been brought from the French one of the teachers of her teacher Trevor Wye, School of Fine Arts by Richard Hunt. Thus ref- it comes from the French tradition behind erences such as Anacreon, Apollo, and Diana three of these composers and indicative of the permeate the largely contemporary texts. In sound that became the international standard. addition, we have the rare opportunity to hear The Scherzo of the Bonis Sonata has some Debussy’s Flute of Pan or Syrinx with narration unevenness that ought to have been worked from the naiad and the oread. out, and I would have liked it faster. From the American Record Guide January/February 2021 135 keyboard, Kirstin Ihde sounds marvelous, is Banter balanced well, and contributes much. GLASS: Etude 6; RAVEL: Mother Goose; A booklet has notes by our flutist with STACKPOLE: Banter, Bicker, Breathe; FALLA: biographies and photographs of the perform- El Amor Brujo ers; on the cover is an oil painting, Day and Davin-Levin Duo Night (2017) by Canadian-born and Okla- IRIS 0—69 minutes (440-225-5725) homa-based Benjamin Murphy. GORMAN The unusual duo of guitar and harp presents numerous challenges. The instruments are so 20th Century Flute & Harp alike in their plucked-string sound, yet tonally ALWYN: Naiads; BEDETTI: Marsyas & Apollo; identifiable. This effort brings together two DEBUSSY: For Invoking Pan; Syrinx; excellent performers, savvy arrangements, and GAUBERT: Greek Diversion; INGHEL- technical expertise in recording. BRECHT: Antique Sketches; MAZZONI: Opening with Davin’s arrangement of Caprice 3; MOUQUET: Greek Diversion; SCIAR- Philip Glass’s Etude No. 6, the duo demon- RINO: Faun Whistling at a Blackbird; strates exquisite precision both rhythmically SHILKRET: The Nymphs and musically, maintaining interest in a piece Claudio Ortensi & Anna Pasetti that might, in its minimalism, be boring. Not Brilliant 95925—72 minutes so here, with perfect coordination in phrasing and dynamics between the players. This program collects little known pieces, ’s Ma Mere l’Oye, arranged mostly short and neoclassical. The exception by the duo, is a treat for the ears, with a partic- is William Alwyn’s “fantasy-sonata` Naiads, ularly effective movement, `Laideronnette, which runs just under 15 minutes. Several by Imperatrice des Pagodes’, well-rendered with Debussy, Gaubert, Mouquet, and Shilkret are its contrasting sections. The arrangement of heard for the first time in their original instru- the Falla presents balanced roles where each mentation. instrument alternates between melody and Claudio Ortensi has an attractive sound, accompaniment—very nice! but his tendency of just cutting notes off to Will Stackpole’s `Banter, Bicker, Breathe’ is breathe strikes experienced ears as amateur a virtuosic contemporary work commissioned and crude. He doesn’t have much resonance. by the duo, musically portraying each activity Comparing his playing with Kenneth Smith, in the title. The ten-minute work maintains the who has recorded a movement of the Mou- listener’s interest and speaks volumes. quet, will reveal the vast difference between A second commissioned work, Dylan Mat- them. A deeper difference is the overall level of tingly’s `Vita Nuova’, opens with repeated-note expression in his playing: it’s limited. Paula pentatonic sequences with a variety of time Robison comes to mind as the polar opposite offsets which sound harsh with the guitar, of this, although others such as Rachel Brown recorded at a high level, creating an irritating and Leonard Garrison come to mind as well. effect, saying very little. There is beauty here in Occasional unclear technical passages clinch the tone and relaxed spaciousness of the two the decision that the flute playing would not instruments in the second section and the del- be a reason to get this album. icate interplay of crystalline notes in the con- Anna Pasetti comes through clearly, clusion. Very imaginative! though the bass notes seem recessed. The Liner notes, of which there are none, or a extent to which her playing is fine, though, is link to them on a website, would be helpful. undone by another factor. The sound is close MCCUTCHEON enough to have the sort of nuances that are lost from a greater distance. That’s mostly pos- Tales from Malaysia itive. Final notes finish with a halo rather than Nathan Fischer, g—Soundset 1114—47 minutes a resonant kind of echo. It gives the impression of a low-quality production. Track 5 sounds What a unique recording! This music is all new downright weird. A little more than 10 minutes to my ears, and it is delightful! of this was enough. The works are framed by variations on GORMAN Malaysian and Indonesian songs written by the late John Duarte (1919-2004), a British gui- tarist and writer who composed these for a Malaysian guitar camp he attended in 1996. 136 American Record Guide January/February 2021 Los Angeles-based composer Amirah Ali’s ment (the longest is 1:20) making its point in a `Salji’ (which means snow) was originally writ- succinct manner. ten for the piano and is artfully transcribed by Khalil’s original work, The Cascade Sum- Fischer himself. His flowing phrasing along moning, is created almost completely with with dynamics enhanced by the reverberation arpeggios that make creative use of the guitar’s of the hall (and possibly the studio settings) harmonic possibilities, going beyond what yield a beautiful recording. many players create by chord planing, i.e. sim- Fischer’s arrangements of Three Popular ply moving chord shapes up and down the Malaysian Songs by Az Samad, who lives in neck. This music clearly is on a higher level Kuala Lumpur, offers a nice contrast in style and becomes a six-minute cosmic journey. and texture, with the second piece, `Welcome, The combination of Khalil’s sense of tone and Love’ and the third, `The Sunset Begins to his dexterity are emotionally engaging. Weep’, delivered with engaging emotion. This Khalil’s `Fantasia Bachiana’, unconsciously is music that touches us deeply. based on a Bach chorale tune, is not as good. A poignant piece, `Wasted Love’ by jazz While the writing makes good use of the saxophonist Patrick Terbrack, is framed by two instrument, it lacks the tightly-knit construc- short pieces by British composer Vincent tion one would have hoped for in a piece Lindsey-Clark, `Malaysian Sunrise’ and based on Bach’s music. `Malaysian Landscape’. The sequencing of The album concludes with Khalil’s restful these three pieces speaks to the eternal quali- performance of his arrangement of the `Anth- ties of nature and the comparative transience em’ from Gluck’s Iphigenie en Tauride. Ahhh. of human feelings. Khalil shows himself to be quite compe- Fischer, who is a Career Advisor with the tent on the classical guitar, and this is unusual, Indiana University Jacobs School of Music, is because his other career is with a heavy metal simultaneously a mature artist with all the band—none of that is evident here! Just music necessary performance attributes—tone, clari- from a very open-minded and serious musi- ty, and sensitivity—as well as the ability to cian. envision and produce a unique project such as MCCUTCHEON this, which points to the value of music to bring the people of the world together with Fandango! respect and appreciation for each other’s art. Aguado, Giuliani,Coste,Sor, Regondi, Boccherini Take a trip to somewhere you’ve never Johan Lofving, g; Consone Quartet; Nanako Ara- been with this recording. maki, castanets—Resonus 10260—73 minutes MCCUTCHEON Swedish-born Johan Lofving presents a pro- Kharacter gram of mostly solo romantic guitar works KHALIL: Suite Apuntes; The Cascade Summon- played on a restored period instrument from ing; Fantasia Bachiana; DUPHLY: La Forqueray; 1850. It is nicely recorded here so the listener La Victoire; HENZE: Cello Serenade can truly hear the difference from current clas- Jonas Khalil, g—Hänssler 20004—41 minutes sical guitars. Staples of the guitar repertoire follow the Opening with an original work, Suite Apuntes, delightful opening piece, `Fandango’ by Dion- Homenaje a Leo Brouwer, Khalil delivers a sio Aguado—not often recorded. The oft-heard technical tour de force: a fantasy using quota- Op. 15 Sonata by Giuliani is played with cer- tions from Brouwer’s better-known works, tainty and a wide range of dynamics, tone, and including El Decameron Negre and Cuban articulation, perfect for this style period. II, the Landscape with Rain in the first movement adagio, is played with expression, Lofving tak- and Elogio de la Danza and a snippet from ing just the right amount of time to say what he Danza Caracteristica in III. It was composed to has to say, transporting us into that world honor Brouwer’s 80th birthday, and Khalil has which eludes so many performers. truly captured his spirit. In Napoleon Coste’s `Soirees d’Auteuil’, Khalil’s two transcriptions of keyboard Lofving sings with a beautifully balanced works by mid-18th Century composer Jacques melody made interesting with frequent Duphly are quite listenable, and `La Victoire’ changes in tone color. His performance of is delivered with aplomb. His transcription of Giulio Regondi’s Introduction and Caprice ’s Solo Cello Serenade is confirms his mastery of this period’s music. delivered expressively, with each short move- The much-recoded Boccherini quintet, American Record Guide January/February 2021 137 with its concluding `Fandango’ movement is Guitar Double Concertos played with energy and grace. DEL PUERTO: Mistral; ABRIL: Concierto de MCCUTCHEON Gibralfaro; GUERENA: Concierto Ecuanime Miguel Trapaga; Teresa Folgueira, g; Angel Luis Mandolin & Guitar Castaño, accordion; Fernando Arias, vib Marucelli; Mozzani; Munier Naxos 573816—71 minutes Duo Zigliotti Merlante—Tactus 860003—66 min The program opens with Mistral, a 20-minute This recording includes music composed by work by Spanish composer David del Puerto, three late 19th Century and early 20th Century who won his homeland’s National Music Prize Italian composers who wrote for the guitar and in 2005, and who plays classical and electric the mandolin, parlor instruments that were guitar. The piece is dedicated to the soloists flourishing at the time. This was recorded in heard here, guitarist Miguel Trapaga and Bologna on Italian instruments made in the accordionist Angel Luis Castaño, who pre- late 1800s. miered the work in 2012 and thus have had The lighthearted `Valzer-Concerto’, by time to absorb it fully. Carlo Munier begins the program. Munier was The writing and scoring are brilliant, the a mandolinist and founded the first classical guitar taking more of the spotlight. The mandolin quartet. He had also studied the gui- orchestral accompaniment is fluid and spa- tar. Later in the recording, keeping with a tra- cious. The language is modern, but accessible. dition in this period of transcribing works from The accordion could have a little more pres- popular operas, Meunier’s Rossiniana ence; it is not often as well-defined as the gui- includes familiar operatic themes and ener- tar, but Castaño’s virtuosity is still audible. getic, attention-getting tremolo octaves in the Serenely melodic, reminiscent of Casteln- mandolin. uovo-Tedesco, this world-premiere recording Guitar accompaniments are reminiscent of Paganini’s works for guitar and violin, such as of Concierto de Gibralfaro (2003) for two gui- the Centone di Sonate with clear harmonic tars and orchestra by Anton Garcia Abril (b. progressions and effective bass lines played by 1933) is simply sweet music, with Trapaga’s the guitar. guitar interlocked precisely with Teresa Fol- To maintain variety, the recording gueira’s. The scoring gives the guitars the aural sequences the works so that no composer has space to weave their magic, with the orchestra two in a row. Mood transitions are effective, providing a variety of pianissimo accompani- especially when Munier’s lyrical `Preghiera’ is ments during solo sections and well-written followed by Marucelli’s lively `Moto Perpetuo’. interludes in between. Even at a length of al- There follows the only multimovement work most 30 minutes, the music is never boring or here, Munier’s Dances Bijoux, a delightful superfluous. group of five contrasting pieces played with a Concierto Ecuanime for guitar, vibra- variety of sensibilities. The duo is always of phone, and orchestra is by Javier Lopez de one mind, so we can enjoy the artistic fruits of Guereña (b. 1957). It is the most contempo- their two-decade history. rary-sounding work on the recording. The Though the one piece included here by more listener is prepared for it by the previous Luigi Mozzani is lovely, and the pieces by Enri- excellent music as well as the high caliber of co Marucelli are stylish and rich, Munier’s the musicians. The contrasting timbres and music, chosen to both open and close, shines attacks of the guitar and vibraphone are skill- brightly. His `Capriccio Spagnuolo’ brings this fully handled and recorded. recording to a climactic, exciting conclusion. Bravo! to producer, engineer and editor Having performed over 20 years on mod- Bertram Kornacher and Naxos for bringing ern instruments, Duo Zigliotti Merlante this music to us! This is one of the most cre- searched for a more authentic sound and have ative programs I have ever heard. achieved their goal with this charming mixture MCCUTCHEON of pieces. With such well-recorded tone colors, this alone would be a reason to hear the disc. Baroque Masterpieces The liner notes are quite informative, and Handel, Couperin, Weiss, Bach, Vivaldi include excellent photos of the instruments—a Artis Duo—Naxos 551420—51 minutes delight for the eyes as well! MCCUTCHEON This is almost entirely transcriptions for two 138 American Record Guide January/February 2021 guitars by the German husband-and-wife Artis ers join her for the four other interspersed Guitar Duo. pieces, giving a nice variety to the presenta- Fluidly moving from section to section in tion. The ensemble selections are my favorite Handel’s `Chaconne in G’, the duo plays bril- parts of the program. Some listeners might not liantly with perfectly matched dynamics and fancy the often astringently penetrating tone phrasing that engage the listener with their of Steinfeld’s gut-strung violin. vibrancy and immaculate playing. This spinet sounds relatively undistin- Contrasting this large opening work is a guished and deferential when covered up by series of delightful shorter keyboard transcrip- the string players. Any generic one-register tions by Francois Couperin. As in the Handel, harpsichord would make a similar impression. ornamentation abounds, with well-matched I would welcome some thicker chords and trills. bass octaves from Dennert to help the balance ’s three-movement in these ensemble pieces, as recommended by lute duo, Concerto in D, is a new piece to this CPE Bach in his book about the true art of reviewer. playing keyboards. Some crushed non-har- The duo includes an interesting transcrip- monic tones would sound good here, too, as tion of the Capriccio in B-flat by JS Bach, com- explained in Geminiani’s treatises. posed on the occasion of his older brother Among the solo pieces, some reading Johann Jakob leaving home to play the trum- mishaps mar III and IV of John Loeillet’s five- pet in the king of Sweden’s orchestra. The six movement lesson in E minor. The left-hand contrasting short movements grow in intensity part is missing some sharps, making the har- to a climactic fugue which the duo delivers monic progressions odd. Dennert’s interpreta- admirably. tions here are generally glib and fast, anyway, Joined by baroque guitarist Olaf von rushing through the ornaments and not giving Gonnisen and theorbist Sergio Bermudez Bul- the spinet’s tone much time to speak. That lido playing continuo, the duo continues with approach works fine in Charles Burney’s more Vivaldi’s Concerto in G, R 532 for two man- boisterous sonata (1776). dolins—an uplifting, often recorded work by Someone neglected to list Veracini on the guitar duos. What makes this recording special front cover. His Sonata 12 (1744) and Burney’s is the texture supplied by the plucked-string are the most substantial pieces here, taking us continuo. II sings here with lovely ornamenta- beyond the genteel rococo smile of the other tion. The baroque guitar offers a lively sup- salon pieces. portive role in the outer movements, with full Other records by Dennert are her set of chords and occasional rasgueados. III is a joy- Telemann’s harpsichord overtures (July/Aug ful tour de force, bringing the program to a fit- 2016) and some Hamburg chamber music in ting conclusion. her duo with Steinfeld (July/Aug 2017: 200). This is excellent, technically proficient LEHMAN playing of music both familiar and unfamiliar, performed with sensitivity that is a joy to hear. Black Swans MCCUTCHEON First Recordings of Black Performers Florence Cole Talbert, Antoinette Garnes, s; Hat- The Hitchcock Spinet tie King Reavis, a; Roland Hayes, t; Harry Bur- Abel, Burney, Geminiani, Loeillet, Mattheson, leigh, bar; Edward H.S. Boatner, b-bar; R. Nath- Telemann, Veracini aniel Dett, p; Clarence Cameron White, v Anke Dennert, spinet; Gabriele Steinfeld, v; Parnassus 96067—79 minutes Simone Eckert, gamba—Genuin 20696—68 min We are told these are the first recordings of This seems like a nice disc to offer for sale as a black classical music performers, most not re- memento in a museum’s gift shop. It has music issued in 100 years, and some evading extinc- that made it to London in the 18th Century, tion through a single copy. There are some before and after Thomas Hitchcock built this excellent performances and some average spinet there in 1730. ones. Based only on this recording, Burleigh The spinet is a small single-manual harpsi- was not a great operatic singer, but he has a chord built sideways to fit into a tight space. compelling charism and earnestness. His This one belongs to a Telemann museum in voice is powerful; his diction is perfect; but his Hamburg. Anke Dennert plays four multi- sound is sometimes throaty and forced on movement solos on it. One or both string play- higher notes. He was born one year after the American Record Guide January/February 2021 139 end of the American Civil War to a Union vet- slightly out of tune 3-manual, 37-rank Riegger- eran and a daughter of a former slave. His Kloss organ in the Armenian grandfather taught him the spirituals and slave in Chernivtsi, Ukraine, doesn’t help. songs he learned in captivity. His big break DELCAMP finally came at 26 when he was admitted to the National Conservatory of Music, where he Isabelle Demers, organ became friends with Dvorak during Dvorak’s MACMILLAN: Cortege Academique; lengthy American sabbatical. He introduced TCHAIKOVSKY: Sleeping Beauty pieces; RE- many spirituals to Dvorak, who internalized GER: Introduction, Passacaglia & Fugue in E the inspiration and infused several of his most minor; LAURIN: 3 Short Studies; MENDELS- famous compositions with their influence. SOHN: Midsummer Night’s Dream excerpts; Dett proves himself with performances of DUPRE: Prelude and Fugue in B warm and nostalgic pieces. Oh for the days Acis 41752—71 minutes when popular music sounded like this! White shows a keen musical intuition, of comparable This is played on the 4-manual, 132-rank quality to more famous artists of the time. 1928/2006 EM Skinner organ in Rockefeller Slight intonation problems remove some of Chapel at the University of Chicago. Demers is the luster, but an old-world Kreisler-like charm Professor of Organ at Baylor University and will draw listeners in. Hayes is likewise irre- has enjoyed an international concert career. sistible; he sounds exactly as a tenor should, The program contains her own transcriptions with a pure, natural, silky tone. Garnes and of Tchaikovsky and Mendelssohn excerpts, the Talbert are top-shelf talents. Garnes displays lively march by Canadian composer Ernest stunning, breathtaking virtuosity in the Verdi Macmillan, a spirited performance of the arias, and I hope these recordings inspire Dupre; and three colorful pieces by another research into her mostly unknown back- Canadian, Rachel Laurin. The centerpiece is ground. I suspect I will revisit Talbert’s contri- Reger’s massive Op. 127 which, at over 30 min- butions many times. Many thanks to the won- utes, is one of the composer’s longest. Unless derful work of Steve Smolian, Tim Brooks, and you are a fan of Reger, this is an endless bore. Leslie Gerber, and anybody else involved with Demers is a fine player who uses the the discovery and restoration of these record- resources of this organ in imaginative and col- ings. Their importance as historical landmarks orful ways. My problem is with the recording cannot be overstated. I am struck by the levels—you will need to turn the volume down humility and optimism of the repertoire choic- for loud and up for soft. es and performances. Mostly recorded during Excellent notes on the music by the per- and shortly after the Great War, their message former, with photos and specification. is an inspiring reminder of sincere art gazing DELCAMP longingly toward a brighter future. KELLENBERGER Organ 1530-1660 Du Caurroy, Attaingnant, Titelouze, L Couperin, Ukrainian Organ H Praetorius, Hassler, Sweelinck, Scheidt, Tunder KOTYUK: Fanfare; Song of Zechariah; MACHI: Aude Heurtematte Piece in 5 Movements; GONCHARENKO: Fan- Raven 165 [2CD] 82 minutes tasia; KOLESSA: Passacaglia; OSTROVA: Cha- This program of music from the 16th and 17th cona; KRYSCHANOWSKI: Fantasy Centuries is played on a modern instrument Gail Archer Meyer 20042—55 minutes (2010) built in the style of a French organ of about 1630. According to the booklet notes, Archer is on the music faculty at Barnard Col- the characteristics of the instrument owe lege, where she is Professor of Professional much to innovations in organ design proposed Practice and director of the Barnard-Columbia by Jean Titelouze (1563-1633), who was Chorus and Chamber Choir. She has pursued appointed organist of Rouen Cathedral in 1588 an active concert career, made several record- and is widely regarded as the founder of the ings, and is s fine player, but unfortunately this French organ school. Titelouze was Flemish, is not one of her most memorable efforts. I and he became versed in organ building dur- found these pieces tiresome and meandering, ing his youth in St Omer, then part of the Span- pointless noise all sounding the same. I could ish Netherlands. He enlisted the assistance of barely listen to the whole program. The bland, his fellow countryman Crespin Carlier to 140 American Record Guide January/February 2021 redesign the organ at Rouen, regarded by quot organ at the church of St Gervais in Paris, some as the birth of the French baroque organ. where she is organist (Raven 153; M/A 2020). The organ heard here is at the Church of The Champcueil organ is remarkably the Assumption in Champcueil, France, about attractive as recorded here. There is plenty of 35 miles south of Paris. It is the work of the heft in full registrations; but they never Belgian builder Dominique Thomas, who in scream, as do so many instruments, historical 2000 took over direction of the firm founded and modern. Here the grand jeu produces a by his father in 1965. The organ has three majestic fullness that does not tire the ear. manuals and is tuned in meantone. The man- Meanwhile, the luscious quieter registers will uals and pedals have two split keys per octave charm the attentive listener. to enable the player to differentiate between GATENS G-sharp and A-flat and between D-sharp and E-flat. From the Ground Up The program consists of liturgical organ ALCOCK: Introduction & Passacaglia; MUR- music and secular compositions. The opening RILL: Postlude on a Ground; Carillon; WEST: work is the last of a set of 42 fantasies in 3 to 6 Passacaglia in B minor; GRACE: Reverie on Uni- parts by Eustache Du Caurroy (1549-1609), versity; Resurgam; GIBBONS: Ground; published anonymously in 1610 to be played WILLAN: Chorale Prelude on a Melody by Gib- either by an instrumental consort or at the bons; Introduction, Passacaglia & Fugue; keyboard. The earliest music here is a group of BLACKFORD: Prelude; Passacaglia four courtly dances arranged for keyboard and David Hill, org—Regent 539—68 minutes published by Pierre Attaingnant (c1494-1552). Hill is best known as a widely respected choral Titelouze himself is represented by four organ and orchestral conductor, with appointments verses of the plainsong hymn `Exsultet as director of the Bach Choir, BBC Singers, Coelum Laudibus’ from his first set of organ Leeds Philharmonic Society, the Yale Schola hymns published in 1623. Louis Couperin Cantorum, and Associate Guest Conductor of (1626-61) was the most important member of the Bournemouth Symphony. What is often his musical family before François. Four organ overlooked is his distinguished career as an fantasies dating from 1654-56 are included organist. He held posts at Winchester and here. Westminster , , The rest of the program consists of music and St John’s Cambridge, producing over 80 by non-French composers illustrating the recordings of a broad-ranging repertoire. adaptability of the Champcueil organ to other This program presents pieces by English musical traditions of the time. There are three composers in the form of a passacaglia or sim- Magnificat verses by Hieronymus Praetorius ilar bass-oriented structures. The most famil- (1560-1629), four keyboard arrangements iar will be the Healey Willan, which has been from 1601 of secular German songs by Hans recorded many times, but is distinguished Leo Hassler (1564-1612), a majestic and here by a particularly magisterial perform- expansive ricercar by Jan Pieterszoon Sweel- ance. Also of note are the pieces by Herbert inck (1562-1621), five variations on the Advent Murrill and Harvey Grace, which are well plainsong hymn `Veni Redemptor Gentium’ by worth the attention of organists. Samuel Scheidt (1587-1654), and two pieces The 1879/1930/1981/2005 4-manual, 89- by Franz Tunder (1614-67), who was Buxte- stop Hill organ in Peterborough Cathedral hude’s predecessor at St Mary’s in Lübeck: a offers a perfect complement to the performer chorale fantasia on `In Dich Hab Ich Gehoffet, and the music. I can’t imagine better perform- Herr’ and a free North German prelude in G ances. Intelligent notes on the music with minor. specification. Rule Britannia! For most listeners this will be a rather eso- DELCAMP teric program. Some performers have the gift of bringing such music to life, but I cannot say Le Grand Jeu—French Baroque that is the case here. The playing here is not Marchand, Rameau, Dandrieu, Couperin, notable for flowing and coherent phrases. Grigny, Lully, Corrette, d’Anglebert, Charpentier, Sometimes it seems as if each note is in its Purcell, Handel own box with little connection to other notes. I Gaetan Jarry—Versailles 24—65 minutes had a similar response to her recording of the two Couperin Organ Masses on the 1768 Clic- This recording shows off the 1711 organ in the American Record Guide January/February 2021 141 Royal Chapel at the Palace of Versailles. It was Voices of the Hanse 1 built by Julien Tribuot and Robert Clicquot Stellwagen Organ, St Jakobi, Lübeck after plans drawn up in 1679 by Etienne H Praetorius, J Praetorius, Scheidemann, Weck- Enocq. It was inaugurated by François mann, Tunder, Buxtehude, Lüneburg Organ Tab- Couperin. Over the years, the organ was ulature rebuilt many times, by succeeding generations Jonathan William Moyer of the Clicquot family in the 18th Century, by Loft 1165—65 minutes Aristide Cavaillé-Coll in 1872, and Victor Gon- zalez in 1935. By then it bore little resemblance The Hanseatic cities of northern Germany to the instrument of 1711. In 1994 Jean-Loup became prosperous from commerce, and a Boisseau and Bertrand Cattiaux restored the significant portion of that wealth was expend- organ to its original design. Michel Chapuis ed on city churches and their organs. The pres- inaugurated the instrument in 1995. The organ ent recording is the first in a series to explore is mounted above the altar at the east end of the instruments and repertory of that region. the chapel. This is because the royal gallery is In this case it is the north or “swallow’s nest” at the opposite end of the chapel, and that is organ in the church of St Jakobi (St James) in where the organ would usually be placed. Lübeck. It was originally a Gothic “Blockwerk” Gaetan Jarry’s program may rub some organ built between 1467 and 1515. It consist- purists the wrong way. He plays a representa- ed of a principal chorus whose registers could tive assortment of original organ pieces by not be drawn separately. The celebrated Louis Marchand (1669-1732), Jean-François Lübeck organ builder Friederich Stellwagen Dandrieu (1682-1738), François Couperin (1603-60) was engaged to rebuild, enlarge, and (1668-1733), and Nicolas de Grigny (1672- update the instrument. His work was complet- 1703); but the greater part of the program con- ed in 1637, producing an instrument of three sists of transcriptions of orchestral, vocal, manuals and pedals that retained much of the chamber, and harpsichord works by French pipework of the old organ. baroque composers. Among those pieces are For this recording, Jonathan William instrumental dances from Les Boreades by Moyer has selected a program of music by Rameau (1683-1764), the overture and an aria eminent North German organists of the mid to from Atys by Lully (1632-1687), a chamber late 17th Century. With the exception of the concerto by Corrette (1707-95), and the well- Prelude in G minor by Franz Tunder (1614-74), known orchestral prelude to the Te Deum in D all of the music here is based on liturgical by Marc-Antoine Charpentier (1643-1704). melodies in the form of Magnificat verses, To complete the program, Jarry looks pieces based on Latin plainsong hymns that beyond France for Henry Purcell’s `When I Am were retained by the Lutheran Church, and Laid in Earth’ from Dido and Aeneas and Han- preludes on German chorales. The program is del’s `Arrival of the Queen of Sheba’ from framed by two expansive Magnificat composi- Solomon. Jarry has not hesitated to make use tions by Hieronymus Praetorius (1560-1629) to of current recording technology of edits and open and Dietrich Buxtehude (1637-1707) to “re-recording” to produce rapid changes of close. Some of the pieces were intended to registration and combinations that could not alternate with congregational singing, like the be managed on an instrument without mod- four verses of the Christmas chorale `Vom ern registration aids. Himmel Hoch’ by Johann Praetorius (1595- As an organist and conductor, Jarry spe- 1660) or three verses of the Pentecost hymn cializes in French baroque music. He is the `Komm, Heiliger Geist’ by Matthias Weck- founder of the choral and orchestral ensemble mann (1616-74). Several pieces come from the Marguerite Louise. His playing here is animat- Lüneburger Orgeltabulatur, a collection of ed and engaging, exhibiting the stentorian mostly anonymous pieces compiled around glory of the grand jeu as well as many deli- mid-century by Franz Schaumkell. cious quieter registrations. It is a fine docu- The instrument is beautifully recorded ment of an important instrument. with excellent presence but not oppressively GATENS close. The tone is rich and refined, whether in brilliant plenum registrations with or without chorus reeds or in the more delicate voices The purpose of “marketing” is to make us heard in some of the chorale preludes. Moyer want what they want us to want. puts the organ through its paces, exhibiting No one cares what we really want. the breadth and variety of its tone colors in 142 American Record Guide January/February 2021 performances that are elegant and animated. through low wind pressure, which means that My only complaint is that he too often resorts there’s a gentler, more “human voice” flow of to registrations based on 4-foot pitch that tend air into pipes. We hear many of the most char- to sound squeaky or cute. In recent years, acteristic organ forms here, from dance-step there have been several series of recordings of clarity of two or three stops together and chro- the North German organ repertory. If this is matic melodies often on just one stop (made any indication of what is to come, it can take all the more astringent and expressive by the its place with the best of them. meantone temperament) such as in the Fres- The recording does not come with a book- cobaldi elevation toccata—named for the let. The listener is directed to the label website devotionally intense elevation of the Host dur- for that. There are informative notes, the spec- ing Mass—and Trabaci’s `Canzona Franzesa ification of the organ, registrations used for the Cromatica Settima’ to cradle-rocking pastoral pieces, and some beautiful photographs, but movements by Pasquini and Grazioli and how long will they be available online? sparkling joy of the well-named “ripieno” (full Jonathan Moyer is currently on the faculty stops) registration. of the Oberlin Conservatory and is organist of The recorded sound captures the organ the Church of the Covenant in Cleveland, well, but it’s a shame that when the recording Ohio. was edited the full resonance is cut off too GATENS soon at the end of each piece. It’s important that the sound be allowed to bloom fully, and Organ in Southern Italy it doesn’t seem as if the church is so vast that Frescobaldi, Pasquini, Zipoli, others the reverberation muddies and obscures the 10 organists—Digressione 87—71 minutes sound. But that’s a small quibble about an oth- erwise very good program that celebrates the By the numbers: 1 organ, 9 composers, 10 fine organ tradition in this part of Italy. organists (5 men and 5 women), and 14 pieces. Notes are in Italian. There are photos of The occasion: to celebrate the organ playing the organ and a stop list. heritage in the Puglia region of Italy by record- C MOORE ing performances by alumni and students from the organ school at the Conservatorio Badia Fiorentina Organ in Monopoli. Monopoli is on the G Gabrieli, Frescobaldi, Pasquini, Byrd, Farnaby, Adriatic Sea in southern Italy, at the top of the Sweelinck, Scheidemann, Correa de Arauxo heel of Italy’s boot. Giovanna Riboli The organ is in the Church of San Brilliant 95957—61 minutes Francesco in Monopoli. Installed in 1710 and made by an unknown builder, the instrument The Badia Fiorentina is an abbey church in was restored for its 300th anniversary in 2010 Florence that is currently home to the Monas- by Francesco Zanin with the goal of returning tic Fraternities of Jerusalem, an order founded it to its historic origins. Since the sound, size, in France in 1975. It is also home to one of the and design of Italian organs changed relatively finest surviving Italian Renaissance organs, little from the 16th to the early 19th Centuries completed in 1558 by the Tuscan builder this instrument is a very good match for all the Onofrio Zeffirini da Cortona. The most recent pieces here. restoration took place in 1978. Typical of its The program is arranged in chronological time, the organ’s specification consists essen- order, starting with Girolamo Cavazzoni (c tially of a principal chorus whose components 1525-after 1577) and ending with Giovanni can be drawn separately. There is also one Battista Ignazio Grazioli (1746-1820). Most of high-pitched flute stop that is heard to good the pieces are from the 17th Century and effect on this recording. The single keyboard include well known compositions by Girolamo has 54 notes with a pull-down pedalboard of Frescobaldi, Giovanni Mario Trabaci, and 20 notes. Bernardo Pasquini. The pieces are all fine In the 16th and early 17th Centuries, most quality and well played. keyboard music was not specifically designat- One adjective that is often used to describe ed for the organ or a stringed keyboard instru- the sound of Italian organs is “singing” and ment. Chamber organs were common, and that aesthetic was also prized in all types of compositions based on secular popular songs instrumental music in 16th- and 17th-Century were often played on them. This program con- Italy. One way this sound is achieved is tains no explicitly liturgical organ music such American Record Guide January/February 2021 143 as organ Masses, hymns, or Magnificat verses. output was on just five monaural LPs dating Even so, much of the music here, like the toc- from 1954 to 1957. Despite her longevity catas of Giovanni Gabrieli (1557-1612) and (1922-2015) this French prodigy probably (1583-1643) or the tien- needed all that to squeeze in her activities as a to of Francisco Correa de Arauxo (1584-1654), coloratura soprano, chorus director, organist, might have been played in the context of a teacher, composer, and (of course) pianist. liturgy. In reference to the present day, Gio- Her Liszt is incredible. Even in this day of vanna Riboli, who is the titular organist of the virtuosic surplus it is refreshing to encounter a Badia Fiorentina, observes that “in the monas- new name that deserves to enter the pantheon tic liturgies of the Fraternities of Jerusalem the of Liszt naturals and knows exactly what to do organ participates mainly as a solo instrument, with the Rhapsodie Espagnole, Mephisto connecting different parts of the service”. Valse, and various etudes. The pedalling is The program contains works by three Ital- minimal, and the instrument sounds forth ian composers and five non-Italians. The Fan- with the clarity of sparkling champagne. I tasia in A minor by (1543-1623) doubt if it will matter to many that these are and the keyboard elaboration of the popular monaural recordings, because the sound is song `Mal Sims’ by Giles Farnaby (1560-1640) near the highest quality. both appear in the Fitzwilliam Virginal Book The Brahms grouping consists of all three and illustrate how the same repertory might Rhapsodies and the Handel Variations. The find a home at the organ or harpsichord. As Rhapsodies show a forceful attack and contin- organist of the Calvinist Oude Kerk in Amster- ue to demonstrate her spare use of pedal and dam, Jan Pieterszoon Sweelinck (1562-1621) maintenance of forward motion without much did not play for worship services, but gave reg- distracting rubato. Of special note is her ular organ performances that might have refreshingly light touch in the central section included the expansive fantasia and his take of Op. 79:2. The Handel Variations is like a on Dowland’s `Pavana Lachrimae’ heard here. monster tamed, but not shorn of its structural Heinrich Scheidemann (1595-1663) was an integrity or power. It’s an exciting reading that important figure in the development of the refuses to dawdle, but is never lacking for North German school. Many of his works expression. Bundervoet maintains clarity in would not be playable on the Badia Fiorentina even the most forced passages, including the organ, but he is represented here with varia- final fugue. Only the test of time might prevent tions on the popular tune `Englische Mascara- me from claiming this as my favorite recorded da oder Judentanz’. performance (but I doubt that). Giovanna Riboli gives performances that Schumann’s Intermezzos, Op. 4, is not a are assured and shapely, but I would stop cycle that is often heard these days. It is good short of calling them exciting, even in cases to have them in these sensitive readings. They where considerable virtuosity is required, as in are somewhat quixotic pieces, with shifting Frescobaldi’s Ninth Toccata from his Second rhythms and imaginative phrasing. The Fanta- Book of Toccatas. Sometimes, as in Sweel- sy Pieces, on the other hand, is one of the inck’s `Pavana Lachrimae’, I wished for a more composer’s better known works. Each of the persuasive musical flow. seven pieces is characterized well, and the The organ itself has a somewhat breathy playing includes some beautiful rubato. The but pleasing tone that is well suited to the Toccata is a tour-de-force of relentless motion delineation of contrapuntal lines. I suspect but allows for contrast when needed. that the recording will appeal chiefly to listen- From the drawing of the artist that appears ers with a special interest in this repertory and on the cover one would hardly expect such who will relish this aural document of an vivid and technically overwhelming sounds to important historic instrument. have emerged from such a delicate creature. GATENS Sometimes she reminds me of Simon Barere. It’s too bad that some collectors paid a small Agnelle Bundervoet fortune for some of her much sought-after Liszt, Brahms, Schumann French Decca recordings. This reissue, at bar- Decca Eloquence 4841507 [2CD] 145 minutes gain price, now makes them available for all who value great pianism. I must confess that despite my years this BECKER pianist was totally unfamiliar to me. Part of that could be that her total recorded classical 144 American Record Guide January/February 2021 Albert Ferber 1945-51 of their lucidity, accuracy, and intelligence; Decca Eloquence 4829390—77 minutes but they are never moving. The first two discs are from 1949-1951, pre- Despite the early recording dates, these mostly dating his affiliation with DG. Disc 1 (“French unpublished recordings are in perfectly Polydor Recordings”) has Prokofieff’s Concer- acceptable monaural sound. Few of our read- to 1 (with Jean Martinon conducting), Tales of ers will cringe while listening. the Old Grandmother, and Four Pieces (Op. Swiss pianist Ferber (1911-87) had a career 32), as well as Bartok’s Sonata and Concerto 2 that spanned four decades. If he failed to reach (with Eugène Bigot). CD 2 (“The Mercury the realm of the greats, he was still an artist Recordings”) contains Schumann’s Abegg respected by his colleagues and appreciated Variations, Papillons, Impromptus on a by his audiences. Rarely given to outward dis- Theme by Clara Wieck, and Toccata, as well as play, he kept to sane tempos and emotional a rarity—the complete Norwegian Peasant reserve. Outward display was not in his unpre- Dances of Grieg. Discs 3-5 are filled with tentious psyche. His career led to the world of music by Bartok, including excerpts from For teaching, and his creative impulses even led to Children and Microcosmos, the Sonata again, doing some film composing. the Sonatina, and Out of Doors. Disc 6 has Schumann’s Kinderszenen fits in well with music by Kodaly, including Foldes’s own tran- Ferber’s tasteful, quiet style. The music is well scription of three pieces from Hary Janos. Disc characterized but not set forth in bold relief. A 7 includes Barber’s Excursions, the sonatas of selection of Mendelssohn’s Songs without Copland and Stravinsky, and short pieces by Words is pleasant, though there are a lot of Thomson and Albeniz. very good readings out there. CDs 8 and 9 have Mozart’s Concertos 10 Beethoven’s Sonata 26 is somewhat under- (with Carl Seemann as the other pianist), 15, characterized, but Schubert’s little Sonata in A, 17, 21, and 25, and Beethoven’s Choral D 664 is a gem of gentle beauty. The notes are Fantasy. CDs 10-14 are all Beethoven. Here are decent enough, and help to complete the Concertos 1 and 5 (with Ferdinand Leitner), belated discovery of this almost forgotten Sonatas 8, 9, 15, 17, 19, 21, 23-26, 28, 30, and pianist. 31, the 32 Variations, and a number of shorter BECKER pieces. Disc 15 carries three variation works by Brahms—on themes by Schumann, Brahms Andor Foldes: DG Recordings himself, and Paganini. CD 16 includes Schu- Decca 484 1256 [19CD] 21:19 mann’s Carnaval and Fantasy. 17 has the Sonata and several shorter pieces by Liszt. On Andor Foldes (1913-92)—actually Földes, but Disc 18 are the two Liszt Concertos and Rach- he himself dropped the dots later—was a Hun- maninoff’s Second (all with Leopold Ludwig), garian pianist of distinction who became an which were also in a DG collection I reviewed American citizen and later lived in Switzer- two years ago (J/F 2019). On CD 19 (“Klavier- land. As the magnitude of this compilation abend”) are Bach’s Chromatic Fantasy and shows, he was a house pianist of DG in the Fugue, Beethoven’s Sonata 6, and short pieces 1950s and early 1960s, when these recordings by Brahms, Falla, Poulenc, Debussy, Chopin, were made. I had encountered some of them and Liszt. over the years but never kept any in my collec- I may be forgiven for not listening to every- tion. Foldes struck me as a meticulous techni- thing in this large collection. Foldes’s style of cian who played with great clarity and taste playing is very consistent. The performances I but little individuality or emotion. This picked were all very fine stylistically and tech- impression was amply confirmed not only by nically, and also musically satisfying because these 19 discs but also by the excellent booklet just rendering the text faithfully and lucidly essay of Stephen Siek, which gives a sympa- goes a long way. They were never insensitive thetic account of the pianist’s early career or mannered, just cerebral and hard of touch. while also making room for critical observa- How strongly I felt there was something miss- tions. Even the photographs in the booklet are ing depended on the work and was not always telling. Look at Foldes’s typically impassive predictable. For example, I did not expect him face and how he sits still and observes his to do so well with Schumann’s Carnaval. Only hands at the keyboard. He played with his his `Chiarina’ (Schumann’s portrayal of young agile fingers and mind, but kept his body out Clara Wieck) is exceptionally fast and loud, of it. His interpretations are admirable because suggesting a teenage dragon. Schumann’s American Record Guide January/February 2021 145 Impromptus, one of the early Mercury record- Idylls ings, seemed a bit rigid. Brahms’s Schumann Sofia Gülbadamova, p Variations are very good, with only Variation Hänssler 20047—78 minutes 14 too literal. The Liszt Sonata is solid but lacks poetry sometimes. Foldes holds the initial two I hesitate to say anything critical about this notes and the final note, which are commonly recording. The pianist, in her liner notes, played short, with the pedal. This is the only explains that the program consists of gentle time I noticed some technical slips, but they pieces close to her heart and that she wishes to are very minor. The shorter Liszt pieces are a bring comfort to music lovers in this difficult bit stiff and prosaic, with `Au lac de Wallen- time, when musicians especially are hit hard stadt’ especially fast and etude-like. But the by the pandemic. She plays everything with two Soirées Musicales based on Schubert fine expression and gorgeous touch on a Waltzes are nice. I wonder how Foldes would Bösendorfer. In my review of her most recent have handled Schubert sonatas and impromp- album (M/J 2020) I already noted her fine tus. musicianship as well as a tendency towards In the only Mozart Concerto I listened to, slow tempos, occasional bombast, and a pen- No. 21, Foldes plays with the expected clarity chant for transcriptions, all again evident here. and rhythmic precision but with hard touch, There is a danger of monotony in a pro- narrow dynamic range, and rigid timing, most gram consisting entirely of idyllic pieces, but notably in his own cadenzas. His Beethoven is this reservation can be put aside in the present really very fine, judging from Sonatas 6, 15, case. Moreover, there are a few fairly lively and 30, the 32 Variations, and the Choral Fan- pieces among the 19 here. But I do not intend tasy. I skipped Bartok as I am not a fan of the to keep it in my collection, because the pieces, composer—I am sure Foldes played those some of which I heard for the first time, seem pieces very well—and the American music, of variable quality to me, and none of them but I did listen to Kodaly’s Dances of Maros- comes even close in musical interest to the szek, an effective virtuosic work (orchestrated single great masterpiece that the pianist chose only later) that should be played more often. to include—Chopin’s Barcarolle. Liszt’s tran- Here Foldes is hard and clangorous, and I pre- scription of Schubert’s song `Du Bist die Ruh’ fer the recording by his fellow Hungarian is fine despite some bombast, as is an adapta- Annie Fischer (BBC 4166). I thought the last tion of Grieg’s song `Jeg Elsker dig’. Elgar’s CD would contain some concert recordings, Idyll, Op. 4:1, is charming. Glazounov’s Idyll, but they turned out to be studio recordings, Op. 103, is a weak piece and much too long. too, with the Bach Chromatic Fantasy rather Moszkowski’s Idyll, Op. 94:3, is short but even etude-like and the Fugue rigid rather than less substantial; this is not a great composer. majestic. Prokofieff’s Adagio from Cinderella strikes me The sound quality of all but the earliest as uninspired and awkward, though the recordings is very good, and some are in pianist is especially fond of it. (I am a great stereo. A few appear here on CD for the first admirer of Prokofieff’s better works.) The tran- time. (We have not reviewed any of the previ- scription of Elgar’s Serenade for Strings is not ous reissues.) The presentation is excellent. Detailed information is supplied about each effective; it is unpianistic and boring. Six of recording, the booklet contains a splendid Hahn’s pieces from his large collection Le essay with photographs, there are no careless Rossignol Eperdu are delicate but shallow; errors, and each disc comes in a cardboard they might have worked better as song accom- sleeve that reproduces the cover of an original paniments. Only the last one (`Matinée Parisi- LP. The contents listed on those covers do not enne’) held my interest. Gülbadamova takes correspond exactly to what is on the disc, but nearly 5 minutes longer for these pieces than the real contents are found on the back togeth- Yoonie Han in her recent complete recording er with smaller reproductions of the covers of (S/O 2019), but if anything this should other LPs from which pieces were taken—a increase the illusion of substance. nice and visually appealing idea. This is a valu- Finally, there are three of Earl Wild’s able release, though it will be of interest main- Etudes based on Gershwin songs. I much pre- ly to comprehensive collectors and admirers of fer Gershwin’s own straightforward piano the pianist. arrangements to these showy abominations. REPP The swirling notes Wild added are just so much fluff, and without his glib facility and 146 American Record Guide January/February 2021 nonchalance they get in the way of the lovely sonata is powerful, but there are some uneven melodies. tones in the Vivace movement. I have also Still, this will make a fine gift for uncritical heard it faster, which I prefer. The voicing often listeners ready to be comforted. needs some work. With the Scriabin sonata, REPP there is good playing, but there is something clinical about the way he delivers the work. It Nordic Master Composers should be more sweeping and lush, with more GRIEG: Ballade Variations; SIBELIUS: 6 forgiving pedaling. Overall, a good recording! Impromptus; STENHAMMAR: 3 Fantasies; KANG NIELSEN: Theme & Variations Maria Kihlgren, p Israeli Piano Sterling 1842—70 minutes Stutschewsky, Natra, Avni, Partos, Seter Kolja Lessing—CPO 555294—71 minutes It is nice to see an album devoted to Nordic composers. Not only is the playing solid, but Joachim Stutschewsky (1891-1982), Tzvi Avni the program makes sure to show not only (b. 1927), and Odeon Partos (1907-77) all more familiar romantic era composers such as immigrated to Palestine from 1935 to 1938; Grieg or Sibelius, but also from the 20th Cen- Sergiu Natra went in 1961. Mordecai Seter tury with Carl Nielsen. The Ballade is a lesser (1916-94) went in 1926 with his family; he known Grieg work, though it is one of his most studied in France but returned to Palestine in significant ones; it is 14 variations based on 1937. All the works draw on both folk and reli- peasant folk songs. It was also a work that gious music, and they are often arid and rhap- Grieg found taxing and emotional, owing to sodic, thoroughly in the lineage of the his depression and marital problems at the Mediterranean School founded by Paul Ben- time of its writing. He himself rarely per- Haim (1897-1984) and others. formed it in public. Kihlgren’s performance is Stutschewsky’s seven Palestinian Sketches clean, well articulated, and brings weight to (1931) are short and a lot like Bartok. I would the composition. Stenhammar’s 3 Fantasies like to hear them arranged for winds or strings; are wild pieces, almost Brahmsian in texture, there are many places where the lines could with rich Nordic harmonies. Kihlgren navi- swell and float, based on singing as they are. gates the thick textures well, with good bal- Three Pieces, from a decade later, are more ance. Nielsen’s Theme with Variations offers dissonant and pungent; Stutschewsky’s style 20th Century harmonies. can be crabbed and sour. Partos’s Prelude is KANG full of barely tonal flourishes and musings. Natra’s Variations are from 1945, the same year Euntaek Kim he won the Enesco Composition Prize in his PROKOFIEFF: Piano Sonata 2; SCRIABIN: native Romania. The main theme is so slither- Sonata 8; RACHMANINOFF: Sonata 1 ingly chromatic that it almost makes the piano MSR 1745—70 minutes seem tuned in quarter-tones. The theme-and- variations structure usually ends up sounding The Center for Musical Excellence is an organ- contrived to me, and this piece comes across ization, under pianist and Director Min Kwon’s like a string of unconvincing speeches. The leadership, dedicated to finding and develop- spiky, free-form Sonatina comes from 1987, ing a roster of international young artists but it is a reworking of a harp piece from 1961. through mentorship, training, professional It works well on piano, and Lessing brings out development, and financial support. Euntaek a lot of color. Kim is one of the strong young pianists who Avni’s short Capriccio is harmonically bit- has benefitted from the support of this organi- ing but playful; the calls, responses, and turn- zation through grant in 2017. This debut on-a-dime tempo shifts are exhilarating to fol- album is one result. low. In Spite of All That depicts the violence One of Kim’s strengths is taking the tangle that has marked the region, especially the of passages, rhythms, and harmonies and sim- Gaza Strip, but Lessing doesn’t quite put that plifying them effortlessly. The clarity of his across. Seter’s Triptyque II begins icy and playing is clear in the dense Rachmaninoff, as grumbling and slowly slides into a quiet, omi- he makes all the orchestral and piano ele- nous, pointillistic void. ments legible. That is no easy feat. There are Though some of the writing sounds tricky some interpretive choices. The Prokofieff for the fingers, rarely is it virtuosic. I’ve fol- American Record Guide January/February 2021 147 lowed Ben-Haim for several years now ing. The Bach fugue is too fast, and the voices because the Mediterranean School’s style are not well differentiated; it is boring. By com- speaks to me even when the music isn’t the parison, Friedrich Gulda (Philips 446 545), most inspired. Even so, nothing here particu- though severe and hard of touch, builds an larly moved me as Ben-Haim’s Sonatina or impressive slow crescendo and always brings symphonies do, for instance. This release is out the theme in the different voices. The more for the specialist, and it is better to listen Medtner Fairy Tale, one of the many pieces to a piece or two at a time. with this title that Milne recorded so splendid- ESTEP ly (and I have played some myself), was new to me. It is unusually virtuosic, and McLean’s Viv McLean relentlessly loud traversal somehow seems SCHUBERT: Piano Sonata in B-flat; BRAHMS: inappropriate for Medtner, whose music usu- Rhapsodies; BACH: Prelude & Fugue in E-flat ally has a more gentle and refined character, minor; MEDTNER: Fairy Tale, op 8:2; LISZT: even when it is very intricate. In Liszt’s Mazep- Mazeppa pa, the hair-raisingly difficult fourth of his Stone 81014—75 minutes Transcendental Etudes, McLean is justified in letting loose, but the textures are muddy; and This release is titled “Viv McLean: Live when, near the end, there is a brief respite in Recordings”. The British pianist, who must be the turmoil, he misses the expressive signifi- in his 40s, came to my attention last year cance of it, which Daniil Trifonov conveys very through a fine Chopin recording (J/A 2020). well in his splendid complete recording of the But what led him now to come forth with per- etudes (DG). formances recorded in recitals given many So, I am afraid this recording will appeal years ago? I presume it was his wish to honor mainly to friends and admirers of the pianist. Hamish Milne, his one-time teacher and a The liner notes, by the way, are by Jessica renowned champion of the music of Nikolai Duchen, author of a series of engaging novels Medtner, who passed away in February of last with musical themes. year. The recording is dedicated to Milne’s REPP memory and contains a piece by Medtner, but why not make a new studio recording? What is Nox so special about these old performances? Per- SCHUMANN: Nachtstucke; ZUIDAM: Nox; haps McLean studied these pieces with Milne? RAVEL: Gaspard de la Nuit; JANACEK: On an The booklet does not say. Overgrown Path The major work—the Schubert Sonata— Hannes Minnaar, p—Challenge 72853—72 min and the two Brahms Rhapsodies come from a 2008 recital at and are played This recording is themed around Nox, the very well. The sonata is given a conventional Latin word for “Night”, ranging from Schu- but sensitive interpretation, without the repeat mann to Zuidam’s contemporary work. in I. Compared to the magisterial traversal by Though I did want Mr Minnaar’s playing to be Gilbert Schuchter, whose comprehensive a bit faster, it is rich and solid, as he brings Schubert recording (J/F 2018) has become a power and passion to Schumann’s Nacht- firm benchmark for me, McLean has a lighter stucke. Gaspard de la Nuit is crystalline and touch, takes I a little slower, II a little faster, III sweeping. `Ondine’ has many gorgeous a lot faster than Schuchter (less charming and moments, though I do wish he could have mechanical in the trio), and in IV he always picked up the pace a bit—sometimes the takes the theme a bit slower than what fol- melody feels a little disconnected. `Le Gibet’ is lows—a nice individual touch. A few stifled haunting. Zuidam’s Nox is a large-scale work coughs reveal an audience, and the pianist, for solo piano, inspired by a night owl. It has quite accurate so far, hits a wrong note in the gorgeous melodies that weave in and out of final chord! Such are the dangers of concert each other in `Nightfall’. `Insomnia’ creates recording. The Brahms is also good, though wonderful contrasts, with restless figures in not as clearly articulated as in Peter Rösel’s both hands. excellent recording (Berlin 90322), which was There is one bonus track, from On an my direct comparison here. Overgrown Path. It is a delightful conclusion, The other three pieces are from a 2000 with a simple melody that Minnaar allows to recital in Hamamatsu, Japan, when McLean emerge and shine. The pacing is gorgeous. must have been in his 20s, and are less satisfy- KANG 148 American Record Guide January/February 2021 French Album the listener linger in transparency, like a prel- Debussy, Rameau, Ravel, Chabrier, Fauré ude to the dazzling clarity of a nighttime dis- Jorge Federico Osorio, p play, followed by a meditative resolution. Cedille 197—75 minutes Osorio then shifts gears to three short works from Rameau’s third collection of harp- I gravitate primarily toward orchestral music. sichord pieces. Rameau, born in 1683, was a So it was striking for me to have been swept contemporary of Bach, Handel, and Scarlatti, away by this piano album that opens and clos- all born in 1685. `Le Tricotet’, two Minuets, and es with piano originals that today are far better `L’Egyptienne’ fit with the world of Scarlatti’s known in the composers’ own orchestral tran- sonatas, music that cleanses the air with scriptions. steady rhythms under playful tunes (tricotet It took a second hearing for me to appreci- means knitting, here integrating the right and ate Fauré’s Pavane minus the sumptuous grace left hands like a knitting machine). Osorio is of (EMI). Fauré makes spar- the farthest thing possible from a sewing ing use of the piano’s left hand below middle machine; instead these three pieces in 7 min- C, and when he does, he puts the bass accent utes are a midway refresher in how to make on the third beat of the 4/4 measure, not the impeccable technique sound musical. first, where one would expect it. Jorge Federico From this point to the end I became espe- Osorio, 69, the elegant Mexican pianist and cially conscious of how carefully and beauti- long-time resident of Chicago, uses this spare fully Osorio planned this album. The key piece to introduce us to an unforced, transpar- where one piece ends fits naturally into the key ent, floating, bell-like style where every note is the next one begins with. Sometimes it’s the clear yet integrated and where the lyrical line same; sometimes a mediant key fits easily with flows freely and musically—a foretaste of the following tonic key. In other words, not what’s to come. only do moods contrast (as in the Debussy There follow eight selections from works) and the air clears (Rameau), but the Debussy’s Preludes and `Clair de Lune’. In whole program is tonally integrated too. `The Hills of Anacapri’, if another pianist ped- Chabrier’s `Habanera’ is simplicity itself, aled like Osorio, the sound would become so it seems: a touch of Viennese waltz with a cluttered, but not here. He phrases the music habanera beat, a melody with chords, ren- by holding down the pedals for measures at a dered perfectly with an inimitable gait and time, yet the texture and leading motifs come flow. Debussy’s `Puerto del Vino’ (one of the through, leading the ear. All notes are clear, gates to Granada’s Alhambra) continues the none are buried, and yet Osorio never sounds syncopated beat, here flamenco rather than pedantic. Everything fits naturally as the music habanera. After a dramatic modulation the ripples and skips along. Then `The Terrace music wants to relax but can’t. Which leads to Where the Moonlight Holds Audience’ is just `An Evening in Granada’ from Estampes, the opposite. In lesser hands it could be a blur which I once played imperfectly but have firm of modulating chords. Here Osorio terraces ideas about its musicality. Here Osorio is pure the details and lets the very flow give life to genius. He captures all of the many nuances what otherwise could be a miasma of tech- while conveying a feeling of spontaneity rather niques. than that super-professional feeling of having And so goes the album, a series of con- played it so many times that one has stopped trasts that seem to flow into one another with- finding anything new in it. As the Corn Flakes out jarring. In a relaxed, unrushed `Clair de ad used to encourage, “Taste `em again for the Lune’ the music is phrased by the resonance first time”, and Osorio does. from the pedaling. Touches of rubato and There follows one of classical music’s most retard create a five-minute integral master- impossibly difficult pieces to perform, whether piece as gorgeous as I’ve ever heard it. `What in the piano original or Ravel’s orchestration: the West Wind Saw’, arpeggios and trills and `Alborada del Gracioso’ from Miroirs. I chords galore rendered into a musical whole, describe ’s performance of it with is followed by `Voiles’ (Sails or Veils—either is the Chicago Symphony (the JVC XRCD2 press- legitimate) with melody and harmony gently ing is astounding) as “how to get a huge fused in a transparent whole-tone scale. The orchestra to dance on the head of a pin”. Well, last two, `Fireworks’ (which makes one listen that’s Osorio at the piano. He makes me aware carefully in the quiet intervals) and `Dead of the scores of countless technical challenges, Leaves’, are a perfect pair as Debussy makes piled on top of one another, that he had to American Record Guide January/February 2021 149 have rehearsed ad nauseum. Yet here the are indebted to Tzinlikova for giving us the music flows, counter-rhythms and all, just like opportunity to hear music not readily available it does with Reiner: never bombastic, crystal and worth getting to know. clear, with impossibly clear castanet-like artic- HARRINGTON ulations, floating, and with solid punch the few times it’s needed. One integrated whole. How Journey with Piano 4 Hands can a human being do it! LISZT: Scenes from Lenau’s Faust; DVORAK: 3 And what a stroke of genius to end the Slavonic Dances; GOUNOD: Love Duet & Waltz album with `Alborada’s opposite: Ravel’s from Faust; GODARD: Berceuse; BIZET: Car- Pavane for a Dead Princess (or a princess long men Overture; MILHAUD: Le Boeuf sur le Toit ago), echoing Fauré’s Pavane 68 minutes earli- Zeynep Ucbasaran & Sergio Gallo er: simple, clear, flowing but with melancholy, Divine Art 25208—65 minutes the end of a sublime journey through French piano music. Piano duets, 4 hands at one piano, have FRENCH attracted great composers since Mozart and Beethoven. Schubert brought the genre to 3 of 6 another level with a vast quantity of great music. As the romantic era progressed, it fell to TAILLEFERRE: Pastorale; Partita; Impromptu; Liszt, Brahms, and Dvorak to add significant Romance; AURIC: Sonatine; Nocturne; 3 Pas- torales; DUREY: Romance sans Paroles; Noc- works to the repertoire. All along, there were turne; 3 Preludes tons of lesser composers writing original Biliana Tzinlikova, p—Paladino 103—55 minutes music and transcribing vast amounts of orchestral repertoire for piano duet. French Les Six was a name originated by Henri Collet composers enlarged the repertoire towards the in 1920 and influenced by the Russian group of end of the 1800s and into the early 1900s. By composers called the Mighty Five. The French the mid 1900s and the proliferation of record- group included Poulenc (1899-1963), Milhaud ed music, the arrangements that were almost (1892-1974), Honegger (1892-1955), Auric required to disseminate the music to a wider (1899-1983), Durey (1888-1979) and Tailleferre audience began to fade, although there are (1892-1983) and was seen as a response to the great arrangements of some Gershwin, Cop- music of Wagner and the Impressionism of land and Shostakovich for duet. The 2-piano Debussy and Ravel. Milhaud wrote that Collet idiom took over at that point for concert music “chose six names absolutely arbitrarily...sim- by notable composers. ply because we knew each other and we were Here we get a well designed, enjoyable pals and appeared on the same musical pro- program that touches on most of what was grammes, no matter if our temperaments and mentioned above. Ucbasaran and Gallo have personalities weren’t at all the same! Auric and been an active duo for 15 years and have an Poulenc followed ideas of Cocteau, Honegger affinity for this repertoire. Their ensemble and followed German romanticism, and myself, balance are spot-on, as is Divine Art’s record- Mediterranean lyricism!” ed piano sound. They begin with Liszt’s duet Bulgarian pianist Biliana Tzinlikova has arrangements of two of his early tone poems: chosen the three lesser-known composers of Der Nächtliche Zug and Der Tanz in der Dorf- Les Six for an enlightening program of music schenke. While these titles may not be well that certainly is not well known. Recently Pas- known and the first is not often heard, the sec- cal and Ami Rogé had a release devoted to Les ond also had a solo piano arrangement done Six and Satie (Onyx 4219, July/Aug 2020), and by Liszt where the title became Mephisto there are only two duplications with this new Waltz. That has been a staple of many virtu- one. Groups of three dominate this collection oso’s repertoire for well over 150 years. The dif- of pieces: Tailleferre’s Partita, Auric’s Sonatine ferences between the solo version familiar to and Pastorales, and Durey’s Preludes are all all and this duet version are not great, but are three pieces or movements. noticeable and interesting. I cannot imagine any of these works get- Three of Dvorak’s Slavonic Dances follow. ting a better performance. Every phrase is built They are influenced by the quality and popu- with great attention to detail that never hides larity of the Brahms Hungarian Dances. The the main musical message. While there is no remainder of the program is by French com- shortage of recordings of music by the other posers, both original music and orchestral three composers who were part of Les Six, we arrangements. Milhaud’s Boeuf sur le Toit is 150 American Record Guide January/February 2021 the big final work here and one of his best Dance’. Hermann Bellstedt (1858-1926) is rep- known. It was inspired by Brazilian popular resented by his ever-popular `Napoli’ and music (compare with Gershwin’s Cuban Over- `Carmen Fantasy’. `A Chloris’ (Reynaldo Hahn, ture, arranged by the composer for piano 1874-1947) and `Pandora’ (Eugene Damare, duet). It became both a ballet and the name of 1840-1919) round out the program. a trendy Paris nightclub where the group of Frank Anepool plays a modern fit- composers known as Les Six often gathered. I ted with a 19th-Century mouthpiece. He has will return to this often. the technical skills and sports a bright and col- HARRINGTON orful tone with a pleasant vibrato. Vaughan Schlepp plays an Erato grand piano from 1846. The 3-Piano Project KILPATRICK ACIM: Fikir Hucreleri; ZAMPRONHA: S’io esca Vivo; SAYGUN: Poem; ZARATE: Petit Nocturne Message in a Tuba Noir; INCE: Requiem for Mehmet; DALLAPIC- Lovelock, Dring, Cheetham, Mariano, Ellerby, COLA: Music for 3 pianos Leidzen, Turrin, Payne, Reizenstein Zeynep Ucbasaran, Miguel Ortega Chavaldas, Kent Eshelmanm; In-Ja Eshelman, p Sergio Gallo—Divine Art 25207—54 minutes Soundset 1118—79 minutes Ucbasaran and Gallo, piano duo from the pre- I was quite impressed by the first album by vious review, are here joined by an old friend, Baylor University tuba professor Kent Eshel- Chavaldas for a most unusual program. man and his wife In-Ja (March/April 2014: Together they were preparing to make the 210). How does this one compare? Quite favor- world premiere recording of Ahmet Adnan ably, with its mix of original and transcribed Saygun’s Poem when the 3-piano project grew works for tuba and piano, and with the duo’s into reality. It is an interesting collection of skillful and heartfelt playing. music composed in Brazil, , Italy, and The transcriptions begin with two works by Turkey. This is music that, except Brazil, works William Lovelock. A cheery Vivo, from the its way around the Mediterranean. Though Sonatina (1960) for oboe and piano, has both Dallapiccola was noted for his 12-tone writing, musicians playing fast, lyrical, and contrapun- this early (1935) work is firmly rooted in tonali- tal lines. A more serious Two Pieces (1928) for ty, as are the others here. With influences clarinet and piano has a Romance with the ranging from Orlando di Lasso and Turkish same intricate counterpoint as the Vivo but at folk music to the extraverted and popular a slower pace. Eshelman’s very long last note is qualities of American music, this will entice quite beautiful. A Waltz is a wistful look at a you with unheard pieces, performed excep- simpler time. tionally well with dedication and conviction. There are several little works by Madeleine The booklet essay is quite detailed and the Dring (1923-77), all for oboe and piano. `Ital- recorded sound first class. ian Dance’ (1960) is something of a moto per- HARRINGTON petuo. `Polka’ (1962) is wry, `Danza Gaya’ (1964) graceful and witty. The 12-minute The Romantic Cornet Three Piece Suite (1984), originally for har- Brandt, Bohme, Bizet, Hahn, Damare, Bellstedt monica but transcribed for oboe, has a fast Frank Anepool; Vaughan Schlepp, p and raucous `Showpiece’, pensive `Romance’, Challenge 5276—50 minutes jaunty Finale. Also for oboe and piano is the Humoresque by Franz Reizenstein. A very pleasant program of tuneful works John Cheetham’s `Homage’ is his own played on a sweet-toned instrument. As men- arrangement for tuba and piano of an emo- tioned in the notes, the cornet was the first tional movement from his 2015 tube-euphoni- to embrace the new-fangled um quartet. `Curumim’ is Eshelman’s tran- valve in the 1830s, well before the trumpet did. scription of a piano piece by Cesar Camargo So the first brass virtuosos were cornet players, Mariano. As heard here, it is a thoroughly cap- and these are some of the works that were tivating work, full of energy, subtlety, and sur- written for them. prise. In his notes, Eshelman praises his wife The album opens with Concertpiece 2, by In-Ja for her remarkable ability to play so flu- Willy Brandt (1869-1923); Concertpiece 1 is ently in Brazilian style. also included. There are two works by Oscar The program includes two works originally Bohme (1870-1938): `Liebeslied’ and `Russian for tenor horn (a small-bore relative of the American Record Guide January/February 2021 151 ): a poignant Elegy from Martin Benjamin Britten. I also did not know that the Ellerby’s Tenor Horn Concerto (1998), and Eric original poem is by Thomas Moore, who also Leidzen’s `Old Rustic Bridge’ (1955), a nostal- wrote `Believe Me, If all those Endearing gic, old-fashioned showoff piece. Then Eshel- Young Charms’. So it is a good idea by Trop- man finally dips into original tuba literature. man to play both here—Britten’s gloomy `Last The big piece is Joseph Turrin’s 14-minute Rose’ followed by Simone Mantia’s famous Kronos, which began life as a tuba-band Con- euphonium setting of `Believe Me’. Tropman’s certino (1976), was revised and renamed reading is quite dazzling. (2016), and was reduced for piano by Eshel- The euphonium portion of the program man. It is a serious work, tightly organized ends with Victor Venglovsky’s arrangement of around the first, seemingly abstract phrases. Rachmaninoff’s anguished Elegy in E-flat The harmonies are dissonant, though not minor (1892), not heard here since the atonal. There is intensity in the fast scalar lines decades-old account by the great trombonist and dauntingly high notes. The work seems to Joe Alessi (Jan/Feb 1993: 186). Tropman’s is be in search of something, which I imagine it just as good. finally finds on the final, staccato major triad. The tuba part begins with two solo horn Having included Frank Lynn Payne’s Tuba etudes by Verne Reynolds (1926-2011). Each Sonata (1977) on his first recording, Eshelman speaks a modern language while concentrat- was sent the three-movement, eight-minute ing on a single interval: the somber 6 on a Short Sonata (2014) heard here. As with Tur- minor third, the whimsical 16 on a major sixth. rin’s piece, the harmonic language is disso- Next comes Bach’s Sonata in E, S 1035, origi- nant, but there are a few more moments of nally for flute and keyboard. If a flute piece on tonal clarity. Also by Payne is the technically tuba seems far-fetched to you, this reading challenging Six Bagatelles (2016) for solo tuba. might change your mind. Tropman’s beautiful Wonderful album. tone is on display in the opening Adagio, his KILPATRICK superb technical skills in the lively II. He does- n’t say why he omitted III, but his reading of IV Study is superb. Charlier, Britten, Mantia, Rachmaninoff, The album ends with Paul Hayden’s eight- Reynolds, Bach, Hayden minute Chaconne (2000), where Tropman Matt Tropman, eu, tu; Elena Miraztchiyska, June shows off remarkable technique and range on Okada, p—Mark 54633—64 minutes F tuba. This is a wonderful album. The pianists are Aa be utiful euphonium and tuba album by excellent—Elena Miraztchiyska in the eupho- University of Arizona professor Matt Tropman nium pieces, June Okada in the tuba one. and pianists Elena Miraztchiyska and June KILPATRICK Okada. The title, Study, refers to the etudes instrumental students spend much of their Music for One Horn time practicing, their teachers much lesson Gomez, Carter, Barboteu, Karaivanov, Ramey, time teaching. For the teachers, who might Piazzolla, Koechlin, Proust, Kogan, Raum, teach certain etudes for decades, the best of Yenque—Howard Wall—Affetto 2006—71 min them never grow tiresome. That includes these. Almost all of these somber, contemplative On euphonium, Tropman begins with a works are recycled. Most were on a recent very expressive reading of what many would album, Horn Monologues (Sept/0ct 2020: regard as the best trumpet etude of all: `Du 134). The big piece, Philip Ramey’s 8-minute Style’, by Theo Charlier, from his 36 Etudes Gargoyles, was presented on a collection of Transcendantes (1926). Next come six more Ramey’s horn works in a performance I erro- from that book, the last being the virtuosic 34, neously attributed to Philip Myers, who played `Fantaisie Rhythmique’. All of these have piano most of the music on that album. My com- accompaniments that were composed in the ments about that reading (Jan/Feb 2018: 142) 1980s by Jean-Marie Cottet. They are so good, are similar to what I wrote about Monologues: so flavorful, that it is hard to believe they Howard Wall, a member of the New York Phil- weren’t part of the original work. harmonic since 1994, is a fine player, but we I am familiar with `The Last Rose of Sum- are uncomfortably close to him. mer’ in its traditional, sentimental form. This KILPATRICK is my introduction to the very dark setting by 152 American Record Guide January/February 2021 Solo blues, atonality, and folk traditions. It is BACH: Partita 2; YSAYE: Solo Sonata 3; instantly forgettable. PAGANINI: Caprices 1, 2, 9, 14, 17, 20, 24 The Broberg is built on a series of repeated Andrey Baranov, v—Muso 39—61 minutes rifts and syncopations. The composer appears well versed in the art of unpredictable chords. Andrey Baranov was born in St Petersburg in I of Rota is simplistic and hymnal; II is barren 1986 to a family of musicians. He studied at and unimaginative; III is pleasant and folklike. conservatories in St Petersburg and Lausanne, Unremarkable performances from the harp and his most important teacher was Pierre and violin. Amoyal. He has won prizes at numerous com- KELLENBERGER petitions, including the Queen Elizabeth Com- petition in 2012. Aside from performing as a Northern Lights soloist, he plays first violin in the David Ois- AULIN: Akvareller; GRIEG: Violin Sonata 1; trakh String Quartet. SIBELIUS: 4 Violin Pieces; arr. FROSCHHAM- Baranov does a good, academic job play- MER: Folk Suite, Drowsy Maggie ing the Bach, though he does have a tendency Duo Froschhammer—Solo Musica 314—61 min to pomposity, as in the closing bars of the Alle- manda. Others have given much more person- The Aulin consists of four movements written al and cohesive accounts (Lara St John; in a late-romantic style. I is warm, peaceful, Jan/Feb 2008). with no hint of conflict or trouble in the world. The rest of the program is devoted to more Therefore it has a sacred purity, because only virtuosic music, and Baranov seems to enjoy faith or fantasy could produce such optimism, this much more, really letting his hair down. so far removed from the realities of an oppres- His problem is he lets it down too far. The sive and unjust world. I wondered, as tears impression he gives is that he enjoys playing formed behind my eyes, if such music is too the violin almost more as a physical exercise optimistic to be composed today, but I sup- than as a means of musical expression. He cer- pose the tears confirmed this sobering reality. tainly has an impressive technique, but these Music now is usually obsessed with performances would have been more effective unearthing the baser elements of struggle and if had he placed it more at the service of the conflict. Modern “classical” music resides in music rather than vice versa. dystopian movies: barren, percussive, bleak Baranov plays a violin made by Giovanni scores to accompany post-apocalyptic worlds, Battista Guadagnini in Cremona in 1758. where every hero is an “anti-hero”, more bad MAGIL than good, more tainted than pure, and more proud than meek. II is a precursor to Copland, Crimson Duo with lively off-beats in the piano, a playful RENIE: Andante Religioso; Scherzo-Fantasy; dance with simple ABA structure. The B sec- SCHOCKER: Still/Nervous; DA SILVA: 3 Violin tion is lyrical, a sobering reflection in darker & Harp Pieces; SORIANO BROBERG: Flutter; tones, a striking juxtaposition with the A mate- ROTA: Flute (Violin) & Harp Sonata rial. III is tender and filled with ineffable love. MSR 1607—47 minutes Such deep and yearning love can only be expressed through wordless simplicity. Here it The Renie is magical cinematic music, conjur- is lightly colored with sadness and regret— ing a tale of wonder and mystery, perhaps immense beauty that never fully blossomed. influenced by the Aquarium scene from Saint- The true story is buried in the middle of the Saens’s Carnival of the Animals written a dec- movement, where bleak winter suppresses ade before. But this performance is bland and vibrant signs of life. The purity of the opening lacking in imagination, especially the violinist. theme is nostalgic of a brief Elysian moment Harry Potter would never get off the ground long ago, swallowed in tragedy. IV is a tradi- with his broom if this were in the background. tional Swedish dance, shallow and trite, music Brooding leads to a sudden explosion of that must not be enjoyed but tolerated. chaos in the Schocker. Gentle undertones and Grieg continues the spirit of optimism. The repetition precede rapid, punctuated music younger Grieg was full of playful mischief, written in the unbalanced and uneasy quintu- where even sorrow is tinged with joy and zest ple meter. Minimalist layering and eclecticism for life. The performers manage to draw poetry characterizes the Da Silva. Each of the three out of the music. The piano displays a keen pieces includes different inspirations: jazz and sense for rubato in unaccompanied moments. American Record Guide January/February 2021 153 The violin sounds good in the section played surpassing mastery of everything he does, but on the G-string; perhaps his instrument is bet- because when he is genuinely called to go up ter suited for the lower range. II is obligatory, there he does it without apparent effort. The not a mature or well written movement. III main point, though, does seem to be his contains heart-string moments. Melodies exceptional sound in the low register, where it sometimes sound forced, and musical timing is fluid, silky, dark, and melancholy. is not always effective. The performance never The two pieces setting off the Schubert on rises to a spectacular level, but it manages to either side emphasize the point. Odeon Par- promote the music at a professional level. tos’s Yizkor (In Memoriam), written in 1947 The Sibelius is weak. I is played in the right while he was principal violist of the Palestine style. They are not the right performers for II, Orchestra established in 1936 by Bronislaw titled `Romance’; it never feels romantic, Huberman, shows us the Budapest-born com- falling flat in the most important way—in the poser taking up a people’s grief and making it transmission of emotion. III misses a personal sing for them. It begins and ends in somber connection to faith; this religioso is played and dignified mourning, but rises in between with too much conflict; in their interpretation to heights of impassioned anguish. It’s a piece people are not looking at God but at each new to me, and one I won’t soon forget. other. Eventually the protagonist loses track of ’s 1975 Viola Sonata is who God is and also who he or she is. I do not one I have seemingly known forever, and my like IV, and I do not see the connection of the chances of forgetting that have always been movement to the others. nil. It’s the composer’s last work, completed Drowsie Maggie sounds too classical and while Shostakovich was dying of cancer; and polite, but it is pleasant. Lots of minor-sound- in common with other works of those last ing modes characterize III in the folk suite. II is years, it seems to set about a sort of summa- grave, sparse, and languid. Death has struck, tion of his previous achievements. Hence the and everybody is gathered together in the usual (by now) welter of self-quotations in the house of mourning. I is mostly simple embell- finale. He had done this much earlier, famous- ishments over low-bass drones in the piano. It ly, all through the Eighth Quartet, but by now is lovely. the self- (and other-) quotations are if any- The folk contributions are easy to listen to; thing both more numerous and more obscure. The Grieg and Sibelius are unremarkable The last quartets all seemingly track each when stacked against other performances; the other; the finale of Symphony 15 begins with a performance of the Aulin lacks personality, bunch of Wagner quotations, and its first but the music itself deeply touched me. movement refers repeatedly to, of all things, KELLENBERGER Rossini’s William Tell Overture; and so forth. Here the big reference is to the first movement , viola of Beethoven’s Moonlight Sonata in the finale, PARTOS: Yizkor; SCHUBERT: Arpeggione but I’ve often wondered whether the open- Sonata; SHOSTAKOVICH: Viola Sonata strings pizzicatos that open the piece might Sunwook Kim, p—Alpha 634—70 minutes not be a sort of reference to the open strings that open the Berg Violin Concerto, and there Amihai Grosz—founding violist of the is certainly a fragment of the opening of Shos- Jerusalem Quartet and principal violist of the takovich’s own death-obsessed Symphony 14 Berlin Philharmonic—has put together here a in the far bass of the piano just before the program seemingly on the basis of the impres- viola’s cadenza in the finale. It’s as though the sive darkness and depth of his sound. Even in head of the dying man were teeming with the Arpeggione he accordingly keeps the high- vying musical allusions, all clamoring to be set register material to an absolute minimum, in a out on paper. way I have not heard before. There is no way to Grosz doesn’t glamorize this, just sets it keep altogether off the A string in the first out, compassionately and with melting tone. A movement, but he comes as near to it as I have very fine recording. seen anyone do, doubling back down the Grosz, incidentally, bucks the trend of vio- octave twice in the space of a bar, or dropping lists using brand-new and apparently immac- an extra octave after the inevitable dizzy run ulate instruments; his is a Gasparo da Salo, up to the top near the end of the recapitula- 1570 (!), on loan, naturally, from “a private col- tion. That this has nothing to do with technical lector”. It looks to have been considerably cut difficulty is evident, not only because of his down—instruments those days were huge— 154 American Record Guide January/February 2021 but you’d scarcely know that from the sound, the back cover is that this was recorded in a which is deep and rich. “hand-carved Cappadocian cavern” with THOMSON “unique acoustics”. At first glance this seems to add credibility and authenticity to the per- Sequenza formance. This performer surely must have BIBER: Passacaglia; SCIARRINO: Capricci 2+5; immersed herself in Turkish culture to have BERIO: Sequenza VIII; SCHUMANN: Violin performed in such a space, must really under- Sonata stand the music. Yet to me it feels suspiciously Franziska Holscher, v; Severin von Eckardstein, p like tokenism. What does “unique acoustics” Avi 8553446—65 minutes mean? Every performance space has unique characteristics. Was this music specifically Thhe Sc umann is aesthetically dense, dark, composed to be performed in this space? If and turbulent. Yet as troubled and hectic as it not, why the fuss? sounds, its craftsmanship and formal con- I do not like this music. The Saygun is full struction is perfectly ordered and stable; voic- of chromaticism, dissonant intervals, and es and themes interact ensuring every idea ties modal influence. The acoustics partly hide to another idea, in and even across move- dreadful slapping sounds particularly in IV ments. The piece unravels as if carefully and short, clipped staccato. The Turkmen is pulling a piece of thread from a spool, unre- unapologetically crass and crunchy, replete lenting, each transition seamless and unsus- with ghastly glissandos, disjunctive leaps, and pected. Schumann is obsessive with his accen- all sorts of dreadful sounds that a prankster tuation markings; he uses five different accent child beginner would think were humorous. notations. The performers interpret each But I am not amused. The Cetiz is similar, marking literally. But Schumann is a little too sounding more like a construction site, with detailed, a composer who can micromanage in sawing, drilling, and hammering. Noise music. an impossible quest to control a performance’s We can bang pots, punch walls, scratch chalk- aesthetics. Every accent should be approached boards, and rub styrofoam together. I suppose differently according to the tenor of the music, there is something clever about joining this not as literally as Schumann writes or these joyous cacophony of sound on a precious performers play. This performance is above instrument steeped in hundreds of years of average, its strength in its exceptional atten- rich tradition—something novel about tion to the score. expressing anger, frustration, and desperation The Passacaglia is not too bad. Attacks are and simultaneously engaging in cultural dese- a little aggressive on chords; runs are too cration. Some say it is an expressive evolution, heavy-handed and clubby. The playing a natural outpouring of freedom, of testing becomes prosaic because of a lack of imagina- limits, sounds, and aural possibilities; compo- tion in playing in and around around the bass sition has entered the laboratory; hallelujah. I line. A hint of bow vibrato interested me. very politely call it devolution. No, thank you. The Berio and Sciarrino I can scarcely KELLENBERGER comment on. They are dreadful to listen to. Screeches and shrieks, whining and warbling Randolph Kelly, viola —how can this justly be called music? This HINDEMITH: Sonata op 11:4; SCHUBERT: critic aligns with Mozart, who believed music Arpeggione Sonata; GLINKA: Sonata should remain music, no matter what horror John Novacek, p one wishes to depict. I wonder how I could IBS 122020—60 minutes judge if one screech is slightly more screechy and thus more effective than another? This is Three of Viola’s Greatest Hits, though I don’t what happens when we remove beauty from think I have seen them programmed together art; music loses its ability to be constructive. like this before. Or in this order, which seems KELLENBERGER unsatisfactory, ending as it does with the slow second movement of the unfinished Glinka. It Ellen Jewett would have gone better in reverse order, with SAYGUN: Violin Partita; TURKMEN: Beautiful the Hindemith last and ending with a very def- and Unowned; CETIZ: Soliloquy inite “bang”. Naxos 579043—65 minutes Randolph Kelly has had a long and exem- plary career as soloist, section-leader, and Three Turkish pieces. An advertised novelty on chamber musician, and it’s interesting to hear American Record Guide January/February 2021 155 him for (I think) the first time. His sound is What’s Next Vivaldi? rich and even across all the strings, and his VIVALDI: Violin Concertos; Lazzo Parlante; bowing deft. I could wish for more derring-do, CATTANEO: Estroso; FRANCESCONI: Spicca- especially in the Hindemith, which here to Il Volo; MOVIO: Incanto XIX; STROPPA: comes across as timid. This might be spun as Dilanio Avvinto; SOLLIMA: Moghul; BARTOK: his desire to emphasize the Debussian- The Bagpipe Straussian aspects of the score rather than the Patricia Kopatchinskaja, v; Giardino Armonico/ “forward-looking” aspects, but on the whole I Giovanni Antononi think not, because even in the music’s most Alpha 624—71 minutes luxuriant passages he doesn’t indulge himself. It’s all neat, a little hesitant, and rather tightly Patricia Kopatchinskaya has described herself controlled, even in the hilarious frenzy of the as like a rose, beautiful but also thorny. I cer- last page (well, the last several pages, for the tainly agree with the latter half of her self-esti- pianist), where the ordinary player tends to get mation. Her recordings tend to be exercises in by on luck and a hefty dose of prayer. exhibitionism designed to shock the bour- Someday I will put together a list of who geoisie. The use of the noises in the first move- puts what things in what octave in the first ment of `The Sea Tempest’ Violin Concerto movement of the Arpeggione. The instrument that opens the program spoils it. I know that itself was an oddity when Schubert wrote for it, Vivaldi liked vivid program music, which this and by the time his sonata was actually pub- is, but this cacophony is ridiculous. She is lished, nearly 50 years later, it was effectively inventive and much better in the other two extinct. Kelly’s choices are mostly common- movements, though she still provokes the lis- place, but he does take one bit up the octave— tener. Whether or not you enjoy what she does just before the recapitulation—that I’ve not depends on how much provocation you can heard that done to before. It’s a nice perform- tolerate. I will admit that she is spontaneous ance, warm and mellow in the slow move- and never sounds stuffy. I doubt, though, that ment, not obviously overtaxed elsewhere, and Vivaldi intended his `Lazzo Parlante’ to sound with an air of ease that brushes aside all those like the frightening noise emanating from a registral hurdles. lunatic asylum as it does here. The Glinka is another late-born, long- The Joke is followed without a break by posthumously-published work; it languished Aurelio Cattaneo’s Estroso (Whimsical). It is for more than a century between when its more noise, sounding very aleatoric, though I composer set it aside in 1825—presumably can’t say for sure as I haven’t seen the score. intending to pick it up again later—and 1932, Vivaldi’s Violin Concerto in G minor is when the violist pieced played in a more conservative manner, and I together the two extant movements and pre- enjoyed it. When they are trying to serve the miered it. The first movement has the early- music, Kopatchinskaya and Il Giardino 19th Century viola vibe just right—moody, Armonico can be very effective if still a bit over melancholy, sometimes snappish. II is more the top. straightforwardly lyrical, though it never The concerto leads directly into Luca seems to stick around long in my memory. Francesconi’s Spiccato il Volo (Took Off), In all this Kelly is ably partnered by John which is jarring. The piece is played largely Novacek (more than ably in the Hindemith, with a bouncing bow (hence Took Off). It is which throws fistfuls of notes at the pianist avant-garde like the Catteneo, and grated on whenever it gets a chance). If you want the my nerves like his piece did. I find this kind of three works together, this is it; but for each avant-garde noisemaking empty and tedious. there are better options: Kashkashian or The rest of the program continues in the Schotten in the Hindemith, Imai in the Glinka, same vein, with a Vivaldi violin concerto fol- any numner of people in the Schubert. lowed by another pretentious avant-garde THOMSON work. I don’t hate the avant-garde. I was great- ly affected by Penderecki’s Threnody for the From USA Today: Victims of Hiroshima, and Gyorgy Ligeti’s “The body lied in state.....” soundscapes from the 1960s still strike me as This proves that they hire people to write who remarkable achievements. For music to be can’t even speak correctly. It also proves that if worthwhile, though, it must do more than just they have editors, they are just as stupid. shock. The program closes with one of Bartok’s 44 156 American Record Guide January/February 2021 violin duos, `’, arranged for violin apologies to the performers, who give com- (Kopatchinskaya) and recorder (Giovanni pelling performances. But they exist in such a Antonini). I love this duo and have played it strange fog. myself, so I can honestly say that these musi- Pianistic interludes justify purchasing the cians butcher it. Disgusting. recording. It is very rare to hear bouts of play- Kopatchinskaja’s violin was made by Ferdi- ing this good in a tutti role. The violinist is nando Gagliano in around 1780. enthusiastic and fearless, but the uneven tone MAGIL and lapses in musical judgement, such as a stuck quality in the bow at the end of the Saint- Violin Plus One Saens, hold him under his counterpart. I DVORAK: Romance; TCHAIKOVSKY: Sere- appreciate their finer moments, but I never nade Melancolique; CHAUSSON: Poeme; trusted them. SVENDSEN: Romance; MASSENET: Medita- KELLENBERGER tion from Thais; BLOCH: Nigun from Baal Shem; SAINT-SAENS: Introduction & Rondo Liv Migdal Capriccioso BACH: Violin Sonata 3; BEN-HAIM: Sonata; Piet Koornhof; Albie van Schalkwyk, p BARTOK: Sonata Delos 3577—67 minutes Genuin 19656—67 minutes A listener shuts his heart until he trusts the Migdal chose fiendishly difficult repertoire. I of performers. An impressive biography is often Bach reveals rare attention to sound and infec- sufficient to generate trust in a casual listener; tious connection to music. She opts for limited as a critic, I do not put much stock in biogra- vibrato, a dangerous choice, but manages to phies; I have heard too many dreadful per- not sound as dry as many who attempt it. II, formances from people with the most distin- the longest of the three fugues Bach wrote for guished and pristine hagiographies. Yet until unaccompanied violin, may be even more this trust is established, a listener remains demanding than the infamous Chaconne. Her slightly detached, waiting, hoping, and want- rendition is too slow and careful, clocking 12 ing to be impressed. This detachment passes minutes; takes 8—the truth lies off as objectivity, but its true roots lie closer to somewhere between. Predictable agogic dark forces of cynicism and snobbery. The accents are slightly overdone; she could find only cure for cynicism is falling in love, and in more areas of emphasis besides downbeats to the music world, the only way to fall in love is drive the music forward. Episodes require through good playing. color and dynamics and should not be treated The piano introduction of the Romance as breaks. Her impeccable sound quality miti- augers a good performance; the violin enters gates some of these sins, and I mostly like her with favorable sound, and we begin to feel at taste. ease. But clumsy artistry soon surfaces in the The Ben-Haim is a pleasant discovery. I pokey staccato in the piano in the Dvorak. The exhibits modal characteristics, an ode to his violinist’s sound does not react to the vicissi- Jewish roots. The piece is tonal but with tudes of the music; in subtle places the tone is instances of parallel fifths and other temporary too rich; in crescendos he reacts linearly, not destabilizing gestures. I ends with a romp. II is with organic swelling. A maudlin and aggres- slow, an elegy for the dead in hushed and rev- sive vibrato sometimes plagues intonation and erent tones. III is full of perpetual motion, sound. showing grand technique of chords and The recording quality is rotten. One gath- octaves and high G-string playing. I would ers the impression this would be a good violin- appreciate more exposure to this work and this ist in person, but he is trapped in a box, his composer. sound distant, dead, and indefinite, disparate The Bartok is comparable to the best and disconnected from the piano. I have wres- recordings. I opens well, displaying her sound tled as much with this release as any I have quality, building to rousing achievement by ever reviewed. Normally I listen to a disc two the end. Beautiful colors surface in III. Defi- or three times in the process of creating a ance bleeds through the rhythm in IV. Finally a review. This one I listened to 10 times, and I so recording where this devilish invention does despise the engineering and technical aspects not seem that challenging! Migdal I did not of the recording that even after so many know, but she is a marvelous player. Bravo! attempts, I still cannot recommend it, with KELLENBERGER American Record Guide January/February 2021 157 Mystical Violin from scratchy and percussive sounds and Roberto Noferini; Andrea Toschi, org crude musical tastes. There are a smattering of Tactus 870002—78 minutes pleasant moments, but they are few and quick- ly ruined by rough playing. A lot of the prob- This is a most unusual enterprise. Il Violino lem is the ricochet and staccato, strokes that Mistico, to give it its Italian title, is a collection ought to be lithe, graceful, quixotic, whimsical, of short pieces for violin and organ or harmo- impish, and many other antonyms to the play- nium (12 and 6 pieces), presumably for eccle- ing we hear. siastical use, written in Italy between the late KELLENBERGER 19th and the mid-20th centuries. Almost all of the composers are obscure, and seven of the JS Bach’s Precursors 16 here don’t even have birth or death dates. BALTZER: Praeludium in G; WESTHOFF: The three works by Lino Liviabella (1902-64) Suite in A; BIBER: Passacaglia; BACH: Partita 2 are unpublished and were supplied to the Annegret Siedel, v annotator by the composer’s family. Musicaphon 56984—57 minutes So: a small but detailed snapshot, essen- tially, of a genre I didn’t even know existed. As This is music for baroque violin, starting with you might expect, the prevailing mood is tran- smaller and shorter predecessors and working quil and beatific, though not always without its way up to (naturally) Bach’s Second Partita. incident; Guglielmo Zuelli’s 1922 Passa il But the execution is off. Kudos to Annegret Natale, the opener and much the longest work Siedel for beginning with Thomas Baltzar’s here at ten minutes, has some harrowing quirky Praeludium in G, one of a handful of his moments. The latest work, the 1958 Augurio works found in the 17th Century English col- Nuziale by Ildebrando Pizzetti (the only com- lection The Division Violin. This one, as the poser of the lot that I have encountered notes point out, has some rudimentary poly- before) is a sort of back-composition. Written phonic characteristics that most of the con- for the composer’s son’s wedding, it was later tents of the book—”divisions”, which is to say orchestrated, the orchestral part “summa- variation sets—don’t. rized” for piano, and the organ part later Johann Paul Westhoff was first violinist at reconstructed by Roberto Becheri and record- Weimar when Bach arrived there in 1703, and ed here for the first time. I rather expect that had been for some years. This “Suite pour le most of these are first recordings. violon sans basse” is believed to have been the The performances I would characterize as one Westhoff had played before King Louis good rather than great. Despite sterling equip- XIV in 1682. It was then published in the “Mer- ment (a Scarampella violin, a Dodd bow), cure Galant”. It’s in the standard four French Roberto Noferini seldom sounds entirely at dance-suite movements plus Prelude, all ease. Partly this might be the acoustic of the extremely brief, and is polyphonic practically Chiesa Parrocchiale della Madonna del everywhere, openly (via double-stopping) and Carmine in Cremolino, where the recordings implied. Before Bach it and the same compos- with full organ were made. (The ones with har- er’s Six Partitas for solo violin (1696) were monium were done at the Chiesa di Santa probably the high point of solo-violin polypho- Maria delle Misericordia in Bologna.) Nor is ny, although Hans Ignaz Franz Biber’s well- either keyboard instrument perfectly in tune. known Passacaglia, the companion piece to Exhaustive details of organ and harmonium his 15 Sonatas on the Rosary, runs them close. are supplied in the booklet for organists, the The Biber’s theme is far simpler than Bach’s— curious, or both. just a four-note descending line—but it THOMSON becomes ever more increasingly and inten- sively elaborated as the piece progresses. Benjamin Schmid So the Bach is, as it were, Westhoff plus Biber, a dance suite followed by a great cha- PAGANINI: Le Streghe; La Campanella; Caprices 13+20; Cantabile; Sonata 12; Non Piu conne, only quite a bit longer and an order of Mesta; MILSTEIN: Paganiana; MULLEN- magnitude or so more complex. So the pro- BACH: Capriccio; TARTINI: Devil’s Trill Sonata gram’s trajectory makes perfect sense. But Lisa Smirnov, Ariane Haering, p Siedel is not at all the violinist I would choose Oehms 1893—66 minutes for such a project. Even in the smaller works she is rough and tentative; when it comes to Avoid this offensive recording. Spare yourself the Biber and especially the Bach, she 158 American Record Guide January/February 2021 becomes almost terminally cautious. The fast much of the time, resulting in warmth and movements of the Bach—the Corrente and blend and making big moments quite effec- Giga—are as slow as I have ever heard them, tive. and the Ciaccona has no grandeur, no great The program offers two big pieces. Based arch. This is not in the least a matter of her on James Weldon’s poem of the same name, using a baroque instrument (here, a Jacob and on BF White’s hymn `Beach Spring’, the Stainer, fully restored, with a modern bow after two-movement, 15-minute Ghosts of the Old a 17th Century original). We have had great Year (2016) is James David’s attempt to portray and stylish “period” recordings of the Bach for the South’s natural beauty that masks the bru- decades now, what with Rachel Podger (my tality of racial violence. I am happy to make own favorite) and Monica Huggett and Lucy the acquaintance of the very tuneful, 16- van Dael and Elizabeth Wallfisch and Giuliano minute Euphonium Concerto (1997) by James Carmignola. Andrew Manze’s account of the Curnow. The three movements are played Biber (one of several excellent ones) blows without pause between, cadenzas serving as Siedel’s out of the water. She’s not in the least transitions. It is a work with modest technical perverse or ill-intentioned or even inept; she’s demands on the soloist, except for some very just out of her league. high notes and fast scales here and there. Musicaphon’s packaging, incidentally, is Drake’s professor of low brass and assistant excellent: a slim cardboard package, a plastic director of bands Mark Kinney is the fine insert gently gripping the disc without either soloist whose expressiveness, consistently full trapping it or dropping it, and a matching tone, strong high register, and solid technical pocket for the booklet. skill contribute to a terrific performance. Also THOMSON included are Wayne Oquin’s lively opener `Flashback’ (2016), Aaron Perrine’s depiction University Bands of Lake Superior in `Pale Blue on Deep’ (2011), Julie Giroux’s sad paean `Hymn for the Inno- Tribute cent’ (2016), and Jack Stamp’s sound-the- Oquin, Perrine, Curnow, Giroux, Stamp, David alarm `Tocsin’ (2018). Vince Kenney, eu; Drake University Wind Sym- In “American Symphony”, conductor Brad- phony/ Robert Meunier ley Genevro presents his two bands in three Mark 55597—55 minutes big pieces. The University of Texas-El Paso Wind Symphony offers Robert Jager’s 4-move- American Symphony ment, 22-minute Symphony 3 (The Glory of Jager, Hall, Jenkins God), which takes as inspiration the words of University of Texas-El Paso Wind Symphony/ Irish poet and priest Gerard Manley Hopkins. I Bradley Genevro; Messiah College Wind Ensem- is bombastic, II mysterious, III very slow and ble/ Bradley Jenevro quiet, IV inexorable until the final exultant Mark 55872—69 minutes moments. Morton Gould’s 2-movement, 20- BALMAGES: Metal; Shrine of the Fallen; Indus- minute Symphony 4, West Point, is a well- trial Loops; Trust in Angels; Within the Castle known work with a dignified passacaglia in I Walls; Spontaneous Beings; Rippling Watercol- (`Epitaphs’), liveliness in II (`Marches’). The ors; Primal Dances UTEP band sounds very good; any weaknesses Steven Marx, tpt; Sunderman Conservatory Wind are minor. The Messiah College Wind Ensem- Symphony/ Russell McCutcheon ble gives a spirited reading of Joseph Willcox Mark 54617—50 minutes Jenkins’s three-movement, 27-minute Sym- phony 5 (1979). The composer, best known to Here are three albums by university or conser- me for his `American Overture for Band’, slyly vatory concert bands. The first time I heard the quotes various fifth symphonies and includes Drake University Wind Symphony, I was sur- synthesized sounds. The Messiah musicians prised and impressed that such a small school sound best in their tuttis; a few solo moments (3500 students) could produce such a fine sound youthful. recording (May/June 2014: 224). Two later Gettysburg College is the home of Sunder- albums also impressed me (Jan/Feb 2016: 209, man Conservatory, where Russell McCutch- May/June 2017: 105), so this time I’m not sur- eon is director of bands. The group offers eight prised, just impressed again. As before, I works by Brian Balmages, a member of the notice that director Robert Meunier holds his Towson University music faculty. The center- young players to moderate dynamic levels piece is the nine-minute Trust in Angels, with American Record Guide January/February 2021 159 faculty trumpeter Steven Marx as soloist. tion. Serious fans of the medium may find the Much of the work is contemplative, but it has readings a little conservative—lyrical mo- some soaring moments. Marx plays very well, ments and heated passages need more con- handling high, forceful passages with aplomb. trasts—but overall, these are fine representa- It seems a pity that there is not more ambience tions of this important repertoire. from the room, though. The group sounds HANUDEL good in it, but it makes the soloist sound a bit plain in quiet moments. Greek Orthodox Chant The rest of the program is pleasant and well played—not surprising, since the pieces Music of Byzantium were composed for middle school, high Cappella Romana/ Alexander Lingas school, and community bands. `Metal’ is the Cappella Romana 14—64:24 energetic little program opener. Shrine of the The Fall of Constantinople Fallen memorializes protesters lost to a brutal Cappella Romana/ Alexander Lingas police response in Kiev, Ukraine, in 2014. Cappella Romana 402—72:22 `Industrial Loops’ is rollicking. Within the Cas- tle Walls was given its first performance by a These two releases by Cappella Romana serve junior high school honor band. `Spontaneous two different purposes. The first is actually a Beings’ was commissioned by music teachers “greatest hits” sampler that was compiled in at a summer workshop. `Rippling Watercolors’ conjunction with a 2004 exhibit at the Metro- and `Primal Dances’ were both written for politan Museum of Art in New York, “Byzan- middle school bands. tium: Faith and Power”. The selection includes KILPATRICK examples of different genres and styles. The Greek Orthodox chants range from a 6th Cen- Monet Quintet tury kontakion by Romanos the Melodist to a Dubugnon, Francaix, Holst, Taffanel number of later chants by John Plousiadenos Avi 8553008—70 minutes (c.1429-1500). Other selections are unusual, including a version of the Latin `Kyrie Cunc- Anissa Baniahmad is Principal Flute of the tipotens genitor’ that was transcribed into Mannheim National Theater, Johanna Stier is Byzantine notation and the juxtaposition of Principal Oboe of the NDR Philharmonic, two laments for the fall of Constantinople in Nemorino Scheliga just finished as Principal 1453, an Orthodox chant by Manuel Chrys- Clarinet of the Stuttgart Opera, Theo Plath is aphes (15th Century) followed by Guillaume Principal Bassoon of the Frankfurt Radio Sym- Dufay’s `Lamentatio Sanctae Matris Ecclesiae phony, and Marc Gruber is Principal Horn of Constantinopolitanae’. The overall quality of the Frankfurt Radio Symphony. A decade ago, the performances is consistent and up to the they played together in the German National standards found in the ensemble’s other Youth Orchestra; and in 2014, while studying recordings; but the sound is perhaps more dis- at different German universities, they formed tant, and the extraneous sounds sometimes the Monet Quintet. interrupt the beauty of the music. The booklet This debut album balances the romantic includes a short essay by Lingas and English character of the 19th Century with the mod- translations. Rather than recordings from con- ernist flavor of the 20th. The program begins certs, many of these same selections, taken with the lively and clever Frenglish Suite from recording sessions, were included on a (1997) of contemporary Swiss composer different compilation for London’s Royal Richard Dubugnon (b. 1968); and afterward, it Academy of Art’s 2008 exhibit, “Byzantium: retreats to the Paris salon of flutist-composer 330-1453”. Paul Taffanel (1844-1908) and his Wind Quin- Seven of these “greatest hits” on the MET tet in G minor (1876). A youthful work by Gus- release were later included on the second tav Holst (1874-1934) follows: the sonorous yet recording reviewed here (not a concert). Com- rarely played Wind Quintet in A-flat (1903). pared with some of the compilations that have The recital concludes with Jean Francaix’s been released in the past to evoke particular cheeky and virtuosic Wind Quintet 1 (1948). artists or events (think of Jordi Savall’s multi- The Monet Quintet treats the listener to cultural extravaganzas, such as “Joan of Arc”, marvelously clear timbres, perfectly balanced Nov/Dec 2012: 255, or “Erasmus”, July/Aug colors, outstanding technique, honed phras- 2013: 193), this recording is a very effective ing, and superb blend, rhythm, and intona- musical evocation of the events surrounding 160 American Record Guide January/February 2021 the capture of Constantinople in 1453. Alexan- the New World can be found in other collec- der Lingas has created an evocative musical tions (Mar/Apr 1991: 164, Jan/Feb 2004: 228). dialog between the Latin west and Greek east This new release helps to demonstrate that at this period, beginning with the liturgical music had an important role in the sonic colo- entrance rite as it would have been celebrated nization of the New World. Bruno Turner in Hagia Sophia in the reign of Emperor Con- offers an informative note and descriptions of stantine XI Paleologos (1449-53) and music the pieces and also includes full texts and from the Council of Florence which sought to translations. bridge the “Great Schism” between the Ortho- BREWER dox and Catholic traditions (including two canons by Plousiadenos and Dufay’s , English Ballads and Country Dances `Ecclesiae militantis’). Also included are Les Musiciens de Saint-Julien/ François Lazare- examples of polyphonic Byzantine chant vitch—Alpha 636—68:20 “according to the Latins”, in the style of medieval parallel organum, and two other This collection of 17th Century English ballads motets by Dufay (`Vasilissa ergo gaude’ and and country dances, most derived from the `Apostolo glorioso’). Lingas’s booklet essay is a many editions of John Playford’s “English rich, concise resource about the political and Dancing Master”, is a delightful romp. Though musical aspects of this period; and there are the tune `The Queen’s Delight’ is not included, complete texts (in Greek and Latin) and trans- some of selections will be familiar from other lations. The performances on this recording, early music collections, such as the ballad both of the chant and the a cappella motets, `When Daphne from Fair Phoebus did Fly’. The match the musicality evident on the ensem- ensemble has also adapted other composi- ble’s other recordings (Nov/Dec 2008: 215, tions that may have had folk origins, such as Jan/Feb 2013: 206, May/June 2015: 203, Henry Purcell’s `Sefauchi’s Farewell’ and a May/June 2016: 186). In sum, this recording is medley of variations on `John come kiss me an evocative sonic mirror of this complex now’ by Thomas Baltzar, Christopher Simp- moment in history. son, Davis Mell, and Solomon Eccles. The BREWER track titled `An Italian Ayre’ is not actually by Henry Lawes, but an anonymous tune, `La Hispanic Sacred Music Mantovana’, that became known as the country The Queen’s Six—Signum 626—66:23 danse, `An Italian Rant’. This new release compares favorably with oTitled “J urneys to the New World”, this is an earlier collections from the Musicians of anthology of Hispanic polyphonic motets from Swanne Alley (Mar/Apr 1990: 144), the Balti- the mid-1600s until about 1700. Four of the more Consort (May/June 1992: 171), and the composers never crossed the ocean: Cristobal Dufay Collective (Nov/Dec 1996: 262), and is de Morales, Francisco Guerrero, Tomas Luis also a useful recording to “Drive the Cold Win- de Victoria, and Alonso Lobo. Their music did, ter Away” (also included on this recording). and it was used in churches, cathedrals, Texts with French translations are included in monasteries, and convents. The other four the booklet; this is only a problem for `An Ital- composers—Hernando Franco, Francisco ian Ayre’, which has an Italian text. Lopez Capillas, Juan Gutierrez de Padilla, and BREWER Miguel Mateo de Dallo y Lana—all worked in these new institutions in New Spain, especially La Bergere Mexico City and Puebla de los Angeles. Marie Magistry, s, Sylvain Bergeron, archlute The Queen’s Six is formed from half of the ATMA 2801—64:39 Lay Clerks of St George’s Chapel at Windsor Castle. Their approach to singing late Renais- The title for this collection is taken from the sance polyphony emphasizes clarity and bal- most modern work, Michel Pignolet de Monte- ance but with little change of texture or clair’s 1706 cantata La Bergère (The Shep- dynamics. I note the excellent diction from the herdess). The pastoral themes of this cantata countertenors, especially important to the were also the major conceit of the 17th Centu- comprehension of the texts. ry French airs de cour (court airs) found on Some of this same repertoire was recorded this release, including selections by Pierre by the four voices of the Hilliard Ensemble Guedron (2), Gabriel Bataille (1), Joseph Cha- (Nov/Dec 1992: 252), and compositions from banceau de la Barre (3), Marc-Antoine Charp- American Record Guide January/February 2021 161 entier (1), and Jean-Baptiste Lully’s `Recit de la here in Schütz’s sacred concerto `Saul, Saul, beauté’ from Molière’s comedie-ballet Le Was Verfolgst du Mich?’. Texts and notes are in Mariage Forcé. English. The best represented composer is Michel LOEWEN Lambert (5 examples), a dancer, singer, and the most fertile composer of airs de cour in Lamento this period. Three of Lambert’s airs on this Damien Guillon, ct; Cafe Zimmermann recording could be considered “greatest hits” Alpha 626—69 minutes (`Le repos, l’ombre et le silence’, `Ma bergère est tendre et fidèle’ and `Vos mepris chaque This is not the first time I have reviewed a jour’). They were also recorded by Les Arts recording titled Lamento. In 2015 I reviewed a Florissants (Sept/Oct 1992) and Musica Favola delightful recording of Italian laments by Mon- (May/June 2011), who also included `Dans teverdi, Luigi Rossi, and Barbara Strozzi sung nos bois, Tircis aperçut’, likewise found on this by mezzo soprano Romina Basso (Naive 5390; release. Jan/Feb 2015). The Lament was an important Marie Magistry has an agile and exquisite category of vocal music in 17th-Century Italy, voice, clear diction, elegant phrasing, and easi- related to the aria and cantata. This program ly handles the intricate style of French orna- explores the genre among German masters of mentation. She is adroitly accompanied by the same period. Sylvain Bergeron, archlute, and for Lambert’s Over roughly the past 20 years, `Ach wie airs and others from the later 17th Century by Sehnlich Wart Ich der Zeit’ has become stan- a small group of flute, two violins, and viola da dard fare for counter-tenors. Michael Chance gamba. The booklet is informative but the texts (Chandos 675; Nov/Dec 2001), Franz Vitzthum are given only in French. This is a important (Christophorus 77305, July/Aug 2009), Ryland addition to the earlier releases of airs de cour Angel (Deux-Elles 1147; Sept/Oct 2013), and on Linn (Nov/Dec 1999: 271) and Glissando Reginald Mobley (VGO 1027; Sept/Oct 2018) (Mar/Apr 2001: 223). have all recorded it. Gerard Lesne (Astrée BREWER 8873; Sept/Oct 2002) also recorded it along with Johann Michael Bach’s `Ach, Dass Ich Sacred Treasures from the Duben Coll Wassers Gnug Hätte’. Guillon’s tempo is slower Uppsala Academy Chamber Choir; Cologne than the others; otherwise his performance is Radio Choir; Uppsala Consort/ Stefan Parkman a wonderful contribution to the canon. Footprint 113—64 minutes Laments by Biber and Christoph Bernhard are also gorgeous examples of the genre. This program of Latin church music emanates Biber’s `O Dulcis’ is a substantial virtuosic from St Mary’s Church in Lübeck, as Kerala J. composition for solo voice and violin (Pablo Snyder notes. It includes music by the most Valetti). They sometimes perform together, but famous composers associated with the institu- mainly alternate, as though they were each tion, namely Franz Tunder and Dietrich Buxte- giving voice to the feelings and meaning of hude, whose works are preserved in the lament. Schmelzer’s `Lamento Sopra la Morte Düben Collection, compiled by the Swedish Ferdinandi III’ is a multi-sectional sonata for Hofkapellmeister Gustav Düben for the royal string ensemble. In fact, its sonorous opening court of Sweden in the , 1650s, and has a similar character to the short sonatas 1710s. Since the 18th Century, the collection that open the arias by JM and JC Bach. Bern- has been housed at the University of Uppsala. hard’s `Was Betrübst du Dich’ is another lovely The works by Heinrich Schütz, Orlando di lament, very similar in style to the two Bach Lasso, Paolo Quagliati, and Simone Vesi are arias. The program concludes with the Pas- found in part books in the library of St Mary’s sacaglia from Biber’s Rosary Sonatas. Texts church. Music by Vesi and Quagliati are and notes are in English. recorded here for the first time. Quagliati’s LOEWEN motet `Jesu ex Penetrali Cordis’ strikes me as belonging to the stile antico of Palestrina. Leopold I Vesi’s `Salve Regina’ and `Magnificat’ reflect Sagrifizio D’Abramo; Miserere the taste for vocal virtuosity, dance-like Weser-Renaissance/ Manfred Cordes rhythms, and harmonic expression associated CPO 555113—76 minutes with the stile moderno of Monteverdi, Buxte- hude, and Schütz. The style is well represented As always, Manfred Cordes and Weser-Renais- 162 American Record Guide January/February 2021 sance turn in a polished performance, here of bassoon is the ideal bass partner for recorder some rare works by an unexpected talent—the and oboe in Vivaldi’s R 103 Concerto. And a Hapsburg Emperor Leopold I (1640-1705). rich continuo trio (violone, archlute, harpsi- After Leopold’s step-mother Eleanor of Gonza- chord) joins forces with transverse flute and ga introduced the Italian tradition of the sepol- oboe in Baldassare Galuppi’s Sonata a 3, cro to the Viennese court in 1651, composers where it’s like hearing a group of instru- became accustomed to staging oratorios on ments—and their players—happily relishing the subject of Christ’s Passion on the Thurs- each other’s company. days of Lent and on Good Friday. Leopold’s C MOORE oratorio Il Sagrifizio D’Abramo fits into this tradition. In fact, it is his first oratorio. Also London circa 1720 remarkable is the fact that its librettist, Conte La Reveuse/ Florence Bolton, Benjamin Perrot Caldana, uses the opportunity to present Abra- Harmonia Mundi 905322—61 minutes ham’s sacrifice of Isaac in Part I (for the first time in Vienna) as a springboard for New Tes- Subtitled “Corelli’s Legacy”, this is a pleasura- tament exegesis in Part II. The composition is ble collection of compositions by composers well wrought, showing stylistic facility, and in England who either had direct connections inspiring music for soloists, chorus, and with Arcangelo Corelli or fell under his influ- orchestra. ence. In the first category is Sonata IV (Opus 1, Miserere per la Settimana Santa is a motet 1716 edition) by his student, Francesco Gem- for four voices, strings, and continuo. Leopold iniani, and two works by a colleague in Italy, gives clear direction that his setting of the pen- (Sonata “per la viola itential psalm (Ps. 51) is to be sung without da gamba” and a “Concerto a quattro”, also organ accompaniment. The work is organized attributed to Telemann). The English love of as a series of arias, recitatives, and choruses, the recorder is represented through Johann giving it essentially the same quality as his ora- Christian Schickhardt’s arrangement of move- torio. Both are delightful works and beautifully ments from Corelli’s Opus 6 concerti grossi as performed. Texts and notes are in English. a trio sonata, his own Concerto II for four LOEWEN flutes and continuo (here performed by two recorders and two baroque flutes), and Venice & Beyond William Babell’s chirpy Concerto II from Opus Wind Concertos & Sonatas 3 for “sixth flute” (a soprano recorder in D) Lotti, Caldara, Vivaldi, others with its nightingale imitations (though the rip- Affinita/ Elisabeth Baumer ieno violin parts are missing on this record- Arcana 119—67 minutes ing). The musicianship of this ensemble can be The historical connection between Vienna and heard in every selection, from the stylish orna- Northern Italy (especially Venice) is one of the ments added by Stephan Dudermel (violin) in reasons why oboist Elisabeth Baumer founded the Geminiani, to the agility and blend of the Affinita in 2012. The Austro-Italian ensemble two recorders (Sebastien Marq and Marine specializes in chamber music for woodwinds, Sablonnière) in the Schickhardt Corelli and this program illustrates numerous ways arrangement. The leaders of the ensemble, that 18th-Century composers used wind Florence Bolton (viola da gamba, also a won- instruments in sonatas and concertos. derful soloist in the Handel sonata) and Ben- The 8 players in Affinita are adept at a wide jamin Perrot (theorbo) supply supportive and range of expressive effects: from trumpet-like inventive accompaniments. fanfares (oboe) and high decorative passages BREWER (recorder) in Antonio Caldara’s theatrical scene-setting sinfonia for his alto cantata Old & New Worlds `Clori, Mia Bell Clori’ to the oboe’s dulcet free- Ars Veritas/ Jakob Patriksson; Schola Cantorum/ form adagio in Giovanni Battista Ferrandini’s Jeremy D Jones—Centaur 3790—59 minutes Opus 2:2 Sonata and rippling figures like a gentle game of tag in Giuseppe Antonio Bres- A meeting between the directors of the two cianello’s B-flat Concerto for oboe, bassoon, men’s choirs, Ars Veritas (Sweden) and Schola and basso continuo. Cantorum (USA), led to a joint program of Singing style abounds, which is not easy to music from the Old World and New. The old- achieve in a wind ensemble. The sweet-toned world music consists of movements from Ock- American Record Guide January/February 2021 163 eghem’s Missa Pro Defunctis, and the anony- lock (1890-1979) is an example of what I call mous Messe de Tournai. The Mass, Orbis Fac- the Anglican tug-on-the-heartstrings idiom. tor is arranged by Patriksson, and he offers This recording of it is disappointing largely another arrangement of the familiar Christmas because the choir and organ sound too distant song `Gaudete’. Per Gunnar Petersson is the and feeble, robbing the music of its emotional arranger of the goliard song `Tempus Adest effect. `The Spirit of the Lord’ is the opening Floridum’. Other contemporary works are chorus of Elgar’s oratorio The Apostles (1903), `Creator Alme Siderum’ by Richard Burchard, and as such was conceived for a large chorus and `Verbum Caro Factum Est’ by Dominick and orchestra. I have yet to hear it sound effec- DiOrio. The music is well performed and spir- tive performed by a church choir with organ ited, and much of the contemporary music is accompaniment. recorded here for the first time. Texts and The choir of All Saints’ Church consists of notes are in English. 12 professional staff singers and 25 auditioned LOEWEN volunteers. As heard here, they have good but far from flawless ensemble and intonation. For All the Saints The organ was built by Casavant and since BYRD: Justorum Animae; MOORE: He That Is 1978 modified several times. I find that the Down; PHILLIPS: Peace Is My Last Gift; Breathe organ pedals sound disproportionately promi- on Me, Breath of God; Psalm 103; Agnus Dei; nent in this recording. Whether that is intrinsic TAVENER: Song for Athene; BULLOCK: Give to the instrument or just the way it was record- Us the Wings of Faith; PART: The Beatitudes; ed here, I cannot say. FURNIVALL (arr.): Amazing Grace; O’REGAN: GATENS We Remember Them; SHEPHARD: The Secret of Christ; ELGAR: The Spirit of the Lord; Banquet for Voices VAUGHAN WILLIAMS: For All the Saints GUERERRO: Duo Seraphim; ALLEGRI: Mis- Jason Klein-Mendoza, org; Choir of All Saints’ erere; CALDARA: Crucifixus; SCHEIDT: Sur- Church, Beverly Hills/ Craig Phillips rexit Pastor Bonus; TALLIS: Spem in Alium; Gothic 49325—69 minutes PHILIPS: Ave Regina; BRAHMS: Fest und Gedenkspruche; MENDELSSOHN: Mitten wir This choir has produced six earlier recordings im Leben Sind; Heilig; BACH: Singet dem Herrn on the Gothic label, but this is the first on the Cambridge Singers/ John Rutter theme of their feast of title, All Saints’ Day. Collegium 525—72 minutes Some of the selections are more appropriate for All Souls’ Day (November 2), and others This anthology of polychoral fare was first are somewhat loosely associated with these released by Rutter & Co in 1994. It has been occasions. refurbished sonically and sounds just fine. I Craig Phillips is the director of the choir was most taken with the works by Francisco and has been honored and commissioned as a Guerrero (3 choirs), Antonio Caldara (16 composer by the American Guild of Organists. parts), Samuel Scheidt (double choir) and Four of his pieces are recorded here for the Peter Philips (also double choir), which are first time. They are characterized by quiet not only wonderful but seldom performed. declamation and lush harmony. Two of the Also special is this account of Gregorio Alle- composers here—Arvo Pärt and John Taven- gri’s Greatest Hit (5 parts, 4 solo voices) which, er—are reputed as minimalists, though that for once, sounds so beautiful in toto that you may be a too simplistic categorization. Taven- aren’t just waiting around to sail off on the er’s `Song for Athene’ (1993) suddenly became high-Cs. It’s never been done better. Rutter’s part of the standard repertory after it was sung Bach adds rhythmic snap and some appealing at the funeral of Princess Diana in Westmin- weight to the elegance we would expect, and ster Abbey in 1997. Pärt’s `Beatitudes’ sets the the 19th Century double-choir stuff is pretty text that is the traditional Gospel reading for good, too. John Rutter has become such a phe- All Saints’ Day. I would describe the setting as nomenon as a composer and champion of his more contemplative than expressive. The own works that it’s easy to forget his gifts as a influence of these composers, as well as fig- conductor of other people’s music. ures such as Morten Lauridsen and Eric GREENFIELD Whitacre, is evident in the works by Tarik The gifts of God are there to be delighted in. O’Regan (b 1978) and Phillips himself. To fall short of joy would be ingratitude. `Give Us the Wings of Faith’ by Ernest Bul- —ELLIS PETERS 164 American Record Guide January/February 2021 Here I Stand cated subtly and gently, and listened to “per- ESENVALDS: Only in Sleep; GJEILO: Ave Gen- haps repeatedly in quiet, private spaces”. The erosa; ELDER: In Your Light; 365; SCHOEN- guitars, then, are on hand to caress the peace- BERG,ADAM: Never Shall I Forget; ful flow of the music, not ping across the CHILCOTT: Like a Singing Bird; QUARTEL: antiphonal soundstage in the dazzling manner Bird’s Lullaby; DEBUSSY: Salut Printemps; LIN- of a Gabrieli Canzon. FORD: Here I Stand; RAMSEY: Grow Little Despite some lovely moments, I have to Tree; PINKZEBRA: Sing say that the set in its entirety doesn’t come Anny Cheng, Anna Khaydarova, p; iSing Silicon across. I find it repetitious and just too soporif- Valley/ Jenna Delp Somers, Shane Troll ic to grab me for extended periods of time. I Innova 58—49 minutes love the burbling arpeggios of `Interlude: Springtime’, but that’s 3 minutes out of 41. ISing Silicon Valley is billed as “the premiere Better for me was Kile Smith’s Dawn’s girl’s choral education organization” in Cali- Early Light, settings of six texts by Sarah Win- fornia’s Bay Area, and they’ll get no argument nemuca, the first Native-American woman to from me on that score. Hundreds participate publish an autobiographical narrative in Eng- in the programs they offer, and this ensemble lish. There are serene musical moments there, culled from their ranks is obviously the varsity too, but the songs exude some ethnic person- group. The voices are attractive, expressive, ality. `My Grandfather Jumped Up’ and `The and quite nicely recorded. Note that this is not Paiutes Are Not Fond of Going to War’ are pro- one of those “Folk Songs from Around the pelled with authority by the cello and the World” programs that are often the purview of rhythmic strumming of the Los Angeles Guitar children’s choirs. They’re singing what the “big Quartet. I also like Reena Esmail’s 6-minute kids” sing (Esenvalds, Gjeilo, Chilcott, `When the Guitar’, which links East and West Debussy) and bringing honor to all of it. The with exotic melodies redolent of the Indian girls are also very good in the works they’ve subcontinent. In sum, this is a musical donut commissioned, some of which call for strings with fine singing, handsome guitar playing, and percussion. This is only the 7th year iSing and a hole in the middle. has been around, which makes their various GREENFIELD prizes, awards, and gigs all the more impres- sive. There is a handsome booklet with notes Pembroke College, Cambridge and texts. ANDREW: All Things Are Quite Silent; POS- GREENFIELD TON: Water of Tyne; Jesus Christ the Apple Tree; LAPWOOD: O Nata Lux; BEAMISH: In the Still- The Singing Guitar ness; DOVE: Into Thy Hands; BRIGGS: Media ESMAIL: When the Guitar; MUHLY: How Little Vita; SHAW: And the Swallow; MARTIN: Justo- You Are; SMITH: The Dawn’s Early Light; rum Animae; BEACH: Peace I Leave With You; JOHNSON: The Song That I Came to Sing DALEY: Grandmother Moon; Upon Your Heart; Esteli Gomez, s; Douglas Harvey, vc; Los Angeles, HOLST, I: Agnus Dei; TAVENER: Mother of Texas, Austin Guitar Quartets; / Craig God; RHEINBERGER: Abendlied; MVULA: Hella Johnson—Delos 3595—72 minutes Sing to the Moon Pembroke College Choir & Girl’s Choir/ Anna 41 minutes of Conspirare’s Singing Guitar pro- Lapwood—Signum 642—57 minutes gram is devoted to ’s How Little You Are, a set of six songs crafted for choir and You’d expect a program strewn with titles like three guitar quartets. In an interview, conduc- `All Things are Quite Silent’, `In the Stillness’, tor Craig Hella Johnson likens the composer’s and `Peace I Leave You’ to be a mellow affair, use of choirs of guitars to the antiphonal and in this case you’d be right. The selections effects achieved at St Mark’s in Venice half a are hushed, lyrical and, often, spiritually millennium ago by Giovanni Gabrieli and his charged. Most are by female composers, and peers. But the maestro is quick to point out most have contributions by the Pembroke that Muhly’s extended meditation on the writ- Girl’s Choir, an ensemble of 18 singers aged ings of pioneer women from 19th Century 11-18. So, don’t expect propulsive rhythms, America is not a piece that “cries out for atten- dramatic changes of volume, or much in the tion”. Instead, he continues, the image-laden way of emotional intensity. But the singing is texts testifying to the immanence of God, beautiful, and there are many songs to admire. nature, and death are meant to be communi- Elizabeth Poston’s `Water of Tyne’, Imogen American Record Guide January/February 2021 165 Holst’s `Agnus Dei’, Amy Beach’s `Peace’, John much more complex music even here. The Tavener’s `Mother of God’, and Joseph Rhein- organ parts are glorious. Naturally, the pro- berger’s exquisite `Evening Song’ are the ones gram includes `Amazing Grace’ and `How that stand out. So, let Pembroke’s co-ed choir Firm a Foundation’. The Negro spiritual, `Steal take a place among Cambridge University’s Away to Jesus’ is matched by the white spiritu- prime choral attractions, and let’s be on the al, `Wondrous Love’. The program ends with a lookout for more releases by the young women hymn sung in every kind of church, `Come and girls performing under the college’s aus- Thou Fount of Every Blessing’. pices. This is much less difficult music than what GREENFIELD you hear from the English cathedral choirs— and much warmer. It is American piety at its Pilgrimage best—and very appealing music. So many of HOWELLS: Requiem; HANSON: Prayer of the the best English and American choirs seem to Middle Ages; PALESTRINA: Sicut Cervus; avoid the 19th Century—too emotional in our PAULUS: Pilgrim’s Hymn; arr LADZINSKY: severe time—but this does not, though there is Down to the River to Pray; arr CARACCIOLO: plenty from the 20th Century, too. Wayfaring Stranger VROON Tara Cowherd, Lauren Morrisey, s; Janeen Jensen, Kaitlin Pearson, Allison Matson, a; Joseph Truth & Fable O’Connor, t; Tom Lesniak, bar; Resonance/ A ELDER: Absalom; RAVEL: 3 Chansons; HOW- Barron Breland—MSR 1657—36 minutes ELLS: Take Him, Earth, for Cherishing; VAUGH- AN WILLIAMS: Valiant-for-Truth; CASALS: O Resonance is a choir of some 40 voices based Vos Omnes; TOMKINS: When David Heard; in Nebraska. Since 2017 they have been per- BEACH: Pax Nobiscum; PAULUS: The Road forming outside their home territory, and they Home have dubbed this release Pilgrimage in Raffi Kasparian, p; The 13/ Matthew Robertson acknowledgement of the musical journey they Acis 95579—64 minutes have undertaken. Their program is short in duration but long on lovely singing. The The 29-minute Absalom of Daniel Elder (b ensemble creates a rounded, intimate choral 1986) is the cornerstone of this program, and a persona that fits this music nicely. They’ve also riveting work it is. Described as a “protest- been blessed with warm and flattering sound inspired oratorio”, it starts with King David by the MSR engineers. (Some of the other mourning his son but forges ahead to explore choirs I’ve reviewed lately would have given the theme of violence and responsibility, with their eye teeth to have been recorded this Pilate, Henry VIII, soldiers of the American well.) The repertoire is not sharply dissonant Civil War, and modern day enablers of gun vio- or all that complicated in design. Resonance lence all taking turns under the musical micro- went after music they could cuddle and, with scope. The static harmonies of David’s grief MSR’s technical help, that’s exactly what they soon give way to neo-romantic writing for the did. piano, cathartic whacks from the bass drum, GREENFIELD and the declamatory `We the People’ interlude with its haunting “365” mantra that has made Longing for Home: American Hymns it into the repertory on its own. (The iSing St Peter’s Episcopal Church, St Louis/ David Sin- Girls of Silicon Valley perform that same hyp- den, org—Regent 509—62 minutes notic excerpt on their release reviewed above.) The complete Absalom may take a little while 17 hymns with either words or tune—often to grab hold, but when it does you feel it. It is both—by Americans. The composers include sung brilliantly by The Thirteen. They shine in Gerre Hancock, Alan Hovhaness, Calvin just about everything they touch, including Hampton, and Robert Lowry. Many are this first-ever recording of Amy Beach’s `Pax arrangements, but many are also simple and Nobiscum’, written near the end of the com- direct. I am a lover of hymns, but I don’t like poser’s remarkable life. The ensemble may be them over-arranged. Robert Lowry’s `Shall We three singers smaller than Harry Christopher’s Gather at the River’ is extremely beautiful 16, but they loom plenty large in this reper- here, slow and pure (6 minutes). `Jesus Paid It toire. All’ is wonderful—and quite unexpected from GREENFIELD a well-trained Episcopal choir who also sing 166 American Record Guide January/February 2021 Walking on Waves static, gooey New Age harmonies. The Palestri- MANTUA: O Vos Omnes; KNAGGS: O Vos na has just enough of the original in it to show Omnes; JONES: 5 Irish Folk Songs; WILBERG: how beautiful it would have been had they just The Dying Soldier; BOWMAN: Words by the left it alone. Water; Now Touch the Air Softly; CAMPBELL: But I do like the works by Thomas LaVoy, High from the Earth; 3 Scottish Folk Songs; PIC- especially his setting of the heartbreaking let- COLO: Jesus Walking on the Waves; BRACK- ter penned by a Union soldier named Sullivan ETT: To be Free; BARBER: Sure on this Shining Ballou just before he was killed in the early Night; FERKO: 4 American Folk Songs; RUT- days of the Civil War. You might recall that it TER: Skylark was written to his wife Sarah, and recited to Calvin Bowman, p; Trinity College Melbourne/ great effect in the stunning documentary on Christopher Watson—Acis 10178—67 minutes the conflict crafted by Ken Burns. LaVoy sets it for a solo baritone accompanied by a violin A program of sacred and secular pieces cen- obbligato redolent of the `Ashokan Farewell’, tered around a theme of remembrance, com- the plaintive melody that haunted us repeat- fort, fear of the unknown, and dislocation of edly in the film and has become the musical place. This excellent choir is composed of stu- voice of our greatest national tragedy. Sam dents and recent graduates of the University of Scheibe’s `O Magnum’ and the Rheinberger Melbourne, Australia. They sing weekly servic- Kyrie are my other two favorites on the pro- es as well as numerous other events during the school year. Of particular interest are the gram. While I didn’t love all the music, you will arrangements of folk songs from Scotland, Ire- find things to admire, and the singing is wor- land, America, and Australia, especially ones thy of the Westminster name. by Peter Campbell and Frank Ferko. Most of GREENFIELD these are under 5 minutes save for the mean- dering and uninteresting title piece by Antho- Always About Love ny Piccolo. The choir sings with beautiful Amaryllis Dieltiens, s; Brisk Recorder Quartet blend, secure intonation, and expressive musi- Amsterdam—Globe 5275—64 minutes cality. Notes on the music with texts. This is an interesting program of mostly 14th DELCAMP Century love songs played by the recorder quartet. Some are also sung by Amaryllis Diel- Aurora tiens. There are also some pieces from the 20th LAVOY: Song of a Dream; In the Forest; Tran- Century that have been arranged for recorder sience; Last Letter; I Shall Not Live in Vain; quartet. The song texts are about longing, hap- SCHEIBE: O Magnum Mysterium; WHIT- piness, restless hearts, a bride’s dream of her BOURN: Beatus Vir; Sanctitude; RHEINBERG- wedding night, sadness, heavenly love and ER: Kyrie; JORDAN & POWELL: Interpola- earthly love, and saying farewell. The songs are tions on Sicut Cervus similar in content to 19th Century Salon love Jeremy Powell, sax; Veronique Shafter, v; Greg songs but greatly simplified and played on Stout, p; Isabella Burns, Krystal Dib, s; Rene very basic instruments. Some of the lyrics are Miville, bar; Westminster Williamson Voices/ sincere and others sexually suggestive. The James Whitbourn, James Jordan music is a mix of bright and cheerful melodies, GIA 1056—64 minutes slow introspective themes, and some unusual vI ha e admired Westminster Williamson vocal arrangements that are only emphasized before and am happy to do so again here. They by the recorder accompaniment. are singers with ties to the Westminster Choir The vocals are performed in their original College who have become the resident ensem- language, and the texts supplied only occa- ble of the Choral Institute at Oxford, which—in sionally include line-for-line English transla- flat defiance of its name—is based at Rider tions. Often the English translations are sum- University in New Jersey. They sound just marized in a paragraph. Although the record- splendid in this program, which was recorded ing is very clear, Ms Dieltiens is placed in the at Philadelphia’s Basilica of Sts Peter and Paul. center of the recorders and the lyrics are diffi- I confess, though, that not all the repertoire cult to understand. Other songs are only per- is to my taste. Sanctitude (which goes on for a formed by the recorder quartet in sometimes full 13 minutes) and a bizarre 6-minute rein- complex arrangements. I did not care for any carnation of Palestrina’s `Sicut Cervus’ both of the 20th Century songs, which seem to have employ a soprano sax squealing away atop no melodic line and are rather abstract. American Record Guide January/February 2021 167 Do you like recorders? Fortunately, there is iar fare includes Manon’s `Notre petite table’, some variety in the music. Although I liked Violetta’s `Addio del passato’ Margarita’s `Altra many of the songs and the playing is very notte in fondo al mare’, and Wally’s `Ebben? Ne good, a little of this goes a long way. andro lontana’. Jaho differentiates all these FISCH passionate women with precision and skill, just as Storchio did. Anima Rara Andrea Battistoni is a most sympathetic from , Iris, La Wally, Lodoletta, collaborator and he leads his orchestra with a La Traviata, Sapho, others passion that matches Jaho’s. I wish they had Ermonela Jaho, s; Valencia Orchestra/ Andrea included Butterfly’s entrance music: Puccini Battistoni—Opera Rara 253—70 minutes wrote the higher option with Storchio’s voice in mind, and Jaho has a beautiful high D-flat. Rosina Storchio is probably best known as the Maybe that will be on another disc (it also soprano who created the title role in Puccini’s would have required a female chorus). Madama Butterfly, but she also created a The sound is more than adequate, captur- number of other roles in operas by Leoncaval- ing the glow on Jaho’s tone. Ditlev Rindom lo (La Boheme, Zaza), Giordano (Siberia), and supplies informative notes on Storchio as well Mascagni (Lodoletta). She had an eclectic as helpful assessments of the different arias repertoire, appearing in operas as different as and scenes. Texts and translations. La Traviata, La Sonnambula, Euryanthe, REYNOLDS Hansel and Gretel, , and Andrea Chenier even as she made the Amy Johnson heroines of verismo operas her own. She left MAV Symphony/ Steven Mercurio behind fewer recordings than most of us MSR 1711—70 minutes would like, valuable souvenirs that only partly support her reputation. I would love to have Amy Johnson is a soprano of Wagnerian pro- seen her onstage. portion whose career has included interna- Ermonela Jaho, the Albanian soprano, tional opera, musical theater, and academia. gives us a worthy tribute to Storchio in her first For this program she has selected music of solo disc. I have praised Jaho before for her , Stephen Schwartz, Leos exquisite Butterfly video (M/J 2019); and, more Janacek, , Thea Musgrave, Jules recently, Opus Arte has given us her excellent Massenet, Anton , and Robert Liv- Violetta from the Covent Garden production ingston Aldrich. As the liner notes mention, (Opus Arte 7260). This is another feather in “this album shows the many facets of soprano her cap. Many of the selections will be familiar, Amy Johnson, an artist not easily defined and but there are some rarer pieces. One doesn’t who has chosen a less-traveled path”. The pro- hear Massenet’s Sapho or Giordano’s Siberia gram offers a good survey of the kind of roles very often (both have had a few recordings, but she has sung so well. they are deleted or hard to find). It is fitting John Fiore, former chief conductor of that Jaho opens and closes the program with Deutsche Oper am Rhein and Artistic Director arias from Madama Butterfly, a thrice-familiar of the Norwegian Opera, suggested putting opera that had a disastrous premiere at La together this album as a way of showing John- Scala in 1904. It was a terrible night for every- son’s versatility and range. Together they one, but especially the composer and the selected a program from 9 operas of the more soprano, who was openly mocked because of than 30 in her repertoire: Die Walküre, Katya her relationship with Toscanini (she was preg- Kabanova, Seance on a Wet Afternoon, Sacco nant with his child at the time). Jaho sings and Vanzetti, Arabella, Simon Bolivar, Thais, these scenes very beautifully, with all the pas- Salome, and Elmer Gantry. She sounds at sion one could wish for. She sings the revised home singing in six languages. version of the death scene rather than the ver- The vocal gifts and dramatic versatility sion Storchio sang the fateful night of the pre- heard here are impressive, from the lyrical miere. Jaho also sings contrasting arias of lines of Myra in Seance or Sharon in Elmer Musetta and Mimi from Leoncavallo’s Gantry to heavy demands of Wagner and Boheme, Iris’s `Un di (ero piccina)’, the final Strauss. Johnson sings with great power and scene from Lodoletta, and a chunk of the authority; she can really belt it out. Her laser- finale to Massenet’s Sapho. Her accounts of like high D at the end of the `Dis-moi que Je these scenes are very persuasive. More famil- Suis Belle’ from Thais is stunning. As a cham- 168 American Record Guide January/February 2021 pion of new music, she created the role of gramming touch is com- Manuela in Musgrave’s Simon Bolivar, which posed in 1928 by Dimitri Mitropoulos, who is she sings with fiery determination. remembered as conductor of the Minneapolis If you want volume, she’ll give it to you, Symphony and the New York Philharmonic. It but her voice is also lustrous and she can rein is less known that he was an accomplished it in tenderly, as she does in the scene from composer in his younger years, having studied Elmer Gantry. Judging from this reading of the composition with Ferrucio Busoni until he final scene of Salome she would be electric on gave that up in the 1930s to concentrate on stage in her ability to cut through a massive conducting. This composition, one of the last orchestra while still conveying the lurid seduc- he completed, incorporates Baroque elements tiveness of a sexually depraved teenager. Alto- (e.g. French overture, fugal writing, canon, gether this is a gripping album. chorale). Each of the four movements uses a Steven Mercurio leads the MAV Symphony different instrumentation. The performance is of Budapest securely but with enough flexibili- vivid and snappy. ty to accompany a powerful singer in a wide- The major work of the program is ranging program. Three other singers take Schoeck’s song cycle Lebendig Begraben smaller parts in the program: Vernon Handley, (Buried Alive), which the liner notes describe Emily Langford Johnson, and Melissa Primav- as “a bold expressionistic depiction of a horri- era. An unnamed chorus is heard in the Cop- ble nightmare”. The cycle of 14 settings of pola and Aldridge scenes. poems by Gottfried Geller is through-com- The program was recorded in 2009 in posed and designed for performance without Budapest and evidently not released until any break between the texts. Critic Paul Grif- now. She is currently an Associate Professor at fiths described it as less a song cycle than a the College-Conservatory of Music in Cincin- monodrama by a man who discovers that he nati. has been buried alive. From his grave the man Notes about the singer and texts in English hears sounds of the outside world as memo- with English translation only of texts in Ger- ries of his life come to mind until at the end he man, Czech, Spanish, Italian, and French. comes to accept the inevitability of his death. R MOORE As the work nears its end and the man has passed through the stages of death and dying, Buried Alive a wordless chorus sings, perhaps as voices Honegger, Schoeck, Mitropoulos from beyond this world. The cycle ends with Michael Nagy, bar; Bard Festival Chorale; the man’s ecstatic vision of eternity, and he Orchestra Now/ Leon Botstein proclaims his spiritual triumph over death. Bridge 9540—79 minutes Dietrich Fischer-Dieskau’s 1962 recording The three orchestral compositions of this pro- of Lebendig Begraben has been the bench- gram were written in the years 1926 to 1928: mark for later recordings. In this one German Arthur Honegger’s wildly colorful Rugby; Oth- baritone Michael Nagy gives a powerful mar Schoeck’s Lebendig Begraben (Buried account of the work; the brawny grit of his Alive), a gripping song cycle for baritone and voice serves the music well. wordless chorus; and Dimitri Mitropoulos’s The program was recorded in November rarely heard Concerto Grosso. 2019 at the Fisher Center for the Performing Honegger’s Rugby is the most familiar of Arts of Bard College. The Orchestra Now these works, having been recorded more than (TON) is composed of young musicians from a dozen times, probably most famously by around the world selected from leading con- Leonard Bernstein and the New York Philhar- servatories. Leon Botstein is president of Bard monic. The composer reported that his intent College and music director of TON. In his was to express “the rhythm and color of a renowned career as a conductor and educator [Rugby] match at the Colombes Stadium” with he has been music director of the American the two teams represented by conflicting time Symphony and Jerusalem Symphony and signatures intensifying to the point where the artistic co-director of the Bard Music Festival rhythm changes almost every measure. It’s a and Bard SummerScape. rousing piece, even if here it doesn’t capture The ingenious programming of this album the rambunctiousness of the game as dramati- alone makes it well worth hearing. The vibrant cally as Bernstein did. and compelling performances make hearing it The most surprising and innovative pro- rewarding. American Record Guide January/February 2021 169 Informative notes by Peter Laki. Texts in “at play”—having fun with texts. It would be German and English. hard to find a better album of contemporary R MOORE American songs than this. The program gets off to a poignant start Nikola Nikolov: Arias with an aria from Lori Laitman’s opera Boheme, Butterfly, Otello, Aida, Pagliacci, others Ludlow, which tells the story of the Ludlow various orchestras & conductors Massacre in the 1913-14 coal-mining wars of Gega 414—65 minutes southern Colorado when more than a dozen innocent people, mostly women and children, I had heard of Nikola Nikolov, yet reviews of were killed when the Colorado National Guard his two Met performances in 1960 were not burned down the tent colony of strikers encouraging, suggesting that debut nerves got protesting brutal conditions. Later we hear her the better of him and that the voice itself was set of four off-beat songs, Men with Small not impressive. Heads; a lovely setting of Emily Dickinson’s So much for critics. The voice heard here is touching `If I’ with piano and clarinet accom- splendid. The tone is warm and steady, the top paniment; and the humorous song, `Money’, ringing with a squillo that makes the musical about its ubiquitous power. I’ve reviewed her climaxes that much more exciting. He doesn’t songs before (M/A 2007, S/O 2009, S/O 2011) have the musical imagination of some of his and find them exceptionally fine. better known colleagues, but his singing is Five stand-alone songs of Ricky Ian Gor- consistently enjoyable. It may be that he was don and six of William Bolcom are woven into indisposed at his Met debut or had entered a the tapestry of this album. Gordon has a strong cultural climate in New York circa 1960 that gift for memorable melodies in his setting of wasn’t amenable to his gifts. At any rate, his vivid texts, each a poignant look at life: Edna St reputation in Europe is fully justified by the Vincent Millay’s `Souvenir’; “lives of quiet des- singing on these tracks. peration” in `Bus Stop’; a heart-breaking con- 15 of the 17 arias are standard Italian opera fessional `Father’s Song’; `The Good Death’, a tenor fare; a few French items are thrown in for lament over ignominious Civil War deaths good measure. The last two items are from less from typhoid; and `A Horse with Wings’, his familiar works by Lyubomir Pipov (his opera “anthem for connectedness, for gratitude, for Momchil) and Dobri Hristov (song `Lukovit celebrating my newly found humanity”. Maidens’). They are so attractive they make Four of Bolcom’s songs are from his me want to hear more from these composers. Cabaret Songs: `Waitin’, `Can’t Sleep’, `Satisfac- Nikolov is joined by his wife, the fine soprano tion’, and `Song of Black Max’—perhaps the Lilyana Vassileva in several selections. As with show-stopper of the whole program. The other previous Gega compilations, selections aren’t two are of an entirely different nature; `Billy in always identified clearly. Track 11 is listed as the Darbies’ from Melville’s Billy Budd with “La Boheme: Scene and duet of Mimi and string quartet accompaniment and `Lady Rodolfo”. Most of us would think this refers to Death’ by A.D. Winans, both of which address `O soave fanciulla’ from Act I, but it is actually the affront of death. `Sono andati’ from the last act. Two sets of songs by John Musto complete The sound is very good. Good, if syco- the program. Enough Rope is a set of three phantic, background notes on the singer. No short songs on pithy texts of Dorothy Parker. texts. The Brief Light with guitar accompaniment is REYNOLDS settings of six texts by James Laughlin on love and lust. American Composers at Play This is one of the best collections of Ameri- Bolcom, Gordon, Laitman, Musto can songs by current composers you’ll find Stephen Powell, bar; Charles Neidich, cl; Jason anywhere. The performances are everything Vieaux, g; Attacca Quartet—Acis 689—75 minutes you could hope for. Stephen Powell had the advantage of rehearsing and recording the For his first solo album, Stephen Powell has songs with the composers to ask about inter- produced a magnificent program of songs with pretive details—though Bolcom only told him texts by American writers set by four of Ameri- circumspectly, “Just do what I wrote.” ca’s best composers. Trenchant and poignant Powell’s performance is splendid. He com- songs are side-by-side with whimsical ones. mands a wide range of expressive detail from All of them in some way show the composers tender singing to shouting to make these com- 170 American Record Guide January/February 2021 pelling songs irresistible. Texts are included, but they are hardly necessary with Powell’s The Newest Music I lucent diction. Notes are included by Powell FARO about producing this album and the com- posers about their songs, but I wish more HAAS: Hertevig Studies; THORESEN: Land information had been supplied about the fine of Your Love; RATKJE: A Dismantled Ode to compositions. the Moral Value of Art R MOORE Nordic Voices Aurora 5106—65 minutes Opera of the Sun King Katherine Watson, s; Les Ambassadeurs/ Alexis This album from six-part vocal ensemble Kossenko—Aparte 209—73 minutes Nordic Voices is titled “Everything Is Gonna Be Alright” and is adorned with gilded flowers This is a collection of 24 17th and 18th Century and a butterfly on the cover. This does nothing opera arias written during the reign of the to prepare the listener for its stark, boundary- French “Sun Kings”. The arias were selected to pushing contents. Though each work has its demonstrate the “art d’attendire”, the art of own particular identity, all three can be con- inspiring tender emotion. They were written sidered fully avant-garde. They all have by a variety of composers for “tender and numerous extended vocal effects, as well as a pathetic” heroines that were a fixture of period fluid approach to pitch and harmony. Further- French operas. These were primarily leading more, the text is often minimally important parts for women in love where they could dis- compared to the music (no texts are included, play fidelity, courage, sincerity, and fragility which doesn’t bother me). At 24 minutes and that pre-disposed them to be tear-filled vic- in a single movement, Georg Friedrich Haas’s tims. The French audiences enjoyed a good Hertevig Studies is easily the most formidable cry, and these characters ensured that tears of the three works. He explores the mystical, flowed on-stage and off. This was furthered by sinister, and otherworldly works of the Norwe- 18th Century composers who used the key of E gian painter Lars Hertervig. Dissonant Ligetian major to imply hope rather than regret for clusters of sound and texture abound, pushing these doomed characters. the musicians to their limits as vocalists and as Familiar roles (and plots) include Dido, an ensemble. It is a fascinating, eerie piece— Armida, Eurydice, and Galatea; all of them are but one that requires incredible patience. represented in various operas over the two Lasse Thoresen contributes Land of Your centuries. The 24 selections were written Love—settings of 19th Century poetry by Nor- between 1670 and 1716. The composers wegian Henrik Wergeland and Iranian Tahirih, include Jean-Baptiste Lully, Louis de Lully who was stoned for her outspoken beliefs on (Lully’s son), Andre Campra, , gender. The text, though, takes a backseat to Michel Monteclair, Henri Demarest, and Jean- Thoresen’s explorations of non-tempered Baptist Stuck. The music is at a minimum Iranian and Norwegian modes and his pleasant and sometimes quite beautiful. Much attempts to create polyphony in their styles. of it is from the same time period and style, so I’m not entirely convinced it works: the con- many of the selections sound fairly similar. cepts of Western harmony don’t naturally This is soprano Katherine Watson’s debut translate to the Iranian maqam system. But his album. She embodies the vocal talents of these non-tempered harmonies are fascinating and heroines and then some. She has a pleasant leave an impression. Maja SK Ratkje’s Disman- and youthful voice along with a sensitive and tled Ode to the Moral Value of Art is a post- smooth delivery. Her singing has the requisite modern meditation on the famous `Ode to Joy’ involvement and pathos to make the charac- and its place in our world, considering the var- ters convincing. ious uses of it across history in the name of The orchestra plays with proper attention human rights and fascist might alike. A solo to the style, and the sound is excellent. The baritone closes the piece with a heartfelt, yet English and French booklet includes librettos lonely rendition of Neil Young’s `Everything Is informative discussions of the period, com- Gonna Be Alright’—hence the album title. It is posers and their operas, and the background a timely and provocative statement for our of the “art d’attendire” aria. The recording is world’s uncertain future and recognizes the sponsored by the Versailles Center for Music. unassailable hope in Beethoven’s famous FISCH tune. This album is not for everyone; if you are American Record Guide January/February 2021 171 put off by avant-garde music, stay far away. But quite a bit of his Canyons of Stars. In fact, patient and open-minded listeners who enjoy Lefanu’s work premiered a year before Messi- a challenge will be rewarded with thought- aen’s! The later works are the short `Threnody’ provoking music. from 2014 and the song cycle The Crimson Bird from 2017; both are inspired by Euripi- KORVITS: You Are Light and Morning des’s Trojan Woman. In these works, her Estonian Philharmonic Chamber Choir; Tallinn music is lusher and more linear, with a greater Chamber Orchestra/ Risto Joost attention to harmony; though still predomi- Ondine 1363—62 minutes nantly atonal, it is easier to follow. She fully This choral music is far more accessible. It is a captures the dramatic emotion and horror of marvelous, large-scale song cycle for choir and the narrative—a woman’s tragic murder of her strings by Estonian composer Tonu Korvits, son lest he grow to participate in the senseless setting poetry by 20th Century Italian author violence of the world. This is a great album if Cesare Pavese. Mahler is one of Korvits’s you are interested in contemporary British favorite composers; like Mahler, he is drawn to composers. the mysterious, liminal connection between the transience of nature and the human psy- FINBURY: Lay Me Down; Final Days of July; che. In the poetry of You Are Light and Morn- Black Tea; Winter Waltz; Fantasma; Halfway ing, Pavese’s yearnings for past love, distant There; Waltz for Patty; Storybook Ending; I’ll memories, and forsaken dreams are expressed Pray For You; My Hometown in imagery of flowing wind, water, and time. Tim Ray, John Finbury, p; Eugene Friesen, vc; He illustrates these with evocative, fluid figures Roberto Cassan, Vitor Goncalves, acc; Roni in the choir and strings. Small chromatic turns Eytan, harmonica; Peter Eldridge, vocals in melody against a rich harmonic backdrop Green Flash 0—43 minutes imbue his lyricism with darkness and mystery. Combined, these elements form an expressive John Finbury is a Grammy and Latin Grammy- world of emotion that feels intimate yet just nominated composer, working primarily in the out of reach. A framing mechanism by way of a genre of Latin jazz. This album, titled “Ameri- B-flat minor `Fade in’ and `Fade out’ enhances can Nocturnes”, is a departure for him. Percus- this transient, otherworldly feeling; it reminds sion is nowhere to be found; instead, a cham- me of the similar method Richard Strauss uses ber duo of piano and cello anchors the music, in the Alpine Symphony, which opens with the with harmonica, guitar, and accordion joining same mysterious chord. I will definitely return in various combinations, all played by con- to this enchanting music. summate professionals. The sweet, straightfor- ward lyricism is refreshing—it often calls to LEFANU: The Hidden Landscape; Columbia mind American folk music. He elevates this Falls; Threnody; The Crimson Bird with jazz harmonies and a subtly flexible Rachel Nicholls, s; BBC Symphony/ Norman Del approach to rhythm. This is a warm and invit- Mar, Ilan Volkov; RTE Symphony/ Colman ing album that will put a smile on your face. Pearce, Gavin Maloney NMC 255—76 minutes RAN: Grand Rounds; CHEUNG: Double Alle- gories; DZUBAY: PHO; KO: Simple Fuel; This is an album of orchestral music spanning METTENS: Stain, Bloom, Moon, Rain the career of Nicola Lefanu. Her mother was Grossman Ensemble/ Ben Bolter, Michael neoclassicist composer Elizabeth Maconchy— Lewanski, Jerry Hou, David Dzubay but Lefanu’s music is different from the Bar- CCCC 20182020—70 minutes tokian, small-cell approach of her mother. She writes with a keen sense of space and perspec- This is the first album from the Chicago— tive, often creating an expansive soundscape based Grossman Ensemble. Created by Augus- where musical ideas take root, develop, and ta Read Thomas, the new music supergroup interact with each other. The early works, The has a fixed lineup of 13 musicians, with rotat- Hidden Landscape from 1973 and Columbia ing composers and conductors offering a vari- Falls from 1975, are largely atonal and stark in ety of music. Of the composers on this album, texture—timbres are often juxtaposed like a for example, Shulamit Ran and David Dzubay collage rather than blended together. Her brought works that were mostly complete for musical language reminds me of late Messi- rehearsal; comparatively, Tonia Ko and David aen; The Hidden Landscape reminded me Mettens took an improvisatory, sandbox 172 American Record Guide January/February 2021 approach, building up their works during `Influence’ both evoke Spanish and Latin rehearsals. Perhaps this is what gives their dance. `Dancing with Bows’ is a fantastic works a freer, more spontaneous sound. Ko’s piece, by far my favorite on the album. It cap- Simple Fuel, Mettens’s Stain, Bloom, Moon, tures the excitement of its dances with flashes Rain, and ensemble co-director Anthony Che- of crunchy dissonance and energetic rhythms. ung’s Double Allegories are all driven by sen- `Influence’ felt more like a transcription of folk sory explorations of timbre and texture. The material. It is episodic and lacks the originality moment of sensation is at the center of Double that makes `Dancing with Bows’ so com- Allegories; for example, in I, `touch/heat’, the pelling. Two of the pieces have inspirational visceral, tactile response of the movement title programs: Ruben Jordan’s `Alzheimer’ for is heard in melting bent pitches and sparks of strings and soprano evokes the plight of peo- sound. Stain, Bloom, Moon, Rain is infused ple living with Alzheimer’s disease, and Jose with the idea of transformation, whether thru Javier Delgado’s `No Questions’ is inspired by the distortion of an instrument’s timbre from a the communicative “gap between electronic familiar to a strange sound, or thru the trans- screens and the world”. Both pieces are influ- formative potential of the image at play (like I, enced by today’s popular film music. `stain’ or II, `bloom’). I enjoyed the color in `Alzheimer’ lacks depth and switches between Tonia Ko’s choral work `From Ivory Depths’ sentimentality and nightmarish music along (S/O 2019, new) and am pleased to hear her the lines of Danny Elfman. At least the music instrumental music. Her Simple Fuel draws itself holds interest; `No Questions’ is rife with inspiration from the manipulation of move- predictable sentimentality and boring osti- ment, as in the image of a fast-moving freight natos. Juan de Dios Garcia Aguilera’s `Deep— train appearing slow from a distance. Stutters, Sea’ is an excellent atmospheric work that hesitations, and bursts of frenetic energy simultaneously captures the fullness and abound in this vibrant work. Compared to emptiness of the deep ocean, stressing “the these timbral soundscapes, Shulamit Ran and primacy of the whole over the part”. It uses David Dzubay’s works are much more melod- drones, pitch bending, and timbral effects, giv- ic, giving the album a welcoming balance ing it a modern sound that feels out of place on between concepts of new music. Ran’s Grand this album. Raquel Rodriguez’s `Spiral’ sounds Rounds was written for the ensemble’s inaugu- Brucknerian, from its particular chromatic ral concert and thus has a festive, upbeat ener- harmony (especially at arrival points), its slow- gy. Ideas circulate continuously, evolving by building majesty, and the gentle contrasting each later appearance. Dzubay demonstrates sections of pastoral diatonicism. Even if it feels his skill of writing for large chamber ensem- too much like an imitation, it is enjoyable and bles with the devilish PHO, which stands for done well. This would be a better album if the Potentially Hazardous Objects. It is an intense performances were stronger. At best, they are and energetic piece that gleefully threatens to adequate; there are many moments where the run off the rails, with a performance instruc- ensemble is not quite together or where the tion that reads “dangerously fast; transient and players have wobbly intonation. strange”. The musicians respond to the demands of this and the other pieces with sen- NODARI: Romantic Double Concerto; sitivity and technical mastery. This album is an BAREILLES: Secrets of ; PIAZ- excellent debut for the Grossman Ensemble; I ZOLLA: Homage to Liege look forward to hearing more from them. Duo Mateux; Pugliese Philharmonic/ Giovanni Minafra—Stradivarius 37158—53 minutes ALDERETE: Dancing With Bows; JORDAN: These are double concertos performed by Duo Alzheimer; GARCIA AGUILERA: Deep— Mateux—Giovanna Buccarella on cello and Sea; RODRIGUEZ: Spiral; CARDENAS: Francesco Diodovich on guitar. The first, by Influence; DELGADO: No Questions Auxi Belmonte, s; Camerata Gala/ Alejandro Marco Nodari, has two subtitles: `Romantic’ Munoz—IBS 112020—53 minutes and `Possible Balance’, the latter referring to its supposed balance between tradition and This collection of Spanish and Latin American modernity. It is far more on the side of tradi- music for string orchestra also seeks to show tional; any alleged modernity here would be various aspects of new music; it covers a range considered dated in the 1920s. It is an enjoy- of styles with mixed results. Igmar Alderete’s able piece, though—its best quality is its rhyth- `Dancing with Bows’ and Monica Cardena’s mic interplay between soloists and orchestra. American Record Guide January/February 2021 173 The remaining two works—one established approaches the electric cello and its expansive and one new—are influenced by the tango. capabilities as a completely different instru- Homage to Liege is one of Piazzolla’s most ment. It is a highly sensory work, combining popular works; the bandoneon part is often psychedelic and symbolist elements in its transcribed for cello, as it is here by Buccarella. dark, almost apocalyptic imagery. Dogmatic His work endures in the way Gershwin’s does: Pleasures is a set of three short, virtuosic he lets the classical elements of his style ele- orchestral pieces. Though they differ from the vate, rather than smother the tango. Miguel other works in their ironic humor, they still Bareilles risks that in Secrets of Buenos Aires; retain some dark, dissonant color. In the liner it is the most modern-sounding of the three notes, Bollon writes that he does not see his concertos, which doesn’t always work. Howev- work as a fusion of genres. Neither is it pas- er interesting the sound may be sometimes, tiche—apart from a few referential moments, the tango element is overwhelmed by brash there are no sections of music that actually music, capped with a violent, dissonant smash denote a particular genre. Rather, he sees of chords to end the piece like a nail in the cof- these non-classical elements without the pre- fin. Perhaps this is the intentional effect, but conceptions of genre, as tools for creating it’s not convincing when presented alongside something original rather than merely novel. the Piazzolla. With the exception of Diodovich, This is high-octane eclecticism with excellent, the performances here are rough. Often the committed performances all around. orchestra does not play together or in tune. Buccarella also has intonation problems and is TARKIAINEN: The Earth, Spring’s Daughter; sometimes out of step with her partner. Every- Saivo one fared better in the Piazzolla, but still could Virpi Raisanen, mz; Jukka Perko, sax; Lapland not deliver an admirable or competitive per- Chamber Orchestra/ John Storgards formance. Ondine 1353—71 minutes Oi uti Tark ainen is a composer who hails from BOLLON: Your Voice Out of the Lamb; 4 the Finnish Laplands, the northernmost part Lessons of Darkness; Dogmatic Pleasures Johannes Moser, Michaela Fukacova, vc; Michala of the country and the home of the indigenous Petri, rec; Per Salo, keyboard; Odense Symphony/ Sami people. She finds continuous inspiration Christoph Poppen; German Radio Philharmonic/ in that region’s natural landscape and atmos- Nicholas Milton; Freiburg Philharmonic/ Jader phere, as well as the lives and culture of its Bignamini people. Like and Kaija Saari- Naxos 574015—64 minutes aho, she embraces modernism and can trace her artistic lineage to Paavo Heininen. But it is Fabrice Bollon has been praised in our pages modernism that is often in a readily intelligible as a conductor of both operas and symphonic and accessible framework. She has also music. Ralph Locke enjoyed his recording of worked extensively as a jazz composer, includ- Korngold’s Wunder der Heliane (Naxos ing a song cycle with jazz orchestra. These are 660410, M/A 2019) and Roger Hecht found his two of her largest classical works to date: the accounts of Magnard’s first two symphonies orchestral song cycle The Earth, Spring’s among the best available (Naxos 574083, M/J Daughter and the concerto for soprano saxo- 2020). Here he shows a different—utterly dif- phone Saivo. The excellent song cycle con- ferent—side of himself with his own composi- cerns the relationship between humanity and tions. His approach is decidedly postmodern. nature. It shows the threat of climate change All three works have elements from non-clas- on the natural environment, as well as on the sical styles, including pop, rock, bebop, and indigenous Sami who rely on it. The speaker electronica. Your Voice Out of the Lamb is a varies between an omniscient storyteller, vari- wildly virtuosic recorder concerto that incor- ous generations of the Sami people, and even porates various effects and looping pedals. He the Earth itself. Tarkiainen’s music here is eschews the sweet, lyrical persona often asso- appropriately expressionist and dramatic—I’m ciated with the recorder in favor of feats of ath- reminded of Berg, his operas more than his leticism and mysterious ambience. Four song cycles. Mezzo-soprano Virpi Raisanen is Lessons of Darkness is a concerto for electric stunning, and the orchestra is vibrant and col- cello, using the instrument’s sonic versatility to orful. Saivo is spectacular. It is a formidable create alien, yet viscerally emotional music. It and substantial concerto of the highest quality. is not a concerto for electrified cello; rather, he To the Sami, `Saivo’ refers to a sacred place, 174 American Record Guide January/February 2021 usually a lake, where the spirit world connects ment, and the sea. I liked Frequent Flyer, a to our reality. The solo soprano saxophone light but substantial trio of characteristic expresses this duality between worlds—it acts pieces for viola and piano. I also liked `Coastal as our guide to this otherworldly plane of reali- Ghost’, an imaginative chamber orchestra ty. While certainly displaying the soloist’s vir- piece with wonderfully demented sea tuosity—bravo Jukka Perko!—the work often shanties. Icarus, scored for piano trio, is a nar- disconnects the saxophone from its identity, rative work following the same myth. The writ- allowing it to sound utterly new and unfamil- ing is illustrative, but too episodic. It felt too iar to the ear. This piece—and this album—left much like a straightforward retelling of the me in awe. I can’t recommend it highly myth and didn’t hold my interest. Neither did enough. the brash `Earth March’ or the charming but slight `Arrival at Loch Lomond’. In all, this is a HAMBURGER: Piano Concerto mediocre album, with some pieces I would lis- Assaff Weisman; Montreal Metropolitan Orches- ten to again. tra/ Vincent de Kort—Leaf 238—22 minutes This is the first release from Canadian-Dutch SHAHOV: Makedonissimo Simon Trpceski, p; Hidan Mamudov, cl, sax; Alek- composer Jaap Nico Hamburger. The piano sandar Krapovski, v; Alexander Somov, vc; Vlatko concerto is short and flashy, composed in a Nushev, perc—Linn 636—83 minutes three-movement arch form of slow-fast-slow. He seems to run the gamut of styles at play in Makedonissimo—meaning “very Macedon- the 1920s. The slow outer movements are ian”—is an ambitious folk music project led by darkly lyrical and romantic with patches of pianist Simon Trpceski. The folk music of his atonality. The kinetic energy of the fast central native Macedonia is brimming with rhythmic movement evokes some of the hard-edged vitality and modal beauty. For Trpceski and neoclassicism of the era—Prokofieff came to many other Macedonians, it is part of everyday mind. In the climactic center of the move- life and has been so since childhood. For ment, Hamburger brushes with Varese with Makedonissimo, he grouped songs and wailing sirens and forceful bass drums. His dances together by meter into six plaits, or folk music is exciting, imbued with the drama and medleys. Some of these meters even get into mystery of early modernism. But the concerto rare 13, 18, and 22-beat patterns. Fellow Mace- feels too short for his ideas, and the soloist donian Pande Shahov then transcribed them doesn’t have nearly enough material. His ideas for Trpceski and the rest of the Makedonissi- are promising, but he doesn’t do much with mo Quintet, made up of professional classical them once presented. They could easily be and folk musicians. They toured international- expanded to form a longer, more effective con- ly with the project starting in 2017, leading to certo, with a far more satisfying solo part. Nev- this album. And what an album! It isn’t your ertheless, I still enjoy it and am glad to have it. average take on folk music; Shahov is not aim- I look forward to a further release of his cham- ing for ethnomusicological authenticity, but ber symphonies in a few months. rather for a truly original and personal tran- scription that retains the essential spirit of the CROSSMAN: Icarus; Quartet 2; Frequent music. His background in jazz can be sensed Flyer; Coastal Ghost; Earth March; Arriving at in the way he approaches writing for the quin- Loch Lomond tet, making space for improvisations and Charles Meinen, va; Laurie Altman, p; Trio Foss; embellishments. The music is challenging, Morency Quartet; San Francisco Composers written to match the high level of skill of the Chamber Orchestra/ Mark Alburger, John Kendall Bailey—Centaur 3794—54 minutes musicians. The group often trades between ensemble sections and solos in a way that feels Tehis a surv y of instrumental works by Allan jazzy, but also completely in line with folk tra- Crossman, with forces ranging from duo to dition. Makedonissimo strikes a balance chamber orchestra. A former student of between tradition and originality. Whether George Rochberg, he writes in a similar neoro- given a haunting and poignant melody, a nos- mantic vein—it is tonal, but flexibly so. The talgic, lyrical ballad, or a whirlwind of vigor- rigors of serialism are still close at hand in his ous, celebratory dancing, the musicians bring second quartet from 1978. It is a more serious strong feeling and unfettered joy to the music. work than his later pieces; they feel more I highly recommend this album to any music relaxed, with relations to flight, the environ- lover. American Record Guide January/February 2021 175 the listing of the instruments and their makers The Newest Music II in the booklet. What a lovely way to give credit and a bit of a spotlight to the instrument mak- BOYD ers when their handiwork is such an integral part of the album’s music-making. I can’t find SHAPIRO: Arcana Adam Marks, p—Innova 41—80 minutes much about composer Luis Pine beyond a short biography accompanying this disc, but This program starts with Spark, an effortlessly he was born in Lisbon in 1957 and attended flowing, vibrant work for piano. Composer the Lisbon Conservatory of Music. The five- Alex Shapiro mentions in the program notes movement Times of Day for wind quintet, that Spark “was inspired by the life, energy, while performed graciously and with poise by and heart of Dale Mara Bershad, a gifted musi- the Dorian Wind Quintet, is saccharine and cian who often used her talents to share the suffers from a lack of imagination. Clever har- joy of expression and wonder with young chil- monics in the cello make lovely imitations of dren”. Childlike wonder is certainly here in birds in Dawn for flute and piccolo and cello, spades in this work that is sometimes jubilant, performed with tenderness by Keren sometimes morose, and is always shockingly Schweitzer and Jason Lippman, but the flute’s beautiful. Shapiro shows her naturalist melodies never seem to fully flesh out in per- activism profoundly in Arcana, the album’s sonality—never quite say what they appear to namesake. Pianist Adam Marks gives this be attempting to convey. Solar Midnight, for piece a thoughtful, powerful performance. clarinet and piano, is moving and dark and Arcana is eight movements and speaks to the compelling; bravo to Jonathan Szin and Jeffrey relationship that humans have with the earth. LaDeur for this performance! Shapiro writes that this piece is mostly told from the perspective of plant life, with “healing From the Great Lakes herbs as protagonists of a story that begins Morgan, Mutter, Wilding with a dire warning, and ends with the faith Stacie Mickens, hn; Francois Fowler, g; David that wisdom and grace shall finally triumph”. Morgan, db; Rex Benincasa, perc; Diane Yazvac, Indeed, the dark and archaic sounds of the James Wilding, Carolin Oltmanns, D. Jack Cia- first movement, `Cradle these Roots’, gives way rniello, p to II. `Unfurl’ which begins in light, continu- MSR 1747—56 minutes ous eighth notes that unrelentingly cascade yHorn pla er Stacie Mickens has achieved towards a fervent climax. VI, `Touch It’, is just a something tremendous here in this program of minute and a half of catchy, spunky, absolutely works by composers with whom she collabo- delightful —the type of music you rated while living in northeast Ohio. Three of can’t help but move along to. The final move- the four pieces were written for her, and it ment, `From Earth to Sky’, mirrors the first shows: there’s an intimacy here between the movement in its use of range and large chordal music and the music makers, and I encourage movement, yet in this case its music whispers horn players to seek out these works for them- of optimism and hope and trust. The Piano selves. Ages, written by horn player and com- Sonata is another favorite here. A pensive I poser Susan Mutter, tracks in musical form the whose harmonies are scrumptiously thick is relationship between a boy and the world balanced by a II whose soliloquizing melodies around him as he grows up and encounters shine in colors both dark and bright. The final several pivotal life moments: from childhood movement clocks in at less than two minutes summer doldrums to teenage angst to spend- and is a riotous romp. Marks’s musicianship is ing time with his young daughter to his experi- in glorious display here: not only is this moto ence as a grandfather and eventually, the perpetuo executed with utmost crispness, but moments surrounding his passing. This is a each layer of voicing can be clearly heard. moving portrait painted in golden horn tones and lush piano sonorities. Distill, by South PINE: Times of Day Keren Schweitzer, fl; Jonathan Szin, cl; Jason African composer James Wilding, blends a Lippman, vc; Jeffrey LaDeur, p; Dorian Wind shimmering, gossamer fluidity in the piano Quintet with strong and soaring melodies in the horn. MSR 1741—56 minutes When Penguins Fly, by David Morgan, is something entirely different—jazzy and lyrical, One of my favorite things about this album is it was written as a rhapsody for horn and wind 176 American Record Guide January/February 2021 ensemble (though arranged for a much small- ly a symphony for piano trio”. You’ll find a er ensemble here) and depicts the horn in all galaxy of textures in its five movements, fondly its robust, gleaming glory. Morgan tell us that played here by the original commissioners. III the work evokes the “stark beauty of Antarcti- is my favorite—insistent and emotional. ca” and a penguin protagonist. It’s haunting There’s a lovely anecdote in the booklet about and enjoyable. Bravo to the artists here! Gunther Schuller’s output, which includes Trio 3. how Schuller enjoyed working with a The Big Picture tone row so very much while composing his McDowall, Chilcott, Weir first violin concerto in 1976 that he decided to Bristol Choral Society, Music Makers of London/ keep using that tone row. Every piece he wrote Hilary Campbell for the next several decades used that row, Delphian 34242—54 minutes including the juicy music in this piano trio. I is fickle; vacillating between frenetic spurts of There are three pieces: A Time for All Seasons staticky dyads in the violin and cello and mis- by Cecilia McDowall, Songs and Cries of Lon- chievous, pointillistic spurts in the piano. III is don Town by Bob Chilcott, and The Big Pic- devilishly ferocious, with gorgeous moments ture by Judith Weir. McDowall’s work was writ- for the strings where drama is on grand dis- ten in 2016, setting a poem by Kevin Crossley- play. II is impossibly high, impossibly soft, Holland, whose lines cajole heartstrings: until it’s not: a grand climax grows and evapo- “Before shoulders sag and stick legs rates into thin air in the middle of the move- buckle/Before teeth rattle and eyes grow ment, reappearing with chromatic bitterness misty/Before heights become fearsome and and sonic roughness back down to those softer journeys troublesome and Before words sotto voce, sul tasto colors. Nicholas Under- fail/Before desire slackens/Before the alpha- hill’s Trio is in two movements: the first is bet scrambles.” It’s strong and persuasive and unsettling in its moods, all three instruments moving. Songs and Cries of London Town uses maintaining textural independence except for five texts, most from anonymous 17th and 18th brief periods of intersection. II—theme and Century sources. Lines I loved include the first variations—is a delightful 14 minutes of com- movement’s collection of street-seller cries, positional showcase: Underhill’s variations such as “Come buy my mint/my fine green nod to forms and composers and memories, mint/Here’s fine lavender for your which include walks along Lake Erie. It’s very cloaths/Here’s parsley and winter-savory”. The endearing and very enjoyable. text in III gives space to bells and rhymes: “Two sticks and an apple/Ring the bells at Tribute to Sir John Manduell Whitechapel/OldFather Bald Pate/Ring the Stevens, Pehkonen, Bussey, Poole, Beamish, Ball, bells at Aldgate”. Chilcott’s work is sometimes Horne, Matthews, Malone, Carpenter, Dickenson, frenetic and kinetic, sometimes melancholy. It Berkeley, Walker, Pike, Marshall, Hakim puts the audience on the London streets as we Lesley-Jane Rogers, s; John Turner, Laura Robin- hear texts that recreate the calls of London’s son, rec; Richard Simpson, ob; Benedict Holland, street merchants selling their wares. Weir’s v; Susie Meszaros, va; Nicholas Trygstad, vc; The Big Picture separates its movements by Keith Swallow, p; Richard Baker, color: a love poem attributed to King Henry Divine Art 25210—73 minutes VIII fills I with luscious images of greenery, Robert Frost’s “Nothing Gold Can Stay” makes Sir John Manduell was the founding principal up III. Each movement presents us with a new of the Royal Northern College of Music. From sound world, holding our attention in a strong 1964 to 1968 he was in charge of the BBC grasp. This album is a gripping combination of Music Programme, which went on to become music and musicians and music-making. A BBC 3. Nearly everyone involved in this album special bravo goes to the pianists Ian Tindale had a personal connection with Manduell, and Annabel Thwaite. who passed away in 2017. Most of the pieces were composed for memorial concerts, and Gramercy Trio: World Premieres you’ll find William Butler Yeats’s poetry all Schuller, Underhill, Aucoin through this disc; he was Manduell’s favorite Albany 1832—67 minutes poet. You’ll also hear an instrument you might not have heard since your last Baroque listen- Matthew Aucoin’s Piano Trio is clever and ing binge: the recorder. This album is way up daunting; as the composer says, it’s “practical- high on my list: its story is impossible not to American Record Guide January/February 2021 177 feel; its musical offerings are delicious and dif- With No One Watching is dramatic and vivid, ferent and intelligent. I especially enjoyed each movement its own short story, colored David Matthews’s `Lullaby’ from Two Yeats with its own palette of colors and emotions. Songs, Lennox Berkeley’s Three Duets for two Jean Ahn’s Toys begins and ends with a crank recorders, and This Great Purple Butterfly by of a Fisher-Price toy (do you remember what Gary Carpenter, which is oh-so-haunting and those looked like?) playing `Farmer in the Dell’. luscious and verdant. John Turner’s recorder Over its nearly 12 minutes, this ridiculously playing is wistful and captivating. Robin Walk- charming work is a game of “guess the tune” as er’s Four Nursery Rhymes is whimsical and fragments from the earliest melodies of our poignant: art that captivates all ages. I really childhood are, well, toyed with. Flutists: this like Richard Baker’s narration in these four work will be a crowd-pleaser on your next movements (The Shipwrecked Sailor, Lilly recital. This album is a treasure trove of con- Pickle, Staring Moon, Cat and Mouse). Con- temporary music for flute and piano, and a gratulations to this lovely cast of artists on a stunning set of performances by Tegart and fine and beautiful job. Seregow. I give this album all the stars.

Palouse Songbook LI: World Map Doolittle, Frank, Stölzel, Dyskant-Miller, Rud- Four Corners Ensemble man, Ahn Navona 6312—59 minutes Sophia Tegart, fl; Michael Seregow, p Centaur 3827—76 minutes These are five “mini concertos”, each a little more than ten minutes long, each displaying Composer Emily Doolittle brings to aural life the talents of one of the Four Corners Ensem- the American Goldfinch, the Long-Eared Owl, ble members and the incredible span of Shuy- and the Snow Bunting in three movements, ing Li’s compositional tool box. Each piece is one dedicated to each bird. These movements built on a narrative seed, and they spin off into feel light and graceful, from the goldfinch’s to parallel universes of atmosphere and reso- the owl’s morose sighing, to the hesitant nance, one after the other. Joshua Anderson’s chirruping of the snow bunting. And each clarinet playing in American Variations hits all movement feels like an abstraction of a the right spots in all the right ways. Jeremy moment in the lives of these birds: a frame or Crosmer’s cello playing in Matilda’s Dream is two playing out over the duration of the work, exhilarating and powerful and fiery. Annie moving in and out of focus. Doolittle has made Jeng is a full-on force in Canton Snowstorm; marvelous use of these two instruments: she’s she sculpts these virtuosic piano lines with merged the textures of piano and flute so well grace and brilliance. The Peace House, which that sometimes it is quite difficult to remem- includes Christina Adams on violin, has thin- ber that we’re hearing a piano and a flute and ner textures than the other four works, giving not in fact simply watching with wonder a sin- the violin tremendous space for lines that are gle, small bird. Gabriela Lena Frank’s Sueños about texture rather than melody: there’s a de Chambi: Snapshots for an Andean Album demanding set of techniques that Adams has takes its impetus from the work of Amerindian compellingly executed here! And Erika Boysen photographer Martin Chambi. She chose delivers beautifully on The Dryad’s ebullient, seven photos to recreate in her own sonic lan- siren-like lines. guage for this work, and the result is vibrant and exquisite, with turns of texture and tempo Threaded Sky appearing quick and fluid and inevitable. This Thomas, Sheng, Mirzaee, Penderecki kaleidoscopic work is no small feat: Tegart and Miller-Porfiris Duo—MilPo 4818—41 minutes Seregow are at the top of their game in this performance. Ingrid Stölzel’s Leonardo Saw From the first measures of Augusta Read the Spring is melodic and crystalline, with Thomas’s dazzling Rumi Settings the virtuosity lines in the flute that soar and grow and of this duo is radically apparent. Usually I breathe. This four-movement work is down- speak mostly about the works themselves (I’m right beautiful. Jessica Rudman’s Age M–r for often reviewing premiere recordings) but let solo flute begins with a breathy niente and me get truly poetic about the Miller-Porfiris grows into a somber, sighing soliloquy that Duo—they deserve it. Violinist Anton Miller’s floats high in a moody and devastating, lilting double stops at the beginning of IV are fault- song. Nadine Dyskant-Miller’s They Move less and thick. And violist Rita Porfiris’s soulful 178 American Record Guide January/February 2021 lines in Thomas’s Silent Moon are wholly per- American Gifts fect: they’re weighty and are wrapped in a Thomas, Sessions, Fine, Brackett vibrato that generates a warmth of resonance Jack Van Geem, Nancy Zeltsman, marimba yet never overpowers. Their performance of Bridge 9534—66 minutes Penderecki’s Ciaconna in Memoria Giovanni Paolo II is so perfectly in tune that the over- This is marvelous: Nancy Zeltzman and Jack tones flesh out the sound in a way that feels Van Geem have taken works we know, like Irv- like we’re listening to much more than just two ing Fine’s Music for Piano, Joseph Brackett’s instruments. The duo makes the tricky har- Simple Gifts, and Piano Sonata 1 by Roger Ses- monics in Bright Sheng’s Angel Fire I stand out sions and given us these wildly entertaining, like the jewels I’m sure he wrote them to be, sonically stimulating, truly artful renditions and the exciting, jagged rhythms in Angel Fire courtesy of two marimbas, four hands, and II are executed without a hitch. Mani Mirzaee’s goodness knows how many mallets! There’s a Wight of Shadows is one of the most charming distinct thread of “Americanness” that weaves and satisfying uses and performances of col its way through this, tying Irving Fine’s neo- legno battuto I’ve heard, and the hairpin classical-infused work all the way to Michael dynamic at the end of this tiny movement is Tilson Thomas’s Island Music, which was inspired by a trip to Bali. If you’ve never heard such an admirable moment of consummate a marimba duo, begin here: it’s a delight. musicianship for this to end on. This disc is in the top ten of all albums I’ve reviewed.

MAZZOLI: Proving Up The Newest Music III Opera Omaha, International Contemporary VROON Ensemble/ Christopher Rountree Pentatone 5186754—80 minutes PACEK: Piano Pieces Proving Up is the grown-up version of Laura Antonija Pacek—Navona 6316—53 minutes Ingalls Wilder’s book series Little House on the This woman lives in Vienna and writes music Prairie. With a shrewd, poetic, and pithy libret- about her life and children. It is all pleasant to by Royce Vavrek based on the short story by but shallow. This is the increasingly popular Karen Russell, it’s terrifying and sumptuously “sentimental piano” genre. You can’t hate it, beautiful. This is a thriller of an opera about a but you can’t really feed on it either. It is sooth- fictional family of 1860s homesteaders, ing but not nourishing. One of the things I attempting with every ounce of gumption they have noted about this genre is the “notiness” have to fulfill the requirements of the Home- of the music. The hands are always busy. If it stead Act. In the second scene, this family had the simplicity of, say, Chopin, it might be sings the list of these necessary tasks for us: more listenable. “The Homestead Act of 1862/A house of sod, with dimensions quite particular/Acres of McENCROE: Piano Pieces grain/five years of harvests/a window of Van-Anh Nguyen—Navona 6307—72 minutes glass/The Homestead Act/all that’s required/to prove up/at the inspector’s visit.” H’ ere s another one. It’s slightly more mascu- The 80-minute work traces an unsteady sine line, less sentimental, less “notey”, more sub- wave of optimism and fear (cue the eight har- dued, but no more nourishing. It is again easy monicas) as these characters realize that the to listen to. But there are dozens of these! And likelihood of their ever catching up to the you will forget it right away. American Dream, of homesteading and prov- ing up, is contingent on unnerving sacrifices Persian Autumn that surely cannot be worth the prize. Fantastic Pieces by Hormoz Farhat & Amir Mahyar Tafre- performances by the cast—Michael Slattery, shipour John Moore, Talise Trevigne, Abigail Nims, Mary Dullea, p—Metier 28610—73 minutes Cree Carrico, and Andrew Harris—excellent This is even less sentimental, more masculine, direction by Christopher Rountree, and rougher to listen to sometimes (not all the impeccable playing by the International Con- time). There are two sonatas and a toccata by temporary Ensemble make this work a must- Farhat—an attempt to give form to what might listen on all levels. otherwise sound improvised. The piano com-

American Record Guide January/February 2021 179 posers do, I swear, sit at the piano and noodle rather boring, generic music. So are the 6 Illu- around, then write it down. But in this case he sions. I did like the rather jazzy `Blue’ (part of gives it some form—though that doesn’t help another group of pieces), but it only lasts a much. Tafreshipour is almost 50 years younger minute or so. than Farhat, and you can hear it in the empti- ness of his music. GAN-RU: Piano Pieces Yiming Zhang CARBON: Piano Pieces Grand Piano 835—73 minutes Steven Graff—Convivium 57—65 minutes The 12 Preludes that take up half of the pro- The big work here is Astro Dogs (2019), 12 gram are utterly boring—nothing but pianistic pieces based on the 12 signs of the zodiac. cliches. Ancient Music is for prepared piano, Each sign is also a variety of dog: Aquarius is a so it sounds different. The piano is supposed beagle, Libra a poodle, Cancer a Pekingese, to be imitating Chinese folk instruments, etc. It’s an amusing juxtaposition of inspira- though there are oddities like what sounds like tions, and it keeps the music interesting. The a tubular chime. Only the first two pieces are composer has owned most of the dogs pic- tolerable; the rest is garbage. The last two tured. This composer is better than the others pieces on the program are for toy piano and we have just reviewed. sound like a child playing with one under the The two other sets of short pieces— Christmas tree. There is moaning and groan- Madeleines (2016) and Impromptus (2014)— ing, too—the pianist’s voice, I assume. A friend sound like Poulenc sometimes. In the first set I remarked that he sounds like a chimpanzee was quite taken with the `Promenade’ (at the thrown onto a hot frying pan. There is even a zoo in Versailles—maybe this composer is bird. I like birds, but this is too much. The often inspired by animals). But the impromp- recording engineers must have been laughing tus bored me—doodling, as so often happens hysterically. today in piano music. Composer John Carbon (born 1951) and the pianist (younger) are both Yoko Hirota, piano from Chicago. 13 composers—Navona 6294 This music is “new” in that it never sounds like FREEMAN: Piano Pieces Elaine Freeman—Big Round 8962 real music—but it is not all recent. The pro- gram opens with Schoenberg’s 6 Pieces (not The notes to this album tell us that “she does- interesting at this late date), followed by 8 bor- n’t categorize her music by any particular style ing pieces by Ernst Krenek. There are minia- or genre...she just sits down and plays”. That’s tures by Berio, Ligeti, and Elliott Carter too. what it sounds like. It is utterly unprepossess- The rest of the composers are relatively ing, slightly minimalistic and repetitive doo- unknown, and some of the pieces are as recent dling of no depth whatever but never ugly and as 2007; but they all sound pretty much like always tolerable (if shallow). It seems that the 1911 Schoenberg. I don’t think anybody dozens of people are making records like this. could rouse enough interest to listen to this This is the fifth in one month. Buy them as whole program. background music that doesn’t demand (or repay) attention. E Pluribus Unum Liza Stepanova, p WISHART: Piano Pieces Navona 6300 Jeri-Mae G Astolfi Ravello 8045 This one alternates tinkling and banging, so it’s “modern music” with a vengeance. The H’ ere s No. 6—another busy pianistic orgy— composers include Lera Auerbach (a horrible this time with appealing pieces like her one-minute miniature), Kamran Ince (a `Shenandoah’ Variations and variations on dreadful 13 minutes), and Anna Clyne, whose `Oh Suzannah’ and some dreadful moments of piece is particularly obnoxious. As she puts it fist-banging in `Phantasmagoria’. There are 8 in her notes, “The piano part is supported by a preludes that are named after famous figures, tape part, which comprises a range of record- from Amelia Earhart and Winston Churchill to ings from instrumental harp to voice.” The Jane Austen and Lewis and Clark. I can hear voice is Queen Elizabeth from one of her no real characterization to match the titles. It’s speeches. It is all “spliced, manipulated, and 180 American Record Guide January/February 2021 layered”. Yuck! The most tolerable music is a 2017 suite by Badie Khaleghian called Tahirih the Pure, but even that has annoying parts. Videos Tahirih was a 19th-Century Persian woman who fought for women’s rights and was exe- BEETHOVEN: Missa Solemnis cuted. Maybe he depicts the execution? Johanna Winkel, Sophie Harmsen, Sebastian Kohlhepp, Arttu Kataja; Stuttgart/ Frieder Rückblick: inspired by Brahms Bernius—Naxos 2.110669—68 minutes Ann DuHamel, p (with 60-minute documentary) Furious Artisans 6821—80 minutes Frieder Bernius founded the Stuttgart Cham- All of this music was written from 2016 to 2019. ber Choir in 1968; this 2018 performance, Edie Hill’s Rückblick is mostly rather bland filmed at Alpirsbach Abbey in Baden-Würt- and subdued, but with artificial jerks of loud- temberg, helped celebrate their 50th anniver- ness now and then. A friend described it as sary. In its early years the chorus concentrated “introspective noodling”. There’s a lot of that on a cappella repertory, but they grew, and around. It’s starting to make me wonder how I around 1985 Bernius became an advocate of can listen to so much piano. period performance and established the The next 8 pieces are by Joseph Danger- Stuttgart Baroque Orchestra. field (5) and Luke Dahn (3). One would write a About half of this is a documentary about piece, then the other responded with his own Bernius. We see him in rehearsal with the piece. Both are “interested in color and tex- orchestra, then with the chorus, and even with ture”—meaning that most other elements of individual singers, where he is a stickler about what we usually think of as music are missing. unifying vowel sounds. We also see snippets These 8 pieces are a total waste. that show how he prepares by working at his Joseph Hagen’s Brahms Variations are piano and marking scores. All of this is well based on the theme in the Scherzo of Sympho- and fine, but we also see some interviews with ny 3. It can hardly fail to capture the attention singers who bubble over with so much praise at first, since Brahms wrote the melody. But it that the whole documentary begins to feel like eventually gets split in two and inverted. The a puff piece. In any case, fans of Bernius will be composer thinks it’s all about anger, grief, and appreciative. depression. Listen to the symphony to see if The performance itself is a little odd. It’s you agree. done in a church setting—Alpirsbach Abbey— Brahms had heard ragtime, and that’s the but the performers are all in street clothes. I excuse for Dr Brahms’s Book of Rags (16 of assumed then that this was a filming of a them) composed by Marc Chan. It’s “What if recording session. The whole back of the Brahms had written rags?” But he didn’t. One church is dark, and you can’t see any audi- of these is supposedly based on the famous ence. But then at the very end we hear scat- Brahms Waltz in A-flat (I don’t hear it). Marc tered applause. In any case it does appear to Chan was from Singapore but lives in Con- be one continuous take, not a recording ses- necticut. I never tire of ragtime—there isn’t sion with numerous starts and stops. that much of it around—and it strikes me as The performance is certainly a good one; the only reason to own this record. but, as I’ve said before, for this most monu- mental work I want heavyweights, not ban- Jovica Ivanovic, accordion tamweights, in the ring. The Stuttgart singers PIAZZOLLA: Aconsagua; GALLIANO: Opale number about 50 and the orchestral strings are Concerto 8-7-6-5-3. The faster sections (Gloria and sev- with Ukrainian Chamber Orchestra/ Vitaliv Pro- eral other sections) are full of excitement, but tasov—Navona 6317 meditative sections need more space and warmth, and bombastic sections need more T he Piazzolla is (like most of his music) weight. For me, then, the Kyrie and the end of incredibly dull, despite a lively surface. The the Credo (which faithful readers will remem- concerto by Richard Galliano is much better, ber to be one of my absolute favorite spots in with more varied moods and nicer melodies. all music) are both too fast. But you have to like the accordion to bother The soloists are all very good, though I was with this. most taken by bass Arttu Kataja in the Agnus Dei. I would also mention that mezzo Sophie American Record Guide January/February 2021 181 Harmsen bobs around in time to the music Hans Helm’s career was centered in Europe, and often conducts herself; that is very dis- primarily the German-speaking countries. He tracting, but I couldn’t keep my eyes off her! is heard in comprimario roles on a number of Bernius gets the job done, but watching him, studio recordings. In this performance he I’m not sure how. His technique is very shows what he can do when given the chance. unclear—he doesn’t seem to help the per- His Malatesta is funny, charming, debonair, formers at all. I was amazed that the tenors and extremely well sung. He has no difficulty came in at “Et resurrexit” because he doesn’t with the coloratura, tossing it off as easily as breathe with his singers. And in moments of his prima donna. Oscar Czerwenka only had a high expression he basically looks angry and brief Met career appearing as Ochs and Rocco terrifying when you want him to look ecstatic. in the 1959-60 season. He is a lovable But somehow he gets the job done. Pasquale. One really feels bad for him when he There are interesting things in the docu- gets slapped by Norina in Act III. He too is mentary, and the filmed performance brings nimble in the patter music; the big duet with different dividends than audio CDs. I suspect Malatesta is one of the high points of the per- there are “video people” out there for whom formance. this would be a great enjoyment, but I guess I was pleasantly surprised that the picture too that “audio people” will find a lot of this and sound quality are more than adequate. unnecessary and annoying. I prefer Klemper- There are subtitles in five languages. Be aware er. The end of the Credo (from “Et vitam ven- that the English subtitles are translations of the turi” on) will make you a believer. original Italian, not the German that is sung ALTHOUSE here. Lovers of this opera or fans of these singers D ONIZETTI: Don Pasquale should acquire this as soon as possible! Oskar Czerwenka (Pasquale), Edita Gruberova REYNOLDS (Norina), Luigi Alva (Ernesto), Hans Helm (Malatesta); Vienna Opera/ Hector Urbon DVORAK: Rusalka Naxos 2.110659—120 minutes (Rusalka), Evan Leroy Johnson (Prince), Alexander Roslavets (Vodnik), Patricia I reviewed a terrific performance of this opera Bardon (Jezibaba), Zoya Tsererina (Foreign sung by Kurt Bohme, Fritz Wunderlich, and Princess); Glyndebourne/ Robin Ticciati Erika Koth (Profil 19075, J/A 2020). Hard on Opus Arte 1302 [Blu-ray] 153 minutes; also DVD the heels of that release comes this DVD of the same opera again sung in German with an This Opus Arte video preserves a 2019 per- equally delectable cast. The production was formance of Melly Still’s celebrated staging of filmed on tour at a small theater in Austria, yet Dvorak’s Rusalka for Glyndebourne. Despite the simple set design and elaborate costumes taking some liberties, Still’s aim was “not to supply a charming frame for a delightful per- interpret but to open doors to possible mean- formance. These singers all know their roles ings and invite every individual to make the well and are enjoying themselves tremendous- story her or his own”. In the process, she creat- ly. Some of director Helge Thoma’s ideas are a ed a visually stunning production (Rae Smith, little curious (would Norina really strip to her designer) that cuts to the opera’s emotional bloomers in front of Dr Malatesta?), but his core. The eerily beautiful depiction of Rusalka handling of the chorus in their big number in and her sister mermaids even warrants a short Act III is inspired. The chorus is a small group bonus feature, Rusalka—Flying Through (probably 20 or fewer—it’s a small stage). Edita Water, that explains the mechanics behind Gruberova (who has only just retired) is seen this crowd-pleasing special effect. at the beginning of her long and varied career. The cast is strong, led by Sally Matthews in At just 31, she is supple of voice and figure and the title role. She lacks the tonal voluptuous- is a delight. One can understand why she was ness of sopranos like Benackova or Fleming, such a favorite with the public. She ornaments and there is a bit of a matronly quality to the tastefully, never venturing as high as F (which tone that doesn’t quite fit the character’s youth she certainly had); but she crowns the Act II and innocence. But her technique is solid, her finale with a great high D. Luigi Alva had just singing flexible and free, occasionally calling turned 50, but except for a few moments of less to mind Rysanek in its expressive abandon. than steady sound, you’d never guess it. He What’s more, she’s an inspired actress, as mes- looks half his age and is handsome to boot. merizing in her mute scenes as in the big vocal 182 American Record Guide January/February 2021 moments. Evan Leroy Johnson, a tall and ing. There are two beautiful pas de deux; one strapping American, sings with a youthful, using Grieg’s Adagio from the Piano Concerto stentorian tenor and communicates the com- and the other using the Andante from the Hol- plexity of the Prince’s predicament. As Rusal- berg Suite. `Anitra’s Dance’, which seems so ka’s father, bass Alexander Roslavets fills out perfect for a ballet, is turned into a “kooch” Vodnik’s phrases with rich sound; his melliflu- dance for Middle-Eastern maidens. Peer ous reading of the beautiful Act 2 aria (`Cely Gynt’s mother Ase is introduced on her svet neda ti, neda’) is a high point of the per- deathbed, dances her death dance, dies, and is formance. Patricia Bardon is an appropriately buried—all in one Martha Graham-influenced wild Jezibaba (the witch who aids Rusalka in scene disconnected from the narrative. Much her quest to live above the sea), and Russian of Act 2 occurs in that asylum; it’s a soprano Zoya Tsererina makes a strong nightmare with some truly odd dancing, more impression as Rusalka’s rival, the Foreign strange characters, drug injections, and shock Princess. Robin Ticciati, leading the London treatments. After a protracted death scene, Philharmonic, lets Dvorak’s melodies flower Peer Gynt meets Solveig again, apparently in while keeping the pace taut. the afterlife. ALTMAN This was a very long 112 minutes—not an “experience” I want to see again. The standard GRIEG: Peer Gynt DVD picture is fine and the 5.1 Dolby sound is Jacob Feyerlik (Peer Gynt), Alice Firenze effective. The dancing despite the awful chore- (Solveig), Eno Peci (Death), Franziska-Wallner- ography is very good. Conductor Hewlett leads Hollinek (Ase); Vienna Opera Ballet/ Simon a nicely paced performance. I was tempted to Hewlett—C Major 755808—112 minutes turn off the picture and just listen to the music, but there are long passages where there is no It’s hard to describe this ballet version of Peer music. Gynt, because it’s not really Peer Gynt by FISCH or Peer Gynt by Henrik Ibsen. According to the blurb on the back of the DVD HENZE: Der Prinz von Homburg cover choreographer Edward Clug’s merged Robin Adams (Prince), Stefan Margita (Elector), Grieg and Ibsen “in a new ballet experience”. Vera-Lotte Boecker (Natalie), Helene Schneider- Grieg wrote his Peer Gynt music to accom- man (Electress); Stuttgart Opera/ Cornelius Meis- pany scenes in Ibsen’s play and even when ter—Naxos 115 [Blu-ray] 114 minutes; also DVD used for that purpose it’s been difficult to pro- duce. Ibsen’s basic narrative is Peer Gynt’s In his well-considered assessment of the audio passage through life to find meaning, encoun- release of this performance (Capriccio 5405; tering people and problems that he often cre- N/D 2020), Mr Locke pronounces this opera ates, and eventually finding solace after his “hard on the ear” and laments the set’s death. If you don’t read the included synopsis absence of texts and translations. The video you won’t know what’s going on in this ballet edition remedies at least one of those griev- or who the characters are. Clug can’t seem to ances—it has subtitles in four languages. And make up his mind whether to stage modern the work’s celebration of individualism over ballet sequences or more traditional ballet the submission inherent in militarism is pro- moves. These inconsistencies only add to the jected boldly in the visuals. confusion. For director Stephan Kimmig, the opera is Clug has re-ordered scenes, used some of not exclusively about the army or the way indi- Grieg’s music not written for Peer Gynt, and viduals are forced to adapt to a system; “it is generally made an incomprehensible hash out about the way systems work per se”. Or don’t, of everything. He only skims the narrative and as represented by a bare dance studio, with gives a “modern” spin to the plot. New charac- fluorescent lighting that sometimes flickers ters are added, including a rather strange deer unsettlingly. But while military maneuvers figure that roams about and an evil Death per- become ballet positions rehearsed at the son who shows up occasionally to make Peer barre, Kimmig doesn’t get bogged down in Gynt’s life miserable. The Death figure appar- gimmicks. He uses the tableaux to support the ently rules the Mountain People and later is finely delineated personalities of the principal the head of an insane asylum where he tor- actors in the drama. Foremost among them is ments Peer. the title character, whom the librettist Inge- The dancing is only occasionally interest- borg Bachmann calls “the first modern protag- American Record Guide January/February 2021 183 onist, alone with himself in a fragile world”, those ideas evolved, what each of the move- and whom Kimmig describes as “an outsider ments is, and how the music mirrors the com- because he is a dreamer”. The director explains poser’s own life. The musicologists, led by that in the post-World War II era of the opera’s Peter Franklin, explain the ins and outs of genesis, “Bachmann and Henze dream of a Mahler’s creativity without seeming stuffy or freer form of existence—without humiliations, condescending. We are shown how Symphony without destructive hierarchies.” 1 influenced and inspired the Wayfarer Songs English baritone Robin Adams, singing and how the musical ideas of one work are with clarity and tonal variety, is a sympathetic carried over and developed in the other. and ruggedly sexy Prince. As his love interest, Along the way, we’re told of various per- Princess Natalie, Vera-Lotte Boecker is an formance traditions. Never having heard expressive actress with a free and bright sopra- Mahler’s first symphony in the hall I didn’t no. The Elector and his wife (Stefan Margita know, for example, that at one point the brass and Helene Schneiderman) are the epitome of stand to deliver a passage in one of the later tenuous power, and the supporting roles are movements. I learned many things from this all filled to perfection. Locke was unmoved by disc while being thoroughly entertained. I Henze’s “disjointed vocal lines”, but the sterling know Starr has created a similar film about cast renders them with a graceful ease that Das Lied von der Erde, also available on VAI extracts whatever essential beauty lies beneath (Nov/Dec 2013). I have every intention of the thorny surface. exploring that too. In fact, as I watched this, I The video has another advantage. During kept wishing that Starr would make films the exciting instrumental interludes, the cam- about all of Mahler’s symphonies. That’s prob- era cuts to conductor Cornelius Meister, ably not financially possible, but one can whose apparent joy at leading the Stuttgart dream. Opera Orchestra through this presumably In my next lifetime I will get to know arduous score is infectious. Mahler more intimately. ALTMAN REYNOLDS

MAHLER: Romance, Death, and Triumph MASSENET: Symphony 1 & Wayfarer Songs Danielle de Niese (Cendrillon), Kate Lindsey Thomas Hampson, bar; Estonian Symphony/ (Prince Charming), Lionel Lhote (Pandolfe), Neeme Jarvi—VAI 4605—100 minutes Nina Minasyan (Fairy Godmother), Agnes Zwierko (Madame de la Haltiere); Glynde- vAs I’ e gotten older I’ve become more aware bourne/ John Wilson that Time is finite and one only has so much Opus Arte 1303 [Blu-ray] 148 minutes; also DVD time to explore what one loves. As I am an Opera Nut I tend to spend my free time listen- Tehe est emed Irish actress and opera director ing to the umpteenth pirated Tosca or Ring Fiona Shaw devised a magical Cendrillon for cycle rather than exploring new fields of Glyndebourne aimed at telling the story to a music. That doesn’t mean I don’t like other modern audience. To her credit, her rethink- music. On the contrary, I enjoy musical the- ing is generally rooted in Massenet’s music ater, operetta, lieder, ballet, chamber music, and the text by Henri Cain, after Perrault. As jazz, and symphonic music very much (I even seen in this 2019 performance the staging is enjoy rock and country music!) Because of my richly detailed in characterizations, imagery, love of the human voice I’ve enjoyed Mahler’s and stage effects (including a canny use of song cycles or symphonies with choral music holograms), yet never feels overstuffed. Cin- the most. I know his other music is magnifi- derella’s adventure is a dream, populated with cent, but one only has so many hours in a day. key figures from her life whom we meet in I’ve written the above to explain why I pantomimes. Her dead mother becomes the enjoyed this video so much. Jason Starr’s doc- Fairy Godmother, and the kind maid who is umentary about the evolution and composi- her only safeguard against the malignant tion of Mahler’s first symphony is what all women of the household (her father is caring explications should be: revealing, moving, and but ineffectual) becomes her Prince Charm- interesting. Using musicologists and actors as ing. As that role is written for a woman, the well as an actual performance, Starr explores association is pregnant with psychological why Mahler began his symphonic career, how possibilities. When he first approaches Cin- the melodic ideas germinated in him and how derella, the Prince has the demeanor of an 184 American Record Guide January/February 2021 androgynous boy band singer, a stereotypical composer’s finest achievement, but director teenage girl’s fantasy. But by the opera’s finale, Mariame Clement was attracted to what she when Cinderella awakens from her dream, calls the “incredibly honest music which does there are suggestions that she and the maid not shy away from expressing feelings”. Her might share a more mature mutual attraction. inventive production for the 2019 Bregenz Fes- Whatever the interpretation, Shaw was deter- tival brings the legendary knight into the 21st mined to show that “finding love is not a Century, and her vision is supported by an woman’s entire destiny—she has more excellent cast, conductor, and set and costume options”. designer Julia Hansen. Cinderella and Prince Charming are cast to Before the curtain rises, the audience is perfection, Danielle de Niese with a sympa- shown the message-heavy ad the razor com- thetic tear in her voice and the infallible Kate pany Gillette produced for the 2019 Super Lindsey with an artless purity well suited to Bowl. Titled `We Believe’, it is a hokey response the male roles she often assumes. The two are to the #metoo movement that provoked some also captivating to watch. With De Niese’s controversy for its critical depiction of (prima- large, entrancing eyes and Lindsey’s expressive rily white) “toxic masculinity”. The audience is body language, one can imagine them tri- unsure of how to react, but a man (the animat- umphing just as well in a adapta- ed actor Felix Defer) rises from the audience to tion. Nina Minasyan is outstanding as the Fairy voice their concerns: “Commercials in an Godmother. Her coloratura soprano has bell- opera house? Now I’ve seen everything!” After like brilliance and effortless solidity, and she is a few uncomfortable moments, it is clear this also a delight to behold. is part of the show, and the Man, ranting about Cinderella’s father Pandolfe is sung by how Don Quixote’s lance is probably too vio- Lionel Lhote, a Belgian baritone with a sweet lent a prop for our modern sensibilities, invites and robust timbre who plays the character not Quixote (who seems to materialize out of as an old fool, but a middle-aged man with nowhere) to join him in the first row to regrets. The duet where he and his daughter observe the opera. reminisce about better days and imagine run- Once we are properly disoriented by this ning off together (`Viens, nous quitterons cette clever framing device, Clement goes on to ville’) is especially moving since, in Shaw’s exploit the libretto’s episodic nature to present concept, this is perhaps only the overtly affec- models of male behavior in various situations, tionate father of Cinderella’s dreams. Agnes relating back to the commercial. The opening, Zwierko also breaks the mold as the step- where Quixote meets Dulcinée, is in period mother Madame La Haltiere, finding plenty of costume. But the second scene is set in a lock- humor in the role without excessive caricature. er room, Sancho busy writing an email on his She appears in the first scene in a jogging suit laptop while his master showers after shaving and baseball cap (the world outside of Cin- (presumably with a Gillette razor). The famous derella’s dream is contemporary), a tough but windmill is here a small window fan. But as he attractive older woman who can still rely on prepares for battle against the perceived her feminine wiles for social advancement. “giants”, the back wall of the set opens up and Conductor John Wilson keeps Massenet’s we see a striking image of the fan as Quixote enchanting score bubbling along, and he sees it, huge and threatening. When the Knight shows a strong affinity for shaping the ineffa- sets out on his mission to recover Dulcinée’s bly charming lyrical moments so that the stolen necklace, he is dressed as Spiderman. singers are supported lovingly. This is the kind Confronting gang members in a graffiti-cov- of production that reveals subtleties on each ered alley, he converts them with words of viewing. After the second time through, I was peace and inspiration, demonstrating what it looking forward to the third. really means to be a (super)hero. ALTMAN The next scene is a contemporary office. Don Quixote, now an awkward work colleague MASSENET: Don Quichotte with a secret crush on his superior, offers Dul- Gabor Bretz (Don Quichotte), Anna Goryachova cinée the recovered necklace. On bended (Dulcinée), David Stout (Sancho); Vienna Sym- knee, he proposes marriage as the other phony/ Daniel Cohen employees gather around to mock him and C Major 754104 [Blu-ray] 125 minutes; also DVD record the embarrassing event on their phone cameras. Though she rejects his offer, she Massenet’s Don Quichotte may not be the defends his honor to her colleagues. Yes, he’s a American Record Guide January/February 2021 185 fool, but he’s a noble fool (“un fou sublime”). though the lighting is a little glaring some- The curtain falls and Sancho steps forward, times. The theater itself is one of those small discarding the wig and glasses he wore in the atmospheric houses that take one right back to office scene. Scolding the audience for not the 18th Century. appreciating Quixote’s exemplary heroism, he REYNOLDS adjures his master to carry on his mission. After he leaves, Dulcinée comes before the PUCCINI: Suor Angelica curtain and, shedding the remnants of theatri- Maria Jose Siri (Angelica), Anna Maria Chiuri cal pretention, seats herself in the front row to (Principessa); Florence May Festival/ Valerio watch Don Quixote’s death scene. The Galli—Dynamic 57873 [Blu-Ray] 60 minutes denouement is handled with great sensitivity Gianni Schicchi as Clement celebrates the knight whom she Bruno De Simone (Schicchi), Anna Maria sees as “not manly in the classical sense”, but a Chiuri (Zita), Francesca Longari (Lauretta), “combination of the hero and poet that is quite Dave Monaco (Rinuccio); Florence/ Galli unusual”. Dynamic 37874—54 minutes On paper, this concept might seem con- trived. But the charismatic individuality of the In the last issue (N/D 2020) I wrote a positive principal performers is consistently engaging, review of the Tabarro from this Trittico, capped by a compelling finale, with Don lamenting that Dynamic chose to split the Quixote left all alone on stage. In the title role, operas up into three separate releases instead Hungarian bass Gabor Bretz displays a voice of of including all of them on one video disc. size, beauty, and tonal variety. The British (They did this with a recent Cavalleria Rusti- baritone David Stout is a loveable Sancho, and cana and Pagliacci too.). Our editor kindly sent the Russian mezzo-soprano Anna Goryachova me the other two operas so I’ve now been able has a strong, mellow tone and a haunting to observe the rest of director Denis Krief’s physical presence. Daniel Cohen makes the work. In all of them, he tells Puccini’s stories most of the score, and the Vienna Symphony succinctly without deviating from their plots or plays beautifully. adding extraneous, self-indulgent details. The ALTMAN settings have been brought forward to contem- porary times or at least into the last century. MOZART: Arias & Overtures This works for Tabarro, but is less effective for Juan Diego Florez, t; Orchestra La Scintilla/ Ric- the other two operas, particularly Gianni cardo Minasi—C Major 754904 [Blu-ray] 75 min Schicchi. (The threat of having one’s hand cut off for altering a will is no longer a possibility, Allan Altman wrote a mostly favorable review as far as I know!) Yet these stagings work. of Florez in these same Mozart arias (Sony Some of the blocking in Suor Angelica is 43086, Jan/Feb 2018). Here we have almost the awkward; Krief doesn’t seem to know what to same program (the CD had Tito’s other aria do with the large group of women. He does from Clemenza di Tito as well). Florez sings preserve the intent of the composer at the end these arias with beauty and charm and a daz- of the opera without observing the stage direc- zling command of Mozart’s florid demands. tions to the letter. I won’t reveal what he does, Other tenors have supplied more warmth and but it is very moving (unlike other productions color, but the Peruvian tenor gives his audi- of this opera that rewrite the ending altogether ence their money’s worth. He uses appropriate to avoid any “saccharine religiosity”). appoggiaturas and ornaments tastefully, Gianni Schicchi is hilarious from begin- adding a cadenza at the end of ’s ning to end: the trashing of Buoso Donati’s `Fuor del mar’ that takes him to a high D. apartment to find the will, the deception of the Riccardo Minasi and his orchestra supply witnesses—it all made me laugh out loud. And exciting accompaniments, augmenting the Krief doesn’t ruin the end of the opera by arias with performances of Mozart overtures. bringing Zita back in to murder Schicchi (as in The double dotting and tempo of the Don Gio- Woody Allen’s staging for LA Opera). vanni overture may raise some eyebrows; I Maria Jose Siri is as lovely an Angelica as enjoyed it, but more traditionally inclined lis- one could wish for. She is not as specific in her teners may not. Florez is still as handsome as acting as Renata Scotto or Ermonela Jaho ever and enthusiastically conveys his enjoy- (whose work is spoiled by director Kasper ment of the music. The audience adores him. Holton in Covent Garden’s production); but Sound is excellent, picture very clear— her strong, clear soprano is very refreshing and 186 American Record Guide January/February 2021 she has no difficulty with Angelica’s three high In Andersen’s telling, Death explains that he is Cs in the opera’s final 15 minutes. Anna Maria only God’s servant. In his garden of souls, he Chiuri plays her unyielding Aunt with more shows the mother two flowers that represent young lives. One is destined to be “a blessing to humanity than we usually see in this role. The the world”, the other “full of care, anxiety, misery”. interaction between the two women is more He will not divulge which of the two is her child, interesting in this production than elsewhere. only that both fates are God’s will. Andersen Chiuri also plays Zita, the cranky aunt in explored a similar concept in his poem known in Gianni Schicchi; she is the only singer to German as `Muttertraum’ (set with chilling understatement by Schumann). There, the moth- appear in all three operas. Francesca Longari er delights in her child as he slumbers in his cra- is a beautiful Lauretta, both visually and vocal- dle. Forgetting her own struggles, she envisions a ly, but it would’ve been more fun to have Siri rosy future for her “angel”. A raven, however, perform all three heroines (as Scotto, Teresa “shrieks a tune” outside the window: this child Stratas, and, more recently, Patricia Racette will grow up to be a brigand and will one day have done). Bruno De Simone is a terrific serve as supper for the raven and his clan. Pita’s adaptation streamlines Andersen’s ending Schicchi, singing and acting with piquant wit; and puts the emphasis on the necessity of griev- and Dave Monaco contributes a well-sung, ing and the acceptance of death. In an Epilogue, handsome Rinuccio (sporting a ponytail). All we see the mother all aglow, bringing home baby of the relatives contribute greatly to the clothes and patting her enlarged belly. Is this the ensemble and yet all are individual and funny expectant joy of a second child who will compen- sate in some way for the loss of the first? Or a on their own. Several of them appear in the flashback to the blissful ignorance of the future, other two operas as well. as in `Muttertraum’? The staging leaves the ques- Valerio Galli is an excellent conductor for tion open in this harrowing tribute to the emo- these works. He knows how to follow, but also tional highs and lows of motherhood. lead, a must when conducting opera. Sound ALTMAN and picture are excellent on both, the Blu-ray a Arturo Benedetti Michelangeli little sharper than the DVD. Subtitles are avail- film by Syrthos J Dreher & Dag Freyer able in six languages. C Major 755206—79 minutes REYNOLDS Making a film about this legendary and reclu- The Mother (ballet) sive pianist cannot have been an easy task, and much time is spent on relating the difficulties Natalia Osipova (Mother), Jonathan Goddard involved. Michelangeli was a perfectionist, not (Death); Arthur Pita, Choreographer only with his playing, but with such things as Opus Arte 7280 [Blu-ray] 78 minutes; also DVD the temperature of the room, not wishing unauthorized people to observe him, and can- Inspired by a dark fairy tale by Hans Christian celing his appearance if things were not just Andersen, Portuguese-born choreographer right. Unsatisfied with a recording of Ravel’s Arthur Pita created the ballet The Mother as a Piano Concerto in G, he orders it destroyed. vehicle for the prodigious talents of the dancer Surreptitiously caught is the moment of his Natalia Osipova. It is a true tour-de-force, a heart attack in 1988. Luckily there were two doctors in the audience who helped him sur- mix of many styles that exploits Osipova’s love vive. The film is chock full of moments where of dramatic theater. The music is composed we eavesdrop on the artist— none of which and played by Frank Moon and Dave Price; it’s probably met with his approval. Whether this an eclectic score, mainly for synthesizer and is right I leave for others to determine. percussion. Wisps, and moments from the Ravel, but The scenario follows a mother on her jour- never the complete work, nor the complete ney to find Death and rescue her child from anything is offered to us, and given the cir- cumstances why should they? Michelangeli his clutches. In each trial along the way, she would most certainly not have approved. The encounters different guides (the stunningly crumbs from his earlier years are delicious, but versatile Jonathan Goddard) who demand gru- crumbs nevertheless. eling sacrifices. Lots of praise and occasional thoughts American Record Guide January/February 2021 187 from his friends, colleagues, and admirers add In her childhood years, there was some to the interest of the film; but finally we are left flexibility in their chances to better them- with scabs in the life and times of this unique selves. All that changed in the 1890s when Jim pianist. He valued his privacy so much, and Crow laws increasingly starved any notion of this brave attempt to penetrate that only developing a higher Black culture. Price had scratches the surface.But this was an impossi- gotten a good musical education, studying ble task from the start. under George Whitefield Chadwick and Fred- Would I recommend this? Unquestionably, erick Converse at the New England Conserva- for piano mavens. tory. Always an outstanding student, she grad- BECKER 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, the Books specter of lynching also grew more menacing, The Heart of a Woman: and in the Prices’ case potentially personal, so in 1927 the family moved to Chicago. Unfortu- Florence B Price nately, Mr Price became mentally and physi- by Rae Linda Brown cally abusive, forcing her to divorce him. The U of Illinois Press, 296 pp, $29.95 book describes her struggles as a single moth- N o one today can imagine the inner faith and er during the Great Depression as well as the strength of will it must have taken for a Black constant demeaning Black artists—and Blacks woman nearly a century ago to write sym- in general—had to endure. Brown notes this in phonic music. Florence Beatrice Price (1887- compelling detail without editorializing. She 1953) had such faith and will—and talent. Her wisely lets the facts speak for themselves. Symphony 1 was popular in the 1930s and 40s Her analyses of Price’s major works are and the first by an African-American woman technically well done with useful musical to be played by a major orchestra (in Chicago examples that don’t bog down in theoretical under Frederick Stock in 1933). Her music is chloroform. She zeroes in on its harmonic making something of a comeback. In addition bases and the specific melodic traits that make to her songs and keyboard works, there are up Price’s personal style. Like any good musi- now recordings of three symphonies and her cal writer, she makes you want to hear the Piano Concerto. I live in rural Pennsylvania, music itself. Price had ill luck similar to Haver- but thanks to enterprising conductors at local gal Brian when it came to scores getting lost, universities have had the fortune to hear two including her Symphony 2 and an early tone of her symphonies in good concert perform- poem Ethiopia’s Shadow in America. As a tone ances. poem aficionado, I’d especially like to hear Dr Brown’s biography thus comes at a that one. good time. It is an expansion of her 1987 dis- Dr Brown died in 2017, thus never lived to sertation, and its title comes from one of see the results of her work. The book was seen Price’s songs. It makes fascinating reading. to completion by Guthrie P Ramsey Jr, who She’s especially good describing the milieu also contributes a worthwhile introduction. where the composer (nee Smith) grew up. The There are excellent and informative footnotes, specifics of her family history are well fleshed a bibliography and a discography. out—the result of good, solid shoe-leather O’CONNOR research. Her concentration on what’s impor- tant is a refreshing contrast to the dreary door- Julian Anderson stoppers in vogue these days, where the author Dialogues with Christopher Dingle on Listening, simply shovels his info between covers and Composing, and Culture expects the reader to sort it out. In short, this is Boydell Press, 458 pages, hard cover a real biography, not a data dump of a writer’s note cards. As you can tell from the subtitle, these are Price’s parents were relatively middle-class wide-ranging dialogues. I enjoyed most of it, in the Black community in Little Rock, but especially the subject of tempo markings, Arkansas. She was born a blue baby. To have the matter of period performance practice, lived to be 66 was itself unusual; with that con- and the comments on “browsing” and how dition back then, Irving Thalberg’s 37 was a valuable that was when it was possible. (I can’t more common span. resist a couple of his comments on PPP: The 188 American Record Guide January/February 2021 dogmatism has got absurd, and it was very Milwaukee since 1981 and for four seasons heavily marketed.) was Artistic Director of l’Orchestre Metropoli- A great many contemporary pieces start tain in Montreal. Since 2005 he has served as loud. Julian Anderson is a composer, and he Music Director of La Musica Lirica, a summer has a laugh about that. He also thinks musi- program for singers in Northern Italy. In 2014 cians should shut up and play—he hates (as I he joined the Solti Foundation’s residency do) the way some of them think they must talk project as an advisor to the Olga Forrai Foun- about it. dation’s work with singers and conductors. These interesting and erudite conversa- All that experience was surely excellent prepa- tions began in 2014 and went on for several ration for writing Conducting Opera, which is years. They cover all the major figures our not a manual on conducting technique so readers cut their teeth on, from Mengelberg much as it is a hands-on practical volume and Furtwangler thru Bernstein and Karajan. about the conducting process. It examines There’s a lot about Boulez. They give us an from a conductor’s viewpoint well-known inkling of English thought about music since operas by Mozart, Verdi, Wagner, Puccini, the turn of the century. They help us to under- Richard Strauss, the French Romantics, and stand what it means to be a composer in our bel canto. Among the author’s many general time. recommendations: learn the opera first from a VROON vocal score before working with an orchestral one; analyze the structure; identify its “emo- Aaron Copland and the American tional high points”, etc. He goes on to discuss Legacy of Mahler cuts, casting, the characteristics of roles and by Matthew Mugmon their ranges, whether voices should balance or Casemate—228 pages—$49 hardcover contrast, choosing tempos, balance problems, transitions, possible traps, where singers might Aaron Copland was an early American advo- need help from the conductor, appropriate cate of Mahler’s music, and he remained so all beat patterns and how different ones affect the his life. He encouraged conductors he knew interpretation, and much more. Since a princi- well, like Koussevitzky and Bernstein, to pro- pal function of the conductor is to pace the gram Mahler and eagerly attended those con- performance, he or she must determine the certs. Intelligent critics hear Mahler’s influ- right rhythmic pulse to create flow. To do that, ence in Copland’s Third Symphony—and even Rescigno suggests relating tempos to each in most of his very “American”-sounding other mathematically, a method that is proba- music. Despite his French training, Copland bly controversial. was heavily influenced by Austro-German He discusses traditions, interesting tidbits, romanticism. In 1935 he said, “Mahler speaks opera lore, and more. Each composer (and bel to the romanticist in all of us.” He also seemed canto) gets a chapter. The operas are often to connect Mahler’s kind of romanticism with treated in detail. It helps to have an orchestral Jewishness. He loved Mahler’s orchestration score to follow all this, but most of what the and textures, which were a lot lighter and less author says can be followed if you know the dense than, say, Strauss’s. opera. Scores for these operas are available on I had never realized Copland’s influence in the International Music Score Library Project this area. He really “pushed” Mahler, and his site (IMSLP) and/or the Dover series of scores. influence on Bernstein was considerable. The In Wagner’s Flying Dutchman, Rescigno book really has only the one thesis and can be notes the distinction between the original and read rather quickly, though there are fascinat- revised versions, and discusses performing the ing details as well. opera in one, two, or three acts. He character- VROON izes his ideal singer for the Dutchman and calls the Spinning Chorus a gentle piece that Conducting Opera—Where Theater should not be taken too fast. In Die Walkure Meets Music there is a fascinating bit about how to handle by Joseph Rescigno two timpani in limited space and another on University of North Texas Press, 336 pp. $29.95 how to balance the final scene. For `Wotan’s farewell’ he notes how the best interpretation American conductor Joseph Rescigno (1945-) may stress the baritone. For Tristan and Isolde has been Artistic Advisor and Principal Con- he points out harmonic progressions and pays ductor of the Florentine Opera Company of Continued on inside back cover American Record Guide January/February 2021 189 Index to Vol. 83 — 2020 Composer: 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. ABEL: Cave of Wondrous Voice (Shifrin, Sherry, Rosenberg- Cello Suites (Clement) Decca 4828523, M/A: Moore er) Delos 3570, S/O: Gimbel Cello Suites 1+2 (Deserno) Kalei 6344, M/A: see ABERT: Ekkehard (Falk) Capr 5392, J/A: Locke DINESCU AFANASIEV: Double Qt (Roctet) Chall 72822, J/A: French Cello Suites (Malov) SoloM 343, N/D: Moore AGNESI: Arias (De Simone, mz) Tact 720101, M/J: Moore,C Cello Suites for Guitar (McFadden) Naxos 573625, N/D: AGNEW: Piano Pieces (McCallum) Tocc 496, M/A: Kang Moore AHO: Chamber Pieces (Petronen) BIS 2186, N/D: new, Boyd Cello Suites 4-6 (Tetzlaff) Avi 8553078, M/A: Moore ALAIN: Organ Pieces (Mantoux) Raven 163, S/O: Delcamp Cello Suites (Unterman) BST 132, M/J: see BLOCK ALBENIZ: P Son 3,4,5; Suites Anciennes (Stanley) Piano Cello Suites (Vectomov) Sup 4275, S/O: Moore 10194, S/O: Kang Cello Suites (Weber) Prosp 1, N/D: Moore Piano Pieces [4CD] (Jones) Nimb 1711, N/D: Repp Cello Suites (Ylonen) Alba 444, J/F: Moore ALBINI: Quartets (Indago Qt) Brill 95717, M/A: new, Faro Chorale Preludes+ (Sherman, St Mark Seattle) Loft ALBINONI: Cantatas (Frigato) Brill 95600, J/F: Loewen 1157+8, S/O: Gatens ALECIAN: Armenian Quartet (Akhtamar Qt) Cypre 1681, J/A: (St Thomas, Leipzig) Acce 30469, see KOMITAS N/D: Gatens ALKAN: 4 Ages Sonata; Souvenir (Viner) Piano 10209, S/O: Dances for Piano (Rubinsky) Naxos 574027, M/J: Harrington Lehman P Pieces (Nosrati) Avi 8553104, M/J: Becker English Suites (Rangell) Stein 30136, M/J: Lehman Preludes (Viner) Piano 10189, M/A: Kang English Suites (Zanzu) MusF 8032, S/O: Lehman ALWYN: Miss Julie (Oramo SACD) Chan 5253, N/D: Locke Flute Sonatas (Labrie) Anal 8921, S/O: Gorman Qt 6,7,8,9 (Villiers Qt) Lyrit 386, N/D: Thomson French Suites (Alard) HM 902457, S/O: Lehman AMRAM: Flute Pieces (Large) BlueG 537, J/A: Gorman Gamba Sonatas (Tamestit) HM 902259, J/F: Moore ANET: Violin Sonatas (Illes) Hung 32754, S/O: Brewer Goldberg Var (Boyadjieva) Cent 3712, J/F: Harrington ANHALT: Portraits; Timbre of these Times (Csaba) Centr Goldbergs (Madge, p) Zefir 9670, N/D: Lehman 26419, J/F: new, Faro Goldberg Var (Malcolm, hpsi) Decca 4828439, M/A: ARENSKY: Chamber Symphony (Amsterdam Sinfonietta) Lehman Chanl 37119, M/J: O’Connor Goldbergs (Moersch, hpsi) Cent 3721, J/A: Lehman Trios (Munich Trio) Prof 19072, J/F: Vroon Hpsi Concertos (Corti) Penta 5186837, J/A: Lehman ARNOLD, C: PC; P Sextet (Torgersen) Simax 1344, S/O: Hpsi Concertos 2,4,5,8 (Suzuki SACD) BIS 2401, N/D: French Lehman ARONIS: William Blake Cycle; V Son (Various) Enhar 36, Italian Concerto; partitas (Eickhorst, p) Genui 20682, N/D: new, Faro S/O: Haskins ARTYOMOV: Hymns; Clar Son; Duets (Various) DivA 25198, Italian Concerto; transcriptions (Osetinskaya) Melya S/O: Althouse 2602, M/A: Lehman ASPLMAYR: Quartets (Eybler Qt) GPN 20001, S/O: Alth Lute Suites (Halasz, g) BIS 2285, N/D: McCutcheon AUBER: Cheval de Bronze (Richter) Orfeo 986192, M/J: Magnificat (Boult) Decca 4840411, M/A: see HANDEL Locke Magnificat; Cantata 63 (Chapelle Harmonique) Vers 9, Le Macon (Tenner) Orfeo 985191, M/A: Locke M/A: Gatens Overtures (Salvi) Naxos 574005, J/A: Fisch Organ Pieces (Boucher) ATMA 2777, M/A: Gatens Overtures 2 (Salvi) Naxos 574006, N/D: Hecht Organ Pieces (Doeselaar, Wiersinga SACD) MDG AUERBACH: 72 Angels (Rascher Sax Qt) Alpha 593, J/A: 9062137, J/F: Gatens Gimbel Organ Pieces at Notre Dame (Latry) LDV 69, J/F: Delc AYLWARD: Angelus (Ecco Ensemble) NewF 261, J/A: Sull Organ Pieces (Suzuki) BIS 2421, M/A: Delcamp BABAJANIAN: Trio (Gluzman, Moser, Sudbin SACD) BIS Organ Pieces: harmonic seasons (Tomadin) Brill 95786, 2372, M/A: see TCHAIKOVSKY J/A: Gatens BACEWICZ: Violin Sonatas, all (Berthome-Reynolds) Muso Orgelbuchlein (Farr) Reson 10259, J/A: Delcamp 32, M/A: Gimbel Partitas (Hewitt) Hyp 68271, M/A: Lehman BACH: 2-Hpsi Concertos (Fortin & Frankenberg) Alpha 572, Partitas (Levin) Palai 17, M/J: Lehman M/J: Lehman Piano Pieces (Ilic) MSR 1724, J/A: Haskins 2-Piano Transcriptions by Reger (Takahashi & Lehmann) Piano Pieces (Rangell) Stein 30111, M/J: Haskins Audit 23445, M/A: Harrington Piano Dances (Rubinsky) Naxos 574026, J/F: Kang Arrangements (Chelsea Festival) Chel 0, J/F: Vroon Sinfonias, Inventions, more (Rangell) Stein 30126, J/A: Art of Fugue (Belder, hpsi) Brill 96035, J/F: Lehman Haskins Art of Fugue (Nikolaeva) FHR 95, S/O: Lehman Solo V Son & Part (Cotik) Cent 3755, M/J: Kell+Magil Art of Fugue, 3 completions (Salzburg Chamber Soloists) St John Passion (Herreweghe) Phi 31, J/A: Gatens Adil 9, S/O: French St Matthew Passion (Petite Band) Chall 72821, M/A: (I Musici) Uran 121386, S/O: Althouse Gatens Busoni transcriptions (Michiels) FugaL 760, J/A: Becker St Matthew Passion (Koopman) Chall 71232, M/A: Cantatas 56, 82, 158 (Greco, Luthers Bach Ens) Brill Gatens 95942, M/A: Loewen St Matthew Passion (King’s College Choir) Kings 37, Cantatas 56,82,158 (Zefiro) Arcan 466, J/F: Loewen J/A: Gatens Cello Suites (Bertrand) HM 902293, J/F: Moore 190 American Record Guide January/February 2021 St Matthew Passion (Suzuki SACD) BIS 2500, J/A: Cello Sonatas & Var (Berger) SoloM 338, N/D: Moore Gatens Cello Sonatas & Var (Epsteins) Linn 627, M/A: Moore Toccatas (Fouccroulle, org) Ricer 140, J/A: Gatens Cello Sonatas & Var (Michael) Reson 10254, J/A: Moore Toccatas (Suzuki, hpsi) BIS 2221, J/A: Lehman Choral Songs (German Youth Chamber Choir) Carus Trio Sonatas, S 1030-35 (Petri+) OUR 6220673, M/J: 83502, M/A: Greenfield Gorman Clar Trio (Bedenko) Orch 102, J/F: Hanudel Trio Sonatas (Ponsford & Hill, hpsi) Nimb 6403, J/A: Clarinet Trio; arr Septet (Herold+) Avi 8553479, N/D: Lehman Hanudel Trumpet Concertos (Hofs) Berl 1305, M/J: Kilpatrick Creatures of Prometheus (Segerstam) Naxos 573853, VCs (Les Accents) Apart 206, J/F: Loewen J/F: Althouse VCs (Debretzini) SDG 732, M/J: Kell Diabelli Var (Leuschner) PN 1902, M/J: Kang V Sons (Szeryng) Uran 121380, M/J: Kellenberger Egmont (Albrecht) Orfeo 1903, J/A: French WTC (Merlet) Palai 8+15, M/J: Lehman Egmont; Minuets (Segerstam) Naxos 573956, J/F: WTC 2 (Booth) Sound 219, M/J: Lehman Vroon Well-Tempered Consort 1 (Phantasm) Linn 618, M/J: Flute Pieces (FlautoPiano Duo) MDG 9032135, M/J: Loewen French : Cantatas (Appl/Goebel) Hans 19081, Folk Songs (Various) Naxos 574174, S/O: Vroon N/D: Moore,R King Stephen (Segerstam) Naxos 574042, M/J: Althouse Cantatas+ (Naessens) EvilP 31, M/A: Gatens Leonore (Jacobs) HM 902414, M/A: Locke Cantatas (Vox Luminus) Ricer 401, J/F: Gatens Mandolin Pieces (La Ragione) Arcan 117, J/A: Vroon Hpsi Pieces (Moersch) Cent 3724, S/O: Lehman Mandolin Pieces (Martineau) Naive 7083, M/J: Vroon BACH,CPE: Ob Cons (Loffler) HM 902601, J/A: Gorman Mass in C (Segerstam) Naxos 574017, J/A: Althouse PCs (Rische) Hans 19041, J/A: Becker Masses; Mt of Olives (Rilling) Hans 20027, J/A: Althouse P Son 4 (Jovanovic) K&K 135, J/F: see BACH,WF Missa Solemnis (Masur) Berl 301459, J/A: Althouse Variations (Demeyere, hpsi) Chall 72845, N/D: Lehman PC 1+2 (Giltburg/Petrenko) Naxos 574151, J/F: Vroon BACH,JB: Orch Suites (Thuringa Bach Collegium) Audit PC 1+2 (Sombart) Sign 614, S/O: Becker 97770, M/A: Loewen PC 1,3,4; VCPC (Barnaton/Gilbert) Penta 5186817, BACH,WF: Polonaises (Jovanovic) K&K 135, J/F: Loew M/A: Althouse BACHRICH: Songs, Piano Pieces, Violin (Rubio+) EDA PC 2,5,VC as PC, Choral Fantasy (Barnatan) Penta 44, J/F: Estep 5186824, S/O: Becker BAIRSTOW: Anthems (Tewkesbury Abbey) Regen 543, PC 3+4 (Sombart) Sign 620, N/D: Althouse J/A: Delcamp PCs, all (Brautigam SACD) BIS 2274, M/A: Althouse BALASSA: Piano Pieces 3 (Kassai) Grand 805, J/A: PCs, all (Goodyear) Orch 127, J/A: French Gimbel PCs (Lisiecki) DG 4837637, M/J: French BALLARD: Lute Book 1 (Kolb) Cent 3747, M/A: Loewen BALTAS: Christmas Pieces (Armenian Chamber Choir) PCs, all (Mustonen) Ond 1359, S/O: Becker Phasm 10, N/D: Greenfieldf PCs, all (Wallisch, fp) CPO 555329, N/D: Althouse Panoria (Baltas) Phasm 16, S/O: Hecht Piano 4-Hands (Hill & Frith) Delph 34221, S/O: Harr BANKS: Five (Ingman) Naxos 574141, M/J: Fisch Piano Pieces, all (Tirimo) Hans 19032, M/A: Kang BARBER: Cello Sonata (Kim) Delos 3574, N/D: Moore Piano fragments & sketches (Gallo) Naxos 574131, J/A: Piano Pieces (Moon) MDG 9042177, N/D: Kang Becker VC (Dalene/ Blendulf) BIS 2440, M/J: French Piano Quartets (Hanover Trio) Genui 19673, M/A: Dutt BARBIERI: Barberillo de Lavapies (BBC) Cameo 9115, P Qts (Miucci,p) Dyn 7854, M/J: Dutterer M/A: Fisch P Son 1,10,21,22 (Hewitt) Hyp 68220, M/A: Kang Organ Pieces (Molaschi) Tact 800201, N/D: Delcamp P Son 1,11,12 (Brawn) MSR 1470, J/F: Repp BARMOTIN: Piano Preludes; Variations (Williams) P Son 1,14,17 (Erdi) Hung 32828, M/A: Kang Grand 799, N/D: Estep P Son 7,18,32 (Biss) Orch 109, M/A: Becker BARNSON: Vanitas (Various) Innov 20, J/F: new, Faro P Son 8,13,14 (Tung, fp) MSR 1733, S/O: Becker BARRY: PC; Beethoven (Ades) Sign 616, S/O: see P Son 8,16,17 (Schuch) Avi 8553016, N/D: Kang BEETHOVEN P Son 12+27; Bagatelles, op 126 (Rosenbaum) Bridg BARTOK: Bluebeard’s Castle (Gardner SACD) Chan 9517, J/F: Becker 5237, J/F: Reynolds P Son 14+23 with ragas (Diluka) Warnr 531883, M/J: Con for Orch; Suite 1 (Dausgaard) Onyx 4210, M/A: Vroon French P Son 23+30; Bagatelles (Mahan) Stein 30161, S/O: P Qn (Lane, Goldner Qt) Hyp 68290, M/J: Estep Becker P Qn (Lockenhaus) Alpha 458, J/F: Estep P Son 23,30,32 (Oh-Havenith) Audit 20047, N/D: Repp BATES: Children of Adam (Smith) Ref 732, J/F: Gimbel P Son 29+32 (Gorini) Alpha 591, M/J: Becker BEACH: P Qn (Iruzun, Coull Qt) Somm 609, S/O: Dutter P Sons, all (Say) Warnr 538024, J/A: Repp P Qn (Ohlsson, Takacs Qt) Hyp 68295, S/O: see ELGAR Qt 1 (Eliot Qt) Genui 19661, M/A: see SZYMANOWSKI BECKER: Soundpieces (Flux Qt+) NewW 80816, S/O: Qt 7+8 (Ebene Qt) Erato 539602, M/J: Kell Sullivan Qt 11-16 (Brodsky Qt) Chan 20114, M/J: Thomson BEETHOVEN: An die Ferne Geliebte (Williams) Chan Qts, all (Miro Qt) Penta 5186827, M/A: French 20126, S/O: see SCHUBERT Ruins of Athens (Segerstam) Naxos 574076, J/A: Alth Arias (Reiss) Onyx 4218, J/A: Reynolds Secular Vocal Pieces (Tamanial Ens) Naxos 574175, Bagatelles (Lewis) HM 902416, N/D: Becker N/D: Althouse Bagatelles; Diabelli; Eroica Var (Maltempo) Piano Septet; Clar Trio (Berkeley Ens) Reson 10255, J/A: Han 10181, S/O: Becker Short Piano Pieces (Kirschnereit) Berl 301409, S/O: Bagatelles (Williencourt) Mirar 492, J/A: Becker Becker Canons & Jokes (Cantus Novus Vienna) Naxos 574176, Songs 1 (Breuer, Trost+) Naxos 574071, M/A: Moore,R N/D: Fisch Songs with orchestra (Haavisto/Segerstam) Naxos Cantatas for Emperors (Segerstam) Naxos 574077, S/O: 573882, M/A: Moore,R Moore,R Songs (Schreier) Berl 301495, J/A: Moore,R American Record Guide January/February 2021 191 String Quintets (Cologne Chamber Players) Alpha 585, BENOIT: Sym Poem (Shelley) Hyp 68264, M/J: O’Conor M/J: Dutterer BENTZON: Piano Pieces (Bentzon) DACO 859, J/A: String Trios (Boccherini Trio) Genui 20699, S/O: Thoms Estep String Trios & Serenades (French String Trio) Dorem Tempered Piano (Salo) DaCap 8226077, M/J: Haskins 8106, N/D: Thomson BENZECRY: VC; Clar C; Song Cycle (Boggiano) Naxos String Trios, opp 3+8 (Italian String Trio) Brill 95819, J/F: 574128, N/D: Hanudel Dutterer BERG: Lyric Suite (Veses) Apart 207, J/A: O’Connor Sym 1,2,3 (Ades) Sign 616, S/O: Vroon Songs, all (Var) Brill 95549, M/J: Reynolds Sym 1+2 (Berlin Academy) HM 902420, N/D: French VC (Smeulers) Genui 20702, N/D: see BEETHOVEN Sym 1+5 (Fischer SACD) Chanl 39719, M/A: Hecht BERIO: Coro; Cries of London (Pedersen SACD) BIS Sym 3; Egmont Overture (Ballot) Gram 99210, M/J: 2391, S/O: Haskins Vroon BERLIOZ: Damnation of Faust (Nelson) Erato 541735, Sym 3 (Herbig) Berl 301492, J/A: Vroon M/A: Hecht Sym 3 (Salonen) Alpha 544, J/F: Althouse Mass (Niquet) Alpha 564, M/A: Vroon Sym 5+6 (Haselbock) Alpha 479, S/O: Hecht Requiem (Nelson) Erato 543064, J/F: Reynolds Sym 5+6 (Janowski) Penta 5186809, M/A: Hecht Song arrangements w guitar (Jacques, g) ATMA 2800, Sym 5+7 (Manze) Penta 5186814, M/J: Hecht M/J: Altman Sym 6 (Berlin Academy) HM 902425, J/A: French Sym Fantastique; Reverie; Death of Ophelia (Fischer) Sym 9 (Abendroth) Berl 301496, S/O: Althouse Hyp 68324, M/J: French Sym 9 (Freiburg Baroque) HM 902431, N/D: Althouse Sym Fantastique; Francs-Juges Overture (Roth) HM Sym 9 (Haitink) BR 900180, M/A: Althouse 902644, M/A: Hecht Sym 9 (Suzuki SACD) BIS 2451, M/A: Althouse BERNARDI: Requiem Mass; Sinfonias (Voces Suaves) Syms, all (Vienna/ Nelsons) DG 4837071, M/J: Hecht Arcan 470, M/A: Loewen Transcribed (Kodama) Penta 5186841, S/O: Kang V Sons (Solisti Ambrosiani) Uran 14056, S/O: Magil Trios 1+3 (George Malcolm Trio) FHR 96, M/J: Dutterer BERNSTEIN: Mass (Davies) Capr 5370, S/O: Greenfield Trios 3+5 (Sitkovetsky Trio SACD) BIS 2239, J/A: Vroon Piano Pieces, all (Tozzetti) Piano 10174, J/F: Sull Trios 3+6 (Vienna Trio) MDG 9422155, J/A: Vroon Sym 1+2 (Lindberg SACD) BIS 2298, J/A: Estep Trio 4; VCPC (Beethoven Trio Bonn) Avi 8553108, J/A: BERSA: Piano Pieces (Filipec) Grand 832, S/O: Repp Becker BIZET: Doctor Miracle (Robinson) Cameo 9113, M/A: Trio 5; Sym 2 as trio (Beethoven Trio) Avi 8553111, N/D: Reynolds French BJORNSTAD: Lofoten Oratorio (Lofoten Voices) LAWO Trio 6; VCPC (Shaham-Erez-Wallfisch) Nimb 5978, J/F: 1202, N/D: Vroon Althouse BLACKFORD: Pieta; Winter Canticle (Carr) Nimb 6396, Trio 6; Early Trios; Kakadu (Van Baerle Trio) Chall M/J: Greenfield 72782, M/A: Vroon BLAND: Piano Pieces (Olson) Camb 1256, S/O: new, Trio, op 11; Sym 6 as trio (Beethoven Trio) Avi 8553114, Faro N/D: French BLOCH: Cello Symphony (Wallfisch) CPO 555273, M/J: Variations (Feitmair, p) Hans 19070, M/J: Becker see BEN-HAIM 32 Variations (Miyamoto) BlueG 503, J/A: see SCHU- BLOCK: Step into the Void (Unterman) BST 132, M/J: BERT Moore VC (Gaede) Tacet 246, J/A: Althouse BLYTON: Shoal of Fishes (Chamelion Arts) Sleev 1012, VC; Septet; Variations (Kavakos) Sony 92988, M/A: Alth M/A: new, Boyd VC; Romances (Neudauer) CPO 777559, J/A: Althouse BOCCHERINI: Stabat Mater (Oliveras) Enchi 2050, M/A: VC (Smeulers) Genui 20702, N/D: Althouse Gatens VC; Romances (Suske) Berl 301498, J/A: Althouse BOISMORTIER: 2-Viol Sonatas (Les Deux ) Antes VC (Tetzlaff/Ticciati) Ond 1334, J/F: French 319305, J/A: Moore VCPC; Trio fr Septet (Van Baerle Trio) Chall 72801, J/A: Chamber Pieces (Cappella Enrico Stuart) Brill 96036, Becker M/A: Brewer V Son 1,5,8 (Waley-Cohen) Sign 618, N/D: Magil Recorder Pieces (Podluzny) RecA 26, M/J: Gorman V Son 4,5,8 (Ehnes) Onyx 4208, N/D: Magil V Sons (Brault) Anal 8769, M/A: Magil V Son 9 (St John) Anca 144, J/A: Magil BOMTEMPO: Piano Sonatas, all (Tender) Grand 801, V Sons, 3 (Suske) Berl 301501, S/O: Magil J/F: Kang V Sons, all (Francescatti, Casadesus) Prof 19029, J/F: BONDS: Ballad of the Brown King (Mitchell+) Avie 2413, 178, Magil M/J: Reynolds V Sons, all (Watson, Ogata) Coro 16177, J/A: Magil BONELLI: Keyboard Pieces (Del Sordo) Brill 95816, J/F: Wellington’s Victory+ (Petersson, p) Naxos 573928, J/F: Lehman Estep BONONCINI: John the Baptist Oratorio (Wroclaw Wind Octet; Sextet (Shifrin+) Naxos 573942, M/A: Hanu Baroque) Acco 256, J/F: Gatens Wind Quintet; Early PC (Becker, Maalot Qn) Avi BONPORTI: Trio Sonatas, op 1 (Labirinti Armonici) Brill 8553110, N/D: Hanudel 95966, S/O: Loewen BEKEN: Turk in America (ISSA Sonus Ens) N/S 1067, BORTOLAZZI: Mandolin Sonata (La Ragione) Arcan M/A: Sullivan 117, J/A: see BEETHOVEN BELLINI: Adelson & Salvini (St Cecilia) Uran 14053, M/J: BOULANGER: Songs (Phan) Avie 2414, M/J: Moore,R Locke BOULEZ: Marteau sans Maitre (Kawka) ColL 20447, BEMBO: Produzioni Armoniche (Armonia delle Sfere) S/O: Gimbel Tact 640280, M/A: Moore,C BRADEN: Songs of Invisible Summer Stars (Centr BENDA: Pygmalion (Bernolet) Ramee 1809, J/F: see 27119, J/F: new, Boyd RAMEAU BRAGA SANTOS: Trio; P Qt; suites (Various) Tocc 428, BEN-HAIM: Cello Concerto (Wallfisch) CPO 555273, N/D: Kilp M/J: Moore BRAHMS: Cello Sonatas (Hohti) Alba 452, S/O: Moore BENNETT,RR: PC; Country Dances; Aubade; Anniver- Cello Son 3 (Poltera) BIS 2167, M/J: see SCHUMANN sarie (Wilson SACD) Chan 5244, S/O: Sullivan Clarinet Sonatas & Trio (Ross) Cent 3760, M/A: Hanudel 192 American Record Guide January/February 2021 Clar Trio (Bedenko) Orch 102, J/F: see BEETHOVEN Syms (9) (Bohm, Solti, Mehta, Stein) Decca 4840204, German Requiem w pianos (Bella Voce) Naxos 573952, M/A: Vroon J/F: Greenfield BRUK: Sym 19-21 (Kupcs) Tocc 543, S/O: Gimbel German Requiem (Harding) HM 902635, J/F: Greenfield BRUMEL: Lamentations (Musica Secreta) Obsid 719, Handel Var (Park) Capr 5412, S/O: see SCHUBERT M/A: Brewer Intermezzos, all (Koroliov) Tacet 256, M/A: Repp BRUNETTI: Lamentations; Cello Concerto (La Tempes- PC 1; Ballades (Vogt) Ond 1330, M/A: Althouse tad) IBS 202019, S/O: Brewer PC 2 (Falletta) BeauF 524, J/F: Althouse BULL: Violin Pieces (Folleso SACD) 2L 159, S/O: Vroon PC 2 (Vogt) Ond 1346, J/A: Althouse BURGE: 24 Preludes (Chiu) Centr 27319, M/A: new, Boy P Pieces, opp 76,79,116-119 (Berman) Palai 18, M/J: BURGER: Songs (Ross & Cameron) Spatl 1, M/A: Repp Moore,R Piano Pieces, opp 116-119 (Hough) Hyp 68116, M/J: BURGMULLER: Etudes (Petersson) Grand 816, J/F: Repp Repp Piano Pieces (Masi) Navon 6260, M/J: Sullivan BUSONI: Bach-based Piano Pieces (Harden) Naxos P Qt 1, arr Schoenberg (Vandelli SACD) Chall 72831, 573982, J/F: Kang M/J: Althouse Violin Sonatas (Falasca) Brill 95854, M/J: French P Qn; Qt 3 (Gerstein, Hagen Qt) Myrio 21, M/A: Thoms BUXTEHUDE: Cantatas (Bolton & Perrot) Mirar 442, J/A: Qts; PQn (Strada Qt) B 26, J/A: Althouse Loewen Sextets (Cologne Chamber Players) Penta 5186807, Cantatas (Ricercar Consort) Ricer 145, S/O: Loewen J/A: Althouse Hpsi Pieces (Kappel) DACO 852, M/J: Lehman Serious Songs (Finley) Hyp 68288, J/F: see SCHUBERT Membra Jesu Nostri; Anthems (Baker Festival Singers) Songs (Belle Saison) B 23, M/J: Magil Amber 129, N/D: Loewen Songs 8 (Burns) Hyp 33128, N/D: Althouse Membra Jesu Nostri (Vatio Bissolati) Crem 19048, M/J: Songs 9 (Tritschler) Hyp 33129, J/A: Moore,R Loewen Songs (Wallfisch) Reson 10258, J/A: Moore,R Organ pieces (Boucher) ATMA 2777, M/A: see BACH Sym 1+3 (Gardner SACD) Chan 5236, M/A: Althouse Stradal Transcriptions (Ai, p) Tocc 534, M/J: Repp Syms, PCs, Serenades (Masur) Decca 4840144, M/A: BYRD: Anthems (Magdalena Consort) Sign 609, N/D: Vroon 150, Gatens Viola Sonatas (Belonogov) Melya 2553, J/F: Magil CACIOPPO: Metamorphoses (Various) Alb 1822, N/D: Viola Sonatas (Zhang) Cent 3686, M/A: Magil new, Faro Viola Sonatas & Trio (Willwohl) Avi 8553473, J/A: Thoms CAMPAGNOLI: Flute & Violin Duets (Parrinos) Brill Viola Sonatas arr Cello (Wallfisch) Nimb 5974, J/A: 95974, M/A: Gorman Moore CAPORALE: Cello Sonatas (Romabarocca) Brill 95622, VC (Liebeck) Orch 129, J/A: Althouse J/F: Brewer VCC (Weithaus/Manze) CPO 555172, M/J: see SCHUM CAPOTORTI: Mass; Sacred Pieces (Petruzzella) Dig 98, V Sons (Schickedanz) Cent 3498, S/O: Magil N/D: Moore,C V Son 2+3; in E-flat (Wallin) BIS 2419, M/J: Magil CARISSIMI: Iudicium Extremum Jephte (San Felice Ens) BRANDL: Sym; Sym Concertant (Griffiths) CPO 555227, Bong 5211, S/O: Gatens N/D: French CARLEVARO: Guitar Pieces (Cappelli) Brill 95684, N/D: BRANDON: Songs, Pieces, Trio (Binkley, ob) BlueG 545, McCutcheon N/D: Gorman CAROLLO: Sym 3 (Vaupotic) Navon 6250, M/A: new, BRAUNFELS: Day & Night Music (Trinks) Hyp 68258, Faro J/F: see PFITZNER CASTELBERG: Songs & Motets (Larynx Ensemble) Piano 4 Hands (Blome & Groschopp) Capr 5361, S/O: SoloM 334, S/O: Moore,R Harrington CASTELNUOVO-TED: Cello Sonata (Cicchese) Brill BRETON: Quartets (Breton Qt) Naxos 573037, J/A: 95812, J/A: see PIZZETTI O’Connor Importance of Being Earnest (Rose) Odyss 1003, S/O: BRIAN: Cleopatra; Nursery Rhyme (Brabbins) Dutt 7348, Locke N/D: O’Connor Piano Pieces (Arciglione) Dig 100, M/A: Kang BRIDGE: Sextet (Cologne String Sextet) Avi 8553079, CASTEREDE: Flute Pieces (Du Toit) Naxos 573949, J/F: O’Connor M/A: Gorman BRIGHT: PC; Var (Peebles) Somm 273, J/F: Becker F Pieces 2 (Du Toit) Naxos 573950, M/J: Gimbel BRINCKEN: Sym 4; PC (Brincken/Held) Tocc 550, M/J: Flute Pieces 3 (Du Toit) Naxos 574155, N/D: Gorman O’Connor CATOIRE: Stg Qn; Trio; Andante (Catoire Ens) Chall BRITTEN: Rejoice in the Lamb; Cantata Acad (Britten; 72792, S/O: Dutterer Malcolm) Decca 4840658, M/A: Greenfield CAVALLI: Ipermestra (La Sfera Armoniosa) Chall 72774, V Son (Huang) Cent 3681, J/F: see WALTON M/A: Locke BROSTROM: Crimson Seas; Theatricon (Bergby) CHABRIER: Piano Pieces (Meyer) Uran 121384, M/J: SwedS 1165, J/F: new, Boyd see DEBUSSY BRUCH: 8 Pieces (Philon Trio) Anal 8923, J/A: Estep CHADWICK: Tam O’Shanter (Constantine) Orch 103, Syms; Overtures; Entractes (Trevino) CPO 555252, N/D: J/F: see ELGAR O’Connor CHAILLOU: Legendes (Mikkola, p) FugaL 761, J/A: new, BRUCKNER: Mass E minor (Berlin Radio) Penta Faro 5186774, N/D: Greenfield CHARPENTIER: Orpheus (2) (Vox Luminis) Alpha 566, Piano Pieces (Pasqualotto) Brill 95619, M/J: Haskins M/J: Gatens Requiem (Borowicz) Acce 30474, M/A: Althouse Pleasures of Versailles (Les Arts Florisants+) CPO Sym 1 (Schaller) Prof 19084, M/J: Vroon 555283, J/F: Brewer Sym 2 (Ballot SACD) Gram 99211, J/A: Vroon Te Deum; Mass w Instruments (Namur Chamber Choir) Sym 6 (Dausgaard SACD) BIS 2404, M/J: Vroon Ricer 143, J/A: Gatens Sym 6 (Rattle SACD) LSO 842, J/F: Vroon CHAUSSON: Concert; Chanson Perpetuelle (Gollo+) Sym 9 (Gatti) RCO 18008, M/A: Vroon IBS 62020, N/D: Dutterer American Record Guide January/February 2021 193 Poem of Love & the Sea (Lemieux) Erato 542433, M/A: CZERNY: Etudes, op 849 (Horvath) Grand 815, J/F: see ELGAR Repp Trio (Vienna Trio SACD) MDG 9422130, J/F: see RAVEL PC; Concertino; Rondo (Tuck) Naxos 573998, M/A: VC (Ambartsumian) Cent 3707, J/F: see MENDLSSOHN Becker CHOPIN: Ballades & Impromptus (Farkas) Hung 32829, Piano Pieces 1 (Zhan) Tocc 20, J/F: Becker J/F: Kang DALBERG: Qts (Nordic Qt SACD) DaCap 6220655, Ballades; Fantasy; Barcarolle (Luszczewski) Dux 1627, N/D: Thomson J/A: Vroon DALL’ABACO: Cello Sonatas (Frey) Passa 1069, J/A: Ballades; ; Polonaise-Fantasy (Richter) Uran Moore 121385, S/O: Repp DALLAPICCOLA: Priioniero (Noseda SACD) Chan Cello Sonata (Capucon) Erato 539226, M/J: see 5276, N/D: Reynolds FRANCK DANDRIEU: (Robin) Vers 23, M/A: Gatens Etudes (Batsashvili) Warnr 542786, J/F: see LISZT DANIELPOUR: Passion of Yeshua (Falletta) Naxos Nocturnes & Polonaises (McLean) Stone 80970, J/A: 559885, J/A: Greenfield Repp DAUGHERTY: This Land Sings (Miller) Naxos 559889, Nocturnes (Shen) Genui 19555, J/F: Kang S/O: Gimbel PC 1 (Sung) Berl 1096, M/A: see PADEREWSKI DAVIDSON: Universal Masses (NY Virtuoso Singers) PC 2 (Senyshyn) Alb 1777, N/D: French Sound 1034, M/A: Greenfield PCs (Yundi) Warnr 532018, M/J: Vroon DAVIS: Intolerance (Davis) CarlD 30, J/F: Fisch P Son 3; Ballade (Mikulska) Genui 20718, N/D: Repp DAVIS,O: Arcadia (Bateman) Sign 590, M/A: new, Faro P Son 3; late pieces (Russo) Stein 30125, M/A: Repp DAWSON: Negro Folk Symphony (Fagen) Naxos Piano Pieces (Costello) BlueG 513, S/O: Vroon 559870, N/D: Hecht Piano Pieces (Kolesnikov) Hyp 68273, J/F: Vroon DAYTON: Aspects of Landscape (Various orchestras) Piano Pieces (Koroliov) Tacet 257, S/O: Vroon Daytn 0, S/O: new, Faro Piano Pieces (Pisarev) Acous 13619, M/J: Vroon DEBUSSY: Enfant Prodigue (Fracassi) Bong 2498, J/F: Polish Fantasy; Krakowiak; Trio (Parnassus Academy) see MONTEMEZZI MDG 3032110, J/F: Vroon Etudes; Children’s Corner (Karis) Bridg 9529, M/J: Kang Preludes (Chuang) Palai 16, M/J: 156, Repp Images; Afternoon of a Faun (Elder) 7554, N/D: CIMAROSA: Organ Sonatas (Chezzi) Brill 95781, J/A: Hecht Delcamp Nocturnes (Ticciati) Linn 623, J/F: see DURUFLE Overtures, vol 6 (Gallois) Naxos 574046, M/J: French Piano Pieces (Biret) IBA 571401, J/A: Harrington CLARKE,N: Mysteries of the Horizon (Grimethorpe Col- Piano Pieces, rare (Horvath) Grand 822, S/O: Kang liery Band) Naxos 574097, J/A: Kilp Piano Pieces (Meyer) Uran 121384, M/J: Kang CLARKE: Trio (Neave Trio) Chan 20139, M/A: see FAR- Preludes+ (Berman) Palai 14, M/J: Kang RENC Preludes (Schvartz) Mode 322, N/D: Harrington CLEMENTI: Qt (Noga Qt) Avi 8553106, M/J: see HAHN Sonatas (McCabe) DivA 21231, M/A: see DECKER: Prelude; 7 Last Words & Triumph (Decker, SCARLATTI Cleveland) Loft 1167, J/A: Delcamp P Sons, opp 2,7,9,12 (Park) Naxos 573940, J/F: Kang Psalm Paraphrases; Freese Collection (Decker) Loft Piano Sonatas (Scinardo 2CD) Sony 97348, S/O: Repp 1151, J/F: Delcamp CLEVE: Mass, King of Babylon (Cinquecento) Hyp DENISOV: Symphony; Flute Concerto (Rozhdestvensky) 68241, S/O: Gatens Melya 2604, M/A: Estep CLYNE: Dance (Segev) Avie 2419, N/D: Moore DERLANGER: P Qn (Lane, Goldner Qt) Hyp 68296, COATES: London; Jester at Wedding; Rhapsodies (Wil- N/D: see DUNHILL son) Chan 20036, M/A: Fisch DESCARRIES: Piano Sonata & Pieces (Fung,J) Centr COKE: Cello Sonatas (Wallfisch) Lyrit 384, M/J: Moore 27519, M/J: Kang COLERIDGE: Requiem (RSVP Voices) Coler 0, J/A: Del Songs & Chamber Pieces (Rancourt+) ATMA 2799, S/O: COLONNA: Motets (Scherzi Musicali) Ricer 406, M/A: Estep Moore,C DESENCLOS: Requiem (Flemish Radio) EvilP 32, M/J: COOKE: Trio; PQt; PQn (Pleyel Ens) MPR 105, J/F: Dutt see POULENC COOMAN: Christmas Organ Pieces (Simmons) DivA DESSAU: Chamber Pieces (Ens Avantgarde) MDG 25196, N/D: Gatens 6132158, S/O: Haskins Organ Pieces 13 (Cooman) DivA 25200, J/A: Delcamp DESTOUCHES: Isse (CMBV Singers) Ambro 53, M/J: COOPER: Stabat Mater (Hughes & Maroney) FurAr Brewer 6823, M/J: Sullivan DIAZ-JEREZ: Canary Islands Sym Poems (Portal) Sign COPLAND: Billy the Kid Suite (Noseda SACD) NSO 1, 612, S/O: new, Faro J/A: see DVORAK DINESCU: Cello Pieces (Deserno) Kalei 6344, M/A: COSSONI: Vespers (Kesselberg Ens) SoloM 326, J/A: Moore Moore,C DISTLER: Sacred Choral (Berlin Vocal Ens) Cant 57007, COUPERIN: Hpsi Pieces, all (Cuiller 3CD) HM 902377, N/D: Greenfield N/D: Lehman Sacred Choral (N German Chamber Choir) MDG Hpsi Pieces (Cybulska-Amsler) Dux 1547, J/A: Lehman 9022156, S/O: Greenfield Hpsi Pieces 6 (Kroll) Cent 3719, J/A: Lehman DODGSON: Wind Quintets (Magnard Ens) Tocc 499, Hpsi Pieces (Vinikour) Ced 194, J/A: Lehman J/A: Hanudel 2-Hpsi Pieces (Rovelli & Gaggini) Brill 95752, J/A: Lehm DOEMMING: Cantatas (Wessel) Music 56979, N/D: Nations; Viol Pieces (Dupre, Dart) Decca 4828544, M/A: Loewen Lehman DOHNANYI: PCs (Gulbadamova) Capr 5387, J/A: Organ Masses (Heurtematte) Raven 153, M/A: Gatens O’Connor CRUMB: Metamorphoses 2 (Barone, p) Bridg 9535, N/D: Qt 2; P Qns (Hamelin; Takacs Qt) Hyp 68238, J/F: O’Co Gimbel Serenade (Anima Music) Hung 32764, J/F: O’Connor CUTTING: Lute Pieces (Cerasani) Brill 96099, N/D: Sym 1; Sym Minutes (Paternostro) Capr 5386, M/A: Loewen O’Connor 194 American Record Guide January/February 2021 Veil of Pierrette (Vienna Radio) Capr 5388, J/A: Locke Trio 1 (Amatis Trio) Avi 8553477, J/A: Thomson DONIZETTI: Don Pasquale (Wunderlich, Bavarian EOTVOS: Trisestry (Davies) Oehms 986, J/A: Altman Opera) Prof 19075, J/A: Reynolds ERDMANN: Solo V Son (Ingolfsson) Genui 20711, S/O: Qt 4,5,6 (Pleyel Qt) CPO 555240, N/D: Dutt see SCHNABEL DOWLAND: Lachrimae (Opera Prima) Brill 95699, M/J: ERNST: Violin Etudes+ (Lupu) Tocc 311, J/F: Kell Brewer ESENVALDS: Choral Pieces (Portland State Chamber Lute Songs (Flores) Naive 8941, M/A: Brewer Choir) Naxos 574124, S/O: Greenfield DRAESEKE: Qt 1+2 (Constanze Qt) CPO 555281, S/O: Sacred Choral (Pacific Lutheran University) Sign 603, Dutterer M/J: Greenfield DRAPER: Portraits (Draper, g) MSR 1719, J/F: Smith ESPADERO: Piano Pieces (Lopez) Tocc 544, M/A: Repp DREYFOOS: Holocaust Songs (Baker) Amber 119, N/D: FAHRMANN: Motets (Bernius) Carus 83499, M/A: O’Con see RUTTER FALLA: 3-Cornered Hat; Amor Brujo (Heras-Casado) DUFAY: Mass, Se la Face ay Pale (Diabolus in Musica) HM 902271, J/F: French Alpha 495, J/F: Brewer P Pieces (Jones) Nimb 7731, S/O: Repp DUFOURT: Inspired by Goethe (Collot) W&W 910262, FARINA: Instrumental Pieces (Capriccio Stravagante) S/O: Repp Ricer 139, S/O: Moore,C DUKAS: Poleucte Overture (Rophe) BIS 2432, M/J: see FARRENC: Piano Variations & Etudes (Polk) Stein ROUSSEL 30133, J/A: Harrington DUNHILL: P Qn (Lane, Goldner Qt) Hyp 68296, N/D: Dut Sym 1; Overtures; Variations (Konig) Naxos 574094, DUNI: Trio Sonatas (DuniEnsemble) Brill 96023, J/F: J/A: Vroon Brewer Trio 1 (Neave Trio) Chan 20139, M/A: 169, Thomson DUPONT: PC 3 (Shelley) Hyp 68264, M/J: see BENOIT FAURE: Cello Sonatas (Magariello) Brill 95681, S/O: DUPUIS: V Son (Prouvost) EP 7, S/O: see INDY Moore DURANTE: Requiem (Centemeri) Brill 96027, J/A: Alth Cello Sonatas (Meunier) Palai 19, M/J: Moore DURON: War of the Giants (Granada Baroque) IBS Nocturnes (Dumont) Piano 10186, S/O: Kang 132019, J/F: Loewen P Qns (Mozart P Qt SACD) MDG 9432162, N/D: Sull DURUFLE: Requiem (Ticciati) Linn 623, J/F: Delcamp P Qn 1 (Wihan Qt) Nimb 6397, N/D: see FRANCK Requiem; Mass (U of Northern Iowa) Cent 3715, J/F: Piano Pieces (Lortie) Chan 20149, S/O: Kang Delcamp FEINBERG: Piano Sonatas (Hamelin) Hyp 68233, M/J: DUSAPIN: Penthesilea (La Monnaie) Cypr 4654, J/A: Alt- Repp man FELDER: 4 Seasons (Rose) BMOP 1069, J/A: Gimbel DUSSEK: P Sons (Dadelsen) Tudor 7509, J/F: Becker Jeu de Tarot; Netivot (Arditti Qt) Cov 91913, M/J: Haskins DVORAK: Biblical Songs (Pribyl) Sup 4269, J/F: see FELDMAN: Patterns in a Chromatic Field (Mayr) Wergo JANACEK 7382, M/J: new, Boyd PC (Kahanek) Sup 4236, M/J: Estep FELICE: Chamber Music for Strings & Voice (Indianapo- Qt 8+10 (Albion Qt) Sign 597, S/O: Dutterer lis Qt+) Enhar 35, J/A: new, Faro Requiem (Kesling) Cent 3725, J/A: Reynolds FERRABOSCO: Lyra Viol Works (Biordi) Dyn 7852, M/J: Serenade (Anima Musicae) Hung 32824, S/O: O’Connor Moore Serenade (Balkan Chamber Orch) Audit 20045, N/D: FERRER: Guitar Duets (Skogmo & Franke) Naxos Vroon 574011, J/F: Smith Stabat Mater (Soloists, piano) BR 900526, M/A: Alth FIBICH: Sym 3; Sarka; bride of Messina (Stilec) Naxos Sym 6; 3 Overtures (Inkinen) SWR 19093, S/O: Vroon 574120, N/D: O’Connor Sym 9 (Noseda SACD) NSO 1, J/A: French FINGER: V Sons (Duo Dorado) Chan 824, J/F: Magil Sym Variations; Serenade (Davis) Decca 4829380, M/J: FINZI: Bagatelles (Fiterstein) Orch 106, M/A: see Vroon MOZART Trios, all, with Suk & Smetana (Irnberger+) Gram 99206, Clarinet Concerto (Collins SACD) BIS 2367, N/D: see S/O: Dutterer VAUGHAN WILLIAMS VC (Pine) Avie 2411, M/A: Vroon FLOYD: Prince of Players (Florentine Opera) Ref 736, DZUBAY: Quartet; All Water (Orion Qt) Innov 11, M/A: S/O: Reynolds new, Faro FLURY: Magic Mirror (Mann) Tocc 552, M/J: O’Connor EBERL: Piano Sonatas (Quintavalle) Brill 95929, S/O: FORREST,D: Requiem for the Living (Borowski) Dux Kang 1573, M/J: Greenf EISLER: Leipzig Sym; Night & Fog (Bruns) Capr 5368, FRANCAIX: Clar Con (Beltramini) Brill 95994, M/A: J/F: Hecht Hanudel Lieder, vol 4 (Falk) MDG 6132126, M/J: Moore,R FRANCK: Cello Sonata (Capucon) Erato 539226, M/J: ELCOCK: Haven; Sym 5 (Vasiliev) Tocc 445, S/O: Gimbl Moore ELGAR: Cello C (Segev) Avie 2419, N/D: see CLYNE Chorales; G Piece Symphonique (Patrick) Guild 7816, Falstaff (Constantine) Orch 103, J/F: O’Connor M/A: Delcamp P Qn (Ohlsson, Takacs Qt) Hyp 68295, S/O: Dutterer Organ Pieces (Challenger) Salis 0, M/J: Delcamp Sea Pictures (Lemieux) Erato 542433, M/A: 206, Altman P Qn (Wihan Qt) Nimb 6397, N/D: Dutterer Sea Pictures; Music Makers (Rudge) Onyx 4206, N/D: Piano Pieces (Lugansky) HM 902642, S/O: Harrington Reynolds Psyche; Chasseur Maudit; Eolides (Tingaud) Naxos VC (Ruubel) Sorel 16, N/D: O’Connor 573955, S/O: Vroon ELLER: White Night; Night Calls; Dawn (Elts) Ond 1335, Redemption, complete (Fournet) Brill 96002, N/D: Vroon M/A: O’Connor Sym Var; Preludes; Djinns (Biret) IBA 8571403, M/J: ELLING: Piano Pieces (Alver) LAWO 1185, M/A: Kang Becker ELSNER: Chamber Pieces (Various 2CD) Dux 1555, Sym; Sym Var (Gimeno SACD) Penta 5186771, N/D: Alt- S/O: Dutterer house ENESCO: Octet (Gringolts Qt & Meta4 SACD) BIS 2447, V Son (Carmina Qt) MDG 6502167, S/O: see SZYMAN S/O: see MENDELSSOHN V Son (St John) Anca 144, J/A: see BEETHOVEN Piano Sonata 3; Suite (Giorgini) Piano 10184, M/A: FRANZ: Songs (Burns, Searle) MPR 106, M/J: Althouse Becker FREDDI: Vespers (Savan) Reson 10245, J/F: Moore,C American Record Guide January/February 2021 195 FRESCOBALDI: Arias & Canzoni (Clematis) Ricer 149, GORDON,G: Cello Concerto; Fathoms; Nightingale (Mol- S/O: Moore,C drup) BIS 2330, S/O: Moore FRID: Sym 3; Inventions; Va+PC (Gazarian) Capr 5353, GORDON,R: Ellen West (Zetlan & Gunn) BST 139, N/D: J/F: O’Connor Vroon FROBERGER: Fantasias & Canzonas (Charlston, clav) GORECKI: Qt 3; 2-V Son (Tippett Qt) Naxos 574110, DivA 25204, S/O: Lehman S/O: Dutterer FUCHS,H: New Beginning (NeueM 301274, J/F: new, GOSSEC: Symphonies (Gaudenz) CPO 555263, J/F: Faro French FURSTENTHAL: Chamber Pieces 2 (Rossetti Ens) Tocc GOTOVAC: Ero the Joker (Croatian & Munich Radios) 542, J/A: O’Connor CPO 555080, N/D: Locke GAL: Viola Pieces (Pakkala) Tocc 535, J/F: Magil GOULD: Quartet (Acies Qt) Gram 99028, M/J: Sullivan Vocal Pieces (Borealis) Tocc 509, N/D: Althouse GOUNOD: Faust (Rousset) BruZ 37, J/F: Reynolds GALUPPI: Amante di Tutte (Piacenza) Bong 2318, J/F: GRADENER: Violin Concertos (Pollick) Tocc 528, M/A: Locke O’Connor GARSON: Pathetique Var (Schuch) Avi 8553016, N/D: GRANADOS: Goyescas (Dichamp) Brill 96067, S/O: see BEETHOVEN 127, Kang GATTO: Making of Americans (Jack Qt+) NewF 265, GRANDI: Motets+ (Accademia d’Arcadia) Arcan 464, N/D: new, Boyd J/F: Gatens GAUBERT: F Pieces (Pagnini) Verm 40023, M/J: Gorm GRAUN: Passion Oratorium (Schwarz) CPO 555270, GELANIAN: Cello Sonata; P Son (Frasse-Sombet) J/F: Loewen Mague 358432, M/A: Moore GRAUPNER: Passion Cantatas III (Heyerick) CPO GEMINIANI: Concerti Grossi (Concerto Koln) Berl 1285, 555230, J/F: Loewen M/J: Brewer GREGSON: Brass pieces (London Brass) Chan 20127, GERNSHEIM: Songs (Gann) Genui 19662, J/A: Moore.R S/O: Kilpatrick GERSHWIN: American in Paris (Langree) FanF 16, M/A: GREIF: Chants de l’Ame (Garnier+) B 24, M/J: Sullivan Hecht GRETRY: Raoul Barbe-Bleue (Wahlberg) Apart 214, Piano Pieces (Lent) Espr 0, J/A: Harrington M/A: Locke Piano Pieces (Mahan) Stein 30132, J/A: Becker GREVE: Palace of the Dreamking+ (Greve) Navon 6257, Rhaps; PC; Rhaps 2; I Got Rhythm (Licad) DACO 869, M/A: Kilpatrick S/O: Estep GRIEG: Lyatrickric Pieces (Booth, s; Glynn, p) Avie Rhapsody 2; Overtures (Marshall) Avi 8553007, N/D: 2403, J/F: Oberoi French V Sons (Urioste) Orch 126, S/O: Magil GERVASIO: Mandolin Sonatas (Giatintucci) Tact GRILL: Elements; In Praise of Reason; Mystical (Camer- 720702, M/A: Lehman ata Philadelphia) Innov 47, J/A: new, Faro GESUALDO: GRISEY: Songs (Hannigan) Alpha 586, J/A: see HAYDN Madrigals I+II (Arts Florissants) HM GRONAU: Organ Pieces (Szadejko) MDG 9062139, M/J: 8905307, M/A: Moore,C Gatens Madrigals for 5 (Exaudi Ens) W&W 259, J/F: Moore,C GROSLOT: PC; CC; HpC (Composer) Naxos 579057, GILARDINO: Guitar Quartets (Santorsola Qt) Brill 95911, M/A: Gimbel J/F: Smith GROVEN: Sym 1+2 (Szilvay) Naxos 573871, S/O: GINASTERA: Harp C; Var Concertantes (Harth-Bedoya) O’Connor LAWO 1182, M/A: Sull GUINJOAN: Piano Pieces (Calderon de Castro) IBS GIPPS: PC (Peebles) Somm 273, J/F: see BRIGHT 102019, M/J: Haskins GIULIANI: Guitar Pieces (El Khouri) Dyn 7855, S/O: GULDA: Quartet (Acies Qt) Gram 99028, M/J: see McCutcheon GOULD Violin & Guitar (Sacco & Dieci) Brill 95735, J/F: Smith GUNDERMANN: Kreuzleich (Krahnert) Genui 19657, GLANERT: Oceane (German Opera Berlin) Oehms 985, J/F: Loewen J/A: Altman GUNNING: Sym 2,10,12 (Woods) Sign 593, M/J: Gimbel GLASS: American Four Seasons (Bern/ Bach) Naxos VC; CC; Birdflight (Composer) Sign 621, N/D: Moore 559865, M/J: Faro GURDJIEFF: Guitar transcriptions (Herbig) BIS 2435, King Lear (Composer) OM 141, J/A: Haskins M/A: Smith P Pieces (Deutekom) OM 6052, M/J: new, Boyd HADLEY: Cello Pieces (Buchholz) Cent 3780, N/D: PC 2; Pieces (Horvath) Grand 817, M/J: Faro Moore GLINKA: Clarinet Trio (Punzi) Brill 95871, J/A: see HAHN: Qt 2 (Noga Qt) Avi 8553106, M/J: Dutterer SCHUMANN Songs (Prokofieva) Stone 80888, S/O: Fisch GLUCK: Orfeo & Euridice (Davies, Bevan, Nuova Musi- HANCOCK: Raptures; VC (Liebeck/Parikian) Orch 111, ca) Penta 5186805, M/A: Altman M/A: new, Faro GODOWSKY: Chopin Etudes (Delucchi) Piano 10182, HANDEL: Agrippina (DiDonato, Pomo d’Oro) Erato J/F: Becker 533658, J/A: Locke Chopin Etudes (Scherbakov) MPolo 8225372, S/O: Kng Alto Cantatas (Zazzo) Inven 1002, M/A: Reynolds Piano left hand (Ross) Cent 3754, S/O: Becker Arias with cello (Romabarocca) Brill 95622, J/F: see GOETZ: Trio (Trio Fontane) SoloM 336, S/O: see HUBE CAPORALE GOLDNER: Modern Suites 2,4,6 (Beckman & True, p) Brockes Passion (Egarr) AAM 7, M/A: Loewen Tocc 527, J/A: Harrington Con Grossi op. 6: 7-12 (Alte Musik Berlin) Penta GOLESTAN: V Son (Golcea) Genui 19668, J/F: see 5186738, M/J: Gatens STRAUSS Gamba Pieces (Aziz) FHR 91, S/O: Moore GOMES,C: Lo Schiavo (Cagliari/Neschling) Dyn 7845, Messiah (Boult) Decca 4840411, M/A: Vroon M/A: Locke Messiah (Griffith) Sign 610, S/O: Vroon GOMES,P: Chamber Works (Var) Naxos 579029, M/J: Trio Sonatas+ (Apotheose) IBS 162019, J/F: Loewen Hanudel HANDL: Motets (Musica Nova) Palai 10, M/J: Loewen GOOSSENS: Sym 2; VC (Davis,A SACD) Chan 5193, HARBACH: Luther Suite; Arabesque; Early American M/J: O’Connor (Angus) MSR 1672, J/A: Gimbel 196 American Record Guide January/February 2021 HARBISON: North & South; Mirabar Songs (Oberlin HOLBROOKE: Sextet (Cologne String Sextet) Avi Ensemble) Oberl 1902, J/A: Gimbel 8553079, J/F: see BRIDGE Songs (Gibbon) Alb 1818, S/O: Haskins HOLLER: Organ Pieces (Rhompson) Raven 161, N/D: HARSANYI: Piano Pieces (Koukl) Grand 806, M/J: Beck Delcamp Piano Pieces 2 (Koukl) Grand 807, S/O: Haskins HOLMES: Songs (Loilier) Mague 358428, M/J: Reynolds HART: Violin Sonatas (Collins) Tocc 470, M/A: Magil HOLST: Planets; Perect Fool (Stern SACD) Ref 146, HARTMANN,JPE: Violin Suite; Character Pieces (Tel- M/A: Kilpatrick manyi) DACO 853, M/J: Thomson Songs (Bevan, Williams) Albio 38, M/A: see VAUGHAN HATZIS: Lamento; Ecstasy (Slean/Hatzis) Centr 27820, WILLIAMS M/J: new, Boyd HOMILIUS: Christmas Cantatas (Cologne Academy) HAYDN: Canzonettas (Horak) Gram 99212, S/O: Fisch CPO 555278, N/D: Loewen Cello Concertos (Clein) Oehms 1895, N/D: Moore HOTTER: Chamber Pieces (Boston Musica Viva) Alb Lyra Concertos (Trondheim Soloists) Penta 5186823, 1820, S/O: new, Faro M/J: see STAMITZ HOVHANESS: Cello Pieces (Gullans) Alb 1805, J/A: Mass 14, Harmonie; Sym 99 (Christophers) Coro 16176, Moore M/A: Vroon HOWELLS: Mass, Sabrinensis (Hill) Hyp 68294, N/D: Mass 5, Cellensis (RIAS Chamber Choir) HM 902300, Delcamp M/A: Gatens HUBER: Trio (Trio Fontane) SoloM 336, S/O: Dutterer Organ Concertos (Quinn) Chan 20118, M/A: Althouse HUGHES: Cuckmere; Sinfonia (Composer) Met 28597, P Son 32,37,40,47,48.49 (McCawley) Somm 602, J/F: J/A: new, Faro Repp HUMMEL: PC in A; VPC (Commellato) Brill 95894, M/J: P Son 35,37,40,49,50 (O’Conor) Stein 30110, M/A: Repp Repp Qts, op 17 (Leipzig Qt) MDG 3072141, M/J: Dutterer VPC (Ivakhiv, Pompa-Baldi) Cent 3742, S/O: see Qts, op 20:1,4,6 (Dudok Qt) Reson 10262, S/O: Thom- HAYDN son HUNDSNES: Clavinatas (Mikkola) Grand 800, M/J: new, Qts, op 20:2,3,5 (Dudok Qt) Reson 10248, J/F: Vroon Boyd Qts, op 76:1-3 (Chiaroscuro Qt SACD) BIS 2348, S/O: HUTTER: Choral Pieces (Minnesota Choral Artists) Thomson Naxos 559868, J/F: Greenfield Qts, opp 71+74 (London Haydn Qt) Hyp 68230, J/F: Alt- HYMAN: Organ Pieces (Saunders) ProOr 7269, J/F: Del- house camp Qts, various (Hanson Qt) Apart 213, M/J: Thomson ICHMOURATOV: Octet; Romances; Con Grosso 1 Scottish Songs (Poker Club Band) BIS 2471, M/J: (Bushkov) Chan 20141, J/F: new, Faro Moore,R Overtures; Ruins Symphony (Tremblay) Chan 20172, 7 Last Words (Pellizzari, org) Brill 95889, S/O: Delcamp N/D: new, Faro Sym 28,43,63 (Giardino Armonico) Alpha 682, M/J: INDY: V Son (Prouvost) EP 7, S/O: 140, Magil Vroon INGEGNERI: Mass, Laudate Pueri (Girton College Choir) Sym 49 (Hannigan) Alpha 586, J/A: Vroon Tocc 556, J/A: Gatens Trio 28 (Gaspard Trio) Avi 8553105, N/D: see SCHUBRT IPPOLITOV-IVANOV: VPC (Ivakhiv, Pompa-Baldi) Cent 3742, S/O: French 2-Piano Transcriptions (Ivanova & HELBIG: Piano Pieces (Poetzsch) NeueM 301387, J/A: Zagarinsky) Hans 19039, M/A: Harrington Vroon IRIBARREN: Sacred Pieces (Il Narvalo) Brill 95859, S/O: HELLINCK: Missa Surrexit (Brabant Ens) Hyp 68304, Brewer M/J: 170, Loewen ISAAC: Presulem Ephebeatum Mass (Cappella Mariana) HENRIQUES: Piano Pieces (Bjorkoe) DaCap 8226150, Sup 4273, J/F: Brewer J/F: Kang IVES: Songs (Wagner) MDG 6132178, N/D: Sullivan Piano Pieces (Trondhjem) DACO 840, J/F: Kang Sym 3+4 (Thomas SACD) SFS 74, M/A: Hecht HENSEL: Biblical Oratorio (Wolf) Carus 83468, M/A: JACOB: Horn Concerto (West Chester Wind Ens) Mark Greenfield 54389, J/F: 183, Kilp Songs; Qt (Musica Vitae) DB 191, J/F: see MENDELS JACOB,J: Sym 5; Sanctuary 1+final (Various conduc- Trio (Rodberg Trio) Alba 451, S/O: see MENDELSSOHN tors) Navon 6248, J/F: new, Faro HENZE: Contrabass Concerto; Trauer-ode (Roccato) JACQUET: Violin Sonatas (Les Dominos) Ricer 142, J/A: Wergo 7391, S/O: Moore Brewer Floss der Medusa (Eotvos) SWR 19082, J/F: Gimbel JANACEK: Diary of One Who Vanished (Pribyl) Sup Prince of Homburg (Stuttgart Opera) Capr 5405, N/D: 4269, J/F: Moore,R Locke Piano Pieces (Ades) Sign 600, S/O: Haskins HERSKEDAL: Behind the Wall (Meland, Robak, Hjertvik) Qt 1 (Navarra Qt) Orch 135, N/D: see SCHUBERT Naxos 574189, J/A: new, Boyd JANCEVSKIS: Choral Pieces (Riga Cathedral) Hyp HERTEL: Woodwind Chamber Music (Concert Royal 68328, M/J: Greenfield Cologne) Music 56958, N/D: Gorman JAQUES-DALCROZE: Piano Pieces 3 (Pares) Tocc 540, HERZOGENBERG: Piano Duos (Duo Nadan) Brill M/A: Harrington 95647, S/O: Harrington JENKINS: Miserere (Layton) Decca 4818580, M/A: HESSE: Toccata; Elegy; Epigram (Various) Music 55725, Greenfield M/A: new, Faro JENNER: Songs (Bastlein) Naxos 551422, N/D: Moore,R HETU: Trombone Concerto; PC 2 (Trudel) ATMA 2793, JOHANNSSON: Short Pieces (Echo Collective) DG S/O: Kilp 4837218, M/A: Gimbel HEWITT: Piano Pieces, all (Johnson) Cent 3736, S/O: JOHANSEN: PC; Sym Var; Epigrams (Triendl) CPO Haskins 555246, N/D: O’Connor HINDEMITH: Kammermusik (4) (Eschenbach) Ond JOLIVET: FC 2; Flute Pieces 2 (Boulegue) Naxos 1341, S/O: Kilpatrick 574079, N/D: Gorman Ludus Tonalis (Laretei) Decca 4840142, M/A: Repp JONGEN: Songs (Defrise) MusW 1993, M/J: Altman HO: Monkies King—Centr 28020, N/D: new, Vroon JOSQUIN: Mass, Mater Patris (Tallis Scholars) Gimel HOFMANN: FCs 3 (Grodd) Naxos 573967, J/F: Gorman 52, J/F: Brewer American Record Guide January/February 2021 197 KABALEVSKY: Piano Preludes (Korstick) CPO 555272, KROMMER: Sym 6+9 (Griffiths) CPO 555337, N/D: Alth N/D: Harr KROUSE: Nocturnes (Rivera+) Naxos 559877, N/D: KAKABADSE: Odyssey; Songs (Royal Holloway Choir) new, Faro DivA 25188, M/A: new, Faro KULJERIC: Croatian Requiem (Repusic) BR 900331, KALABIS: Piano Pieces (Kahanek) Sup 4259, J/F: Sull N/D: Greenf KALKBRENNER: Etudes (Hay) Piano 10190, M/J: Beck KUULA: Piano Pieces (Oksanen) Alba 445, M/A: Kang KANCHELI: Piano Miniatures (Vatchnadze) Piano LABOR: P Qn; P Qt (Triendl+) Capr 5390, M/A: Dutt 10198, M/J: Gimbel LAHTI: Division (Division) Alb 1779, J/F: new, Boyd KAPSBERGER: Theorbo Pieces (Jacobs) Metro 1093, LAITMAN: Secret Exit; Butterfly; Body (Soprano & clar- J/F: Lehman inet) Naxos 559890, N/D: Gimbel Theorbo Pieces (Nordberg) BIS 2417, J/F: Lehman Songs (Various) Naxos 559872, J/A: Gimbel Villanelles (KasperGirls) Muso 37, S/O: Loewen LAMBERT: Songs; P Duet (Geer) Somm 614, S/O: see KAPUSTIN: Sax Qts (Clair-Obscur Qt) Capr 5369, J/A: WALTON Hanudel LANG: The Loser () Canta 21155, M/J: KARCHIN: Jane Eyre (Composer) Naxos 669042, J/F: Vroon Altman LANGGAARD: Antichrist Prelude (Dausgaard) SSM KAUFMANN: Chamber Pieces (ARC Ensemble) Chan 1023, J/F: O’Connor 20170, N/D: Thomson LEBEGUE: Hpsi Pieces (Alvarez) Brill 95671, J/A: Lehm KAYSER: Horn Concerto; Trio (Linder) DACO 857, M/J: LECOCQ: Dr Miracle (Robinson) Cameo 9113, M/A: see Kilp BIZET KEELEY: Sym 2; Var; FC (Mann) Tocc 462, N/D: Gimbel LECOINTRE: Cello Suite (Holtrop) Aliud 109, M/J: see KEISER: Theatrical Music (Capella Orlandi ) STAM CPO 555068, N/D: French LEDROIT: St John Passion (Reimer) Skarb 2194, M/A: KELLY: Etudes; Monographs (Wilson) Tocc 524, N/D: Gatens Becker LEFREK: Gloriosa (Gloriosa Trio) Cent 3744, M/J: see KERNIS: Color Wheel; Sym 4 (Guerrero) Naxos 559838, SAINT-SAENS N/D: Gimbel LEGRENZI: Vocal & instrumental pieces (Zenit Ens) Brill Sym 2; FC; Air (Slatkin, Alsop) Naxos 559830, J/F: Gimb 96006, M/J: Kilp KHACHATRYAN: Piano Sonatas (Composer) Alb 1795, LEHAR: Merry Widow (Frankfurt Opera) Oehms 983, M/A: Gimbel J/F: Fisch KHACHATURIAN: Masquerade & Spartacus Suites LEONCAVALLO: Pagliacci (Graz/Lyniu) Oehms 987, (Kitaenko) Oehms 471, N/D: see PROKOFIEFF J/A: see MASCAGNI Piano Sonata & Pieces (Sughayer) BIS 2436, M/A: Harr LERDAHL: Arches; Qy 4; Bagatelles (Daedalus Qt) Spartacus Suite (Petrenko) Onyx 4211, J/F: Vroon Bridg 9522, J/A: Haskins VC (Pine) Avie 2411, M/A: see DVORAK LESHNOFF: Clar & Bassoon Concerto (Honeck SACD) VC; Rhaps (Weithaas) CPO 555093, J/A: French Ref 738, S/O: see TCHAIKOVSKY KHAN: Strings for Peace (Isbin) Zoho 202004, S/O: Quartets 3+4; Dances (Carpe Diem Qt) MSR 1765, N/D: McCutcheon Gimbel KIEL: Cello Pieces (Zentgraf) MDG 6122175, N/D: LEVY: Violin Pieces (Levy+) HM 902506, J/F: new, Boyd Moore LIGETI: Musica Ricercata (Prisuelos) IBS 182019, J/A: KIM: Music—Gramo 0, N/D: new, Vroon see SHOSTAKOVICH KLEMENT: Schutten—Gramo 1, N/D: new, Vroon LINDBERG: Accused; Episodes (Lintu) Ond 1345, S/O: KNABLE: Song of the Redwood Tree (Pool) MSR 1749, Gimbel J/A: Gorman LINDROTH: Wilfred Owen Songs (Eleby) Sterl 3005, KNECHT: Nature Symphony (Berlin Academy) HM M/A: Moore,R 902425, J/A: see BEETHOVEN LINIKE: Chamber Pieces & Wind Concertos (Cologne KNEHANS: Backwards from Winter (Weusten) Ablaz 54, Concert Royal) Music 56972, M/A: Loewen N/D: new, Boyd LIPKIN: Chamber Pieces (Nash Ensemble) DivA 25202, KODALY: Cello Pieces & Duo (Steckel) Avi 8553272, N/D: Faro J/F: Moore LIPTAK: PC; Constellations (McCormick) Innov 31, J/F: KOECHLIN: Cello Sonata (Meunier) Palai 19, M/J: see new, Faro FAURE LISZT: Ballade; Legends; Benediction (Filjak) Prof Sur les Flots Lointaines (Rosner) Odrad 364, M/J: see 18074, M/J: Vroon POULENC Dante Sonata; Mephisto 1 (Shen) Genui 19555, J/F: see KOMITAS: Miniatures (Akhtamar Qt) Cypre 1681, J/A: CHOPIN Thomson Dante Symphony; Tasso; Kunstlerfestzug (Karabits) KOPPEL: PC 3; P Pieces; Pastorale (Koppel) DACO Audit 97760, J/A: Hecht 856, J/A: O’Connor Don Juan; Jeux d’eaux (Li) Warnr 537957, M/A: see KORNGOLD: Orchestral [4CD] (Richter) Capr 7350, J/A: TCHAIKOVSKY O’Connor Opera Transcriptions (Hamelin) Hyp 68320, N/D: Kang P Qn (Lane, Goldner Qt) Hyp 68290, M/J: see BARTOK Organ Pieces 1 (Ferjencikova SACD) MDG 9062140, Symphony; Variations (Wilson SACD) Chan 5220, J/F: N/D: 128, Delcamp O’Connor Petrarch Sonnets (Schuen, bar) Avi 8553472, M/J: KOSHKIN: Guitar Preludes & Fugues (Selyutina) Naxos Moore,R 579058, J/A: new, Boyd PC 2 (Moura Castro) DMC 3, M/J: see RACHMANI- KOZELUCH: Joseph; Mass in C+ (Stilec) Naxos 573929, NOFF M/A: Greenfield PC 2 (Senyshyn) Alb 1777, N/D: see CHOPIN Symphonies 2,9,10,11 (Stilec) Naxos 574047, J/A: Hect P Pieces (Batsashvili) Warnr 542786, J/F: Estep KREIN: Chamber Pieces (Various) Tocc 546, M/A: Dutt P Pieces 54 (Jando) Naxos 574059, M/J: Kang KREISLER: V Pieces (Park) Cent 3816, N/D: Vroon P Son & Consolations (Chuang) Palai 16, M/J: see KREUTZER: VC 1,6,7 (Breuninger) CPO 555206, M/J: CHOPIN French P Sonata (Mikulska) Genui 20718, N/D: see CHOPIN 198 American Record Guide January/February 2021 P Son; St Francis Legends (Moog) Onyx 4195, M/A: MALIPIERO: Piano Pieces (Hirose) Strad 37133, S/O: Becker Kang P Son (Oh-Havenith) Audit 20043, M/A: see SCHUBERT Sym 6; Ritrovari; Studies (Iorio) Naxos 574173, J/A: Poetic & Religious Harmonies (Waleczek) Naxos O’Connor 573773, M/A: Vroon MANNA: Sacred Pieces (Lux Animae) Uran 14052, M/A: Prometheus; Hamlet; Mazeppa; Mephisto (Munchinger) Greenfield Decca 4828427, M/A: Hecht MARAIS: Gamba Suites (Karpeta) Acco 259, M/J: Moore Schubert Transcriptions 8 (Williams) Sign 838, N/D: Pieces de Viole (Smith) Reson 10244, J/F: Moore Repp Pieces en Trio (Ricercar Consort) Ricer 154, S/O: Loew Songs 6 (Kletter) Hyp 68235, S/O: Moore,R Viol Pieces (Corriveau) ATMA 2785, S/O: Moore Via Crucis (Estonian Phil Chamber Choir) Ond 1337, MARCHAND: Organ Pieces (Ponsford) Nimb 6390, M/A: J/F: Greenfield Gatens LITTA: Trilogy (Then-Berge, v) Genui 20690, S/O: O’Con MARTINI: Azione Theatrale (Euridice Chorus) Tact LO MUSCIO: Piano Pieces (Padova) Brill 95952, J/F: 701307, S/O: Fisch new, Boyd MARTINU: PC 4 (Kahanek) Sup 4236, M/J: see DVOR LOCATELLI: VCs, op 3 (Conti) Tact 691280, M/J: Trios (Martinu Trio) Music 56970, J/F: Dutterer Loewen MASCAGNI: Cavalleria Rusticana (Graz) Oehms 987, LOCKLAIR: Sym 2; Organ Concerto; Phoenix (Trevor) J/A: Reynolds Naxos 559860, J/F: Gimbel Cavalleria Rusticana (Janowski) Penta 5186772, J/A: LOEB: Distant Carillons+ (Factory Seconds Brass) Cent Reynolds 3802, N/D: Kilpatrick MASCITTI: Violin Sonatas (Vanvitelli Qt) Arcan 473, S/O: Lyric Trombone (Avitsur) Cent 3727, J/A: Kilp Thomson Wind Pieces (Various) Cent 3803, N/D: new, Boyd MASLANKA: Sym 4 (West Chester Wind Ens) Mark LOPEZ: Sym 1; Bel Canto (Harth-Bedoya) MSR 1737, 54389, J/F: see JACOB J/F: new, Faro Sym 10; O Earth O Stars (Fansler) Navon 6261, M/A: Kil LORENZ: King Mangoberry; Pataruco (Mich State MASSENET: Don Cesar de Bazan (Aedes Ens) Naxos Winds) BlueG 517, M/A: Kilp 660464, N/D: Locke LOSY: Lute Suites (Lindberg) BIS 2462, M/J: Loewen Songs (Silver) Somm 600, J/F: Oberoi LUKASZEWSKI: At; Trio; Choral Pieces (Various) Dux Thais (Toronto/Davis) Chan 5258, N/D: Reynolds 1515, S/O: Gimbel MATHIAS: Choral (St John’s) Naxos 574162, M/J: LULLY: Isis (Talents Lyriques) Apart 216, M/A: Locke Greenfield Te Deum; De Profundis; Dies Irae (Cappella Mediter- Songs & Chamber music (Williams, bar) Naxos 574053, ranea) Alpha 444, J/F: Gatens M/J: new, Boyd LUND: Poetic Etudes (Alver) LAWO 1196, S/O: Kang MATSUSHITA: Choral Pieces (Saarbrucken Chamber LUPI: Sacred Pieces (Brabant Ens) Hyp 68304, M/J: see Choir) Carus 83505, M/J: Greenfield HELLINCK MAW: Spring Music; Solo V Son (Mackenzie/Boughton) LUTOSLAWSKI: Sym 2+3 (Lintu) Ond 1332, J/A: Sulliv Lyrit 385, J/A: Gimbel LYMBURGIA: Music (Miroir de Musique) Ricer 402, J/F: MAYR: Le Due Duchesse (Hauk) Naxos 660422, S/O: Loewen Locke MACDONALD: Modules+ (Composer+) CompC 48, J/F: Mass in E-flat (Hauk) Naxos 574057, J/A: Greenfield new, Boyd MAYR,R: Sacred (Ars Antiqua Austria SACD) MACHAUT: Single Rose (Orlando Consort) Hyp 68277, Chall 72828, M/J: Gatens J/F: Brewer MAYSEDER: Mass; VC (Christian) Gram 99200, J/A: Alt- MACK: Lucinda & the Flowers (SF Opera Scouts) Alb house 1811, N/D: Reynolds Trios; V Son 2 (Lissy, Grun, Gelleva) Gram 99197, M/J: MACKEY: Time Release; Urban Ocean (Rose) BMOP Dutterer 1068, M/J: Gimbel MCCORMACK: You are Evaporating (Klangforum) Kairo MACMILLAN: Miserere (Clare College Choir) HM 18003, N/D: new, Vroon 905323, S/O: see PART MCDONALD: Piano Pieces (Holzman) Bridg 9528, J/A: Sym 5 (Christophers) Coro 16179, S/O: Gimbel Estep MAGARELLI: Mass & Motets (Magarelli) Dig 99, N/D: MCDOWELL: Girl from Aleppo (National Children’s Greenfield Choir, UK) Conv 54, S/O: Greenfield MAGNARD: Syms 1+2 (Bollon) Naxos 574083, M/J: MCENCROE: Chamber Orchestra Pieces 2 (Armore) Hecht Navon 6269, M/J: new, Faro Sym 3+4 (Bollon) Naxos 574082, J/F: Hecht MCKINLEY,EM: Qt 8; Trio 1; Letter to Say I Love You MAHLER: Das Lied (Ferrier, Svanholm/Walter 1948) (Janacek Trio+) Navon 6264, M/A: Moore Somm 5007, M/J: Moore,R MEALOR: Choral Pieces (Same Stream) GIA 1078, M/J: Das Lied (Romberger, Smith/Fischer SACD) Chanl Vroon 40020, N/D: Althouse Choral Anthems: Blessing (Voce) Sign 613, J/A: Delcam Ruckert; Kindert (Braun) Smith 36901, J/F: Moore,R MEDTNER: Skazki; Piano Pieces (Sama) 2L 156, M/A: Sym 1 (Vanska SACD) BIS 2346, J/F: Hecht Estep Sym 1 (Leinsdorf) Decca 4840184, M/J: Hecht MELANI: Concerti Spirituali (Gran Principe) Brill 95970, Sym 2 (Feltz) Drey 21116, J/F: Althouse J/A: Moore,C Sym 4 (Krips) Cameo 9112, J/F: Althouse MENDELSSOHN: Cello Sonatas (Moser) Penta Sym 4 (Vanska SACD) BIS 2356, M/A: Althouse 5186781, J/F: Moore Sym 6 (Netopil) Oehms 1716, J/A: Hecht Clarinet Chamber pieces (Zingales) Brill 96081, J/A: Sym 7 (Vanska SACD) BIS 2386, N/D: Hecht Hanudel Sym 8 (Fischer,A) Avi 8553474, M/J: Althouse Early VC; VPC (Ivakhiv) Brill 95733, M/J: Althouse MAKAN: Dream Lightly; If We Knew the Sky (Rose) Octet (Gringolts Qt & Meta4 SACD) BIS 2447, S/O: BMOP 1066, J/F: Gimbel French MALCYS: Blackthorn Eyes; Hyacinth (Ipp-Ivanov Qt) Octet (Henschel Qt) SoloM 332, N/D: see SCHUBERT Naxos 574073, J/A: see VASKS Octet; Qt 1 (Merel & Castalian Qts) SoloM 293, J/F: Dutt American Record Guide January/February 2021 199 Octet (Roctet) Chall 72822, J/A: see AFANASIEV Clar C; Clar Qn; pieces (Altman) Tacet 252, M/J: Hanud Organ Sonatas (Davidsson) Loft 1166, M/A: Delcamp Clar Qn (Fiterstein) Orch 106, M/A: Hanudel PC 1; VPC (Lerner) Merid 84656, J/A: Althouse Clarinet Quintet & Qts (Heau) Alpha 498, J/F: Hanudel Piano Pieces, early (Monteiro) Naxos 573946, J/F: Kang Cosi Fan Tutte for winds (Roseau Trio) MDG 9032144, Songs without Words, all (De May) Pavan 7591, S/O: S/O: Gorman Estep Divertimento K 563 (TrioTaus SACD) 2L 148, M/A: Thom Trio 2 (Rodberg Trio) Alba 451, S/O: Althouse Divertimentos K 136-138; EKN (St Cecilia Strings) Arcan V Sons (Kantorow) MDG 6502153, S/O: French 471, M/J: Vroon VPC (Musica Vitae) DB 191, J/F: Althouse PC 5,15,16 (McDermott) Bridg 9523, J/A: Althouse VPC (Ambartsumian) Cent 3707, J/F: French PC 6+13 (McDermott) Bridg 9518, J/F: Vroon MESSIAEN: Corps Glorieux (Gillock) Raven 984, J/F: PC 10,11,23 (Blocker) Nimb 6394, M/J: Vroon Delcamp PC 11-13 (Schimpf) Avi 8553112, N/D: French Holy Trinity Meditations (Winpenny) Naxos 573979, J/F: PC 17+23 (Kim) Chall 72816, J/A: Althouse Delcamp PC 22+24 (CR Hamelin, Violons du Roy) Anal 9147, Piano Pieces (Cipelli) Piano 10200, S/O: Haskins S/O: Althouse Qt End of Time (Estelles+) IBS 72020, N/D: Hanudel P Son 8,12,13,14 (Black) CRD 3538, M/A: Repp MEYER,J: Chamber Pieces (Composer+) BST 128, J/F: P Son 8+15; Rondos (Yoshikawa) Ypsi 5, M/J: Repp new, Faro P Son 9,12,16; Rondo (Asuka) Hans 19082, S/O: Kang MIASKOVSKY: P Son 5+8 (Mustakimov) BlueG 511, J/F: P Son 10,11,18 (Donohoe) Somm 613, J/A: Repp Harrington Qt 14+15 (Van Kuijk Qt) Alpha 551, M/J: Kell MIGUEZ: V Son (Baldini) Naxos 574118, J/F: see Qt 14-19, arr Qn (Pentaedre) ATMA 2756, J/F: Vroon VELASQUEZ Qt 15 (Voce Qt) Alpha 559, J/F: Althouse MIHAJLOVIC: Bageteles; Memento; Melancholy (Grif- Serenade 10, Gran Partita (Toronto Chamber Winds) fiths) CPO 555296, N/D: Faro Crys 646, J/A: Hanudel MIKALSEN: VC; PC (Dahl, Ugelvik) Auror 5104, M/A: Serenade, Haffner; Musical Joke (Cologne Academy Gimbel SACD) BIS 2394, J/A: French MOKRANJAC: Piano Pieces, all (Martinovic) Grand 829, Sym 40; Sym Conc Violin & Viola (Netherlands Chamber M/A: Kang Orchestra) Tacet 236, N/D: Vroon MOLIQUE: Flute Quintet; Piano Quartet (Parnassus Trio reconstruction by Levin (Levin+) Palai 20, M/J: Akademie) MDG 3032132, J/F: French Thomson MOLTER: Concertos (Gottesauer Ens) Music 56968, Unfinished Violin Pieces, arr Levin (Poulet) Palai 7, M/J: M/A: Loewen French MONFERRATO: Motets (Celadon Ens) Ricer 405, M/A: Variations (Demeyere, hpsi) Chall 72845, N/D: see Moore,C BACH,CPE MONIUSZKO: Quartet 1 (Messages Qt) Dux 1586, N/D: VC 1+5 (Nikolic) Tacet 231, M/J: Vroon Estep V Sons K 301,305,376,378 (Faust) HM 902361, S/O: Qt 1+2 (Plawner Qt) CPO 555124, J/F: Vroon Magil Short Pieces (Various) NFM 265, S/O: Fisch MOZART,FX: Polonaises; P Son (Drogosz) Acco 260, MONK: Memory Game (Monk+) Canta 21153, J/A: new, M/A: Repp Boyd Variations (Laun) Music 56977, M/A: Repp MONTEMEZZI: Incantesimo (Fracassi) Bong 2498, J/F: NAPRAVNIK: Violin Pieces (Trotovsek) Tocc 305, N/D: Locke Estep Hpsi Pieces (Matteuzzi) Bong 2574, M/J: Moore,C NATHAN: Space of a Door (Rose) BMOP 1071, N/D: Vespers (Green Mountain) OldeF 918, N/D: Brewer Gimbel Vespers (La Tempete) Alpha 552, M/A: Thomson NICKEL: Woodwind Pieces (Various) Centr 27019, M/A: MOOR: Cello Concerto & Sonata (Stromberg) Oehms Hanudel 1704, S/O: Moore NIELSEN: Clar Con (Beltramini) Brill 95994, M/A: see MORAVEC: Sanctuary Road (Tritle) Naxos 559884, M/J: FRANCAIX Greenfield String Quintet (Telmanyi) DACO 853, M/J: see HART- MORAWSKI: Songs (Rehlis) RecA 10, M/A: new, Boyd MANN,JPE MORGAN: Organ Pieces (Pipe) Merid 84653, M/A: Delc Sym 1+2 (Dausgaard) SSO 1024, N/D: O’Connor MORLACCHI: Tebaldo & Isolina (Fogliani) Naxos V Son 1+2 (Sjogren) DACO 850, M/J: Magil 660471, J/A: Locke NIXON: Gay Typewriters; Orch Pieces (Mann) Tocc 374, MOSZKOWSKI: Joan of Arc (Hobson) Tocc 523, M/A: N/D: O’Connor French NORLAND: 13 Pieces (Various) Denov 322, M/A: Fisch Piano Pieces (Hirose) DACO 866, S/O: Kang O’KEEFE: Piano Pieces (Ulezko) Alb 1785, J/A: Sullivan MOURAT: Pieces with Guitar (Morillas) IBS 232019, S/O: O’REGAN: Choral Pieces (Pacific Chorale) Yarl 2592, Gorman N/D: Greenfield MOUSSORGSKY: Boris Godounov (Nagano SACD) BIS O’RIORDAN: Autumn Winds (Composer) Ravel 8029, 2320, J/F: Hecht M/J: new, Boyd Pictures, arr (Camerata du Leman) Penta 5186762, J/A: OCKEGHEM: Songs 1 (Blue Heron) BlueH 1010, M/A: see TCHAIKOVSKY Loewen Pictures (Petrenko) Onyx 4211, J/F: see KHACHATUR OFFENBACH: Fontaine Fables; Overtures (Haeck) Pictures (Roth) HM 905282, J/A: Vroon Alpha 553, M/A: Fisch Pictures; Night; Memories (Samoyloff, p) Quart 2135, Maitre Peronilla (Radio France/Poschner) BruZ 1039, N/D: Harrington J/A: Locke MOYZES: Gemer Dances; Pohronic Dances; River Vah Overtures & Orchestral (Kruger) Genui 20698, J/A: Fisch (Lenard) Naxos 555477, M/A: O’Connor OSTLUND: VC; Forgotten Garden (Podgoretsky) DivA MOZART: 2-Piano Pieces (Demus & Badura-Skoda) 25199, M/J: Gimbel Gram 99214, J/A: Harr Voyages (Various) DivA 21232, M/A: new, Faro Apollo & Hyacinth (The Mozartists) Sign 577, M/A: Altma OSWALD: P Qn (Iruzun, Coull Qt) Somm 609, S/O: see Arias & Scenes (Pygmalion) HM 902638, M/A: Altman BEACH 200 American Record Guide January/February 2021 OURKOUZOUNOV: Guitar Sonatas (Tosidis) Naxos PIZZETTI: Cello Sonata (Cicchese) Brill 95812, J/A: 574117, J/A: new, Boyd Moore PACHELBEL: Magnificats+ (Himlische Cantorey) CPO PLATTI: Cello Sonatas (Galligioni) Brill 95763, J/F: Moor 777707, N/D: Loewen POHL: Stories (Rudny, p) RecA 20, M/A: Vroon PADEREWSKI: PC (Sung) Berl 1096, M/A: Estep PONCHIELLI: Organ Pieces, all (Ruggeri) Brill 96019, P Son; V Pieces (Tomasik & Morawski) FFV 7, N/D: Mag M/J: Delcamp PAGANINI: VC 1 (Feng) Chanl 40719, M/A: French PORPORA: Cantatas (Musica Perduta) Brill 96077, M/J: Violin & Guitar (Sjogren) DACO 850, M/J: see NIELSEN Gatens PAINE,B: Guitar Pieces (Herbig) Naxos 574121, N/D: POTT: At First Light; Word (Berry) Naxos 573976, N/D: McCutcheon new, Faro PAISIELLO: Gare Generose (Di Stefano) Bong 2575, POULENC: Organ Concerto (Conte) Raven 159, S/O: S/O: Locke see SAINT-SAENS La Serva Padrona (Manzo) Bong 2578, N/D: Reynolds Organ Concerto (Jansons) BR 900178, J/A: see SAINT PAJAK: Mental Illness (Whitehead+) Cent 3729, J/F: PC; Con Champetre; Wind Trio (Bebbington) Reson new, Boyd 10256, J/A: Vroon PALESTRINA: Lamentations II (Cinquecento) Hyp PC; Sinfonietta (Rosner) Odrad 364, M/J: Vroon 68284, J/F: Gatens Stabat Mater (Flemish Radio) EvilP 32, M/J: Delcamp Mass, Fratres (The 16) Coro 16175, M/A: Brewer Voix Humane; Babar (Mazzucato) Brill 96030, M/J: Fisch PARADISI: Hpsi Sonatas (Paradiso) BIS 2415, S/O: Wind music (Confederatio Ens) MDG 9032152, M/J: Lehman Hanudel PARRY: Songs of Farewell (Westminster Abbey) Hyp PRADO: PC 1; Fribourg Concerto (Rubinsky) Naxos 68301, S/O: Gatens 574225, S/O: Sull The Hours (Royal Holloway Choir) Sign 629, N/D: new, PRAETORIUS: Motets (Alamire) Inven 1, J/F: Loewen Boyd PRIMROSCH: Songs (Gibbon) Alb 1818, S/O: see HAR- PARRY,B: Christmas Music (Selwyn College) Regen BISON 542, N/D: Estep PROKOFIEFF: Alexander Nevsky; Lt Kije (Fischer PART: Choral Pieces (Estonian Phil Chamber Choir) Ond SACD) Ref 735, J/F: Vroon 1337, J/F: see LISZT Cello Sonata (Lim) Sony 80497, J/A: see RACHMANIN Stabat Mater+ (Clare College Choir) HM 905323, S/O: Cello Son (Von Bulow) DACO 843, M/J: see RACHMANI Greenfield Old Grandmother (Trpceski, p) Onyx 4191, M/A: see Stabat Mater (Gloriae Dei Cantores) GloD 65, J/A: Gree RIMSKY-KORSAKOFF PAUS: The Beauty that Remains (Norwegian Youth P Son 1+6; Etudes; Cinderella (Argentieri) DivA 25156, Choir SACD) 2L 157, J/A: new, Faro J/A: Harrington PEETERS: Organ Pieces (Marini) Brill 95637, M/J: Delc P Son 3,8,9 (Kempf) BIS 2390, M/A: Kang PELAZZA: Organ Sonatas (Bergamini) Tact 841601, M/J: Delcamp P Son 4,7,9 (Melnikov) HM 902203, M/A: Harrington PENALOSA: Lamentations (NY Polyphony) BIS 2407, Romeo & Juliet sel (Falletta) BeauF 524, J/F: see J/F: Loewen BRAHMS PENDERECKI: St Luke Passion (Nagano SACD) BIS Romeo & Juliet; P Pieces (Khristenko) Stein 30114, M/J: 2287, N/D: Gimbel Haskins Quartet 3 (Messages Qt) Dux 1586, N/D: see MONIUS Songs (Gritskova) Naxos 574030, S/O: Harrington Sym 6; Clarinet Concerto (Rajski) Acco 270, S/O: Gimb Stone Flower & Gambler Suites (Slobodeniouk SACD) PERKINS: Requiem; Hymns (Judson) Goth 49322, N/D: BIS 2301, J/A: Vroon Delcamp Summer Night; Scythian Suite (Kitaenko) Oehms 471, PERLE: Serenades (Rose) BMOP 1067, J/F: Gimbel N/D: Vroon PERRY: Ballet & Film Scores (Composer+) Naxos Sym 3+6 (Inkinen) SWR 19086, S/O: Vroon 573954, M/A: Fisch Sym 5+7; Peter; Lt Kije; Love 3 Oranges (Boult, Marti- PERSICHETTI: Organ Pieces (Winpenny) Tocc 549, non+) Decca 4840357, J/A: Hecht S/O: Delcamp Sym Conc; Cello Sonata (Philippe) HM 902608, M/A: PETERSON: Choral Pieces (Uppsala Vocal Ens) Footp Moore 109, N/D: Greenf PROKOFIEV,G: Cello Concerto; Turntables (Bogorad) PETITGIRARD: States of Mind+ (Composer) Naxos Sign 628, S/O: Moore 574034, J/A: new, Faro PUCCINI: Tosca (Andersson-Palme) Sterl 1837, J/F: PETRIDOU: Asmata; Byzantine Doxology (Smart) DivA Reynolds 21233, M/A: new, Boyd Le Willis (Elder) OpRar 59, J/F: Altman PETTERSSON: Vox Humana; songs (Hansson) CPO PUJOL: Studies (Bungarten,g) MDG 9052131, N/D: 999286, M/J: Gimbel McCutcheon PFITZNER: PC (Trinks) Hyp 68258, J/F: O’Connor PURCELL: Royal Welcome Songs 2 (The 16) Coro PFOHL: Beach Pictures; Elegiac Suite (Gerl) Grand 784, 16173, J/F: Greenfield M/A: Repp QUANTZ: Flute Concertos (Dikmans) Reson 10252, M/J: PHILLIPS: Organ Pieces (Wells) ProOr 7256, J/F: Delc Gorman PIATTI: Opera Fantasies (Bradbury, vc) Merid 84659, QUILTER: Songs 3 (Rothschild, Vale) Nimb 5983, S/O: N/D: Moore Moore,R PICKARD: Gardener of Aleppo (Nash Ens SACD) BIS QUINN: Choral & Organ Pieces (Selwyn College Choir) 2461, S/O: new, Faro Regen 538, M/A: Delcamp PILATI: Music (Adriano) Naxos 574168, M/J: Kilp RACHMANINOFF: 2-Piano Pieces (Genova & Dimitrov) PING: Oriental Wash Painting (Tao) Naxos 570627, M/A: CPO 555326, N/D: Harr Gimbel Bells (Kitaenko) Oehms 470, N/D: Hecht PINTO: Piano Pieces, all (Toporowski) Piano 10177, J/A: Cello Sonata (Kim) Delos 3574, N/D: see BARBER Becker Cello Sonata (Lim) Sony 80497, J/A: Moore PISENDEL: Solo Violin (Schmitt) Mague 358408, M/J: Cello Son (Von Bulow) DACO 843, M/J: Moore Magil Etudes-Tableaux (Ferro) Muso 36, S/O: Harrington American Record Guide January/February 2021 201 Moments Musicaux (Douglas) Chan 20121, M/A: see Piano Pieces 1 (Gatto) Tocc 405, M/J: Haskins TCHAIKOVSKY Pines of Rome (Jansons) BR 900183, M/J: see Moments Musicaux; P Son 1 (Soldano) DivA 25155, M/J: SHCHEDRIN Vroon REZNICEK: Quartets (Minguet Qt) CPO 555002, N/D: P Son 2; Moments Musicaux op 16 (Poghosyan) Cent O’Connor 3772, M/J: Harrington RIDIL: Songs; Male Choral (Fluck; Camerata Musica PC 1 (Martino/Ettinger) Hans 19048, J/F: Harr Limburg) Genui 20692, S/O: Moore,R PC 1+3 (Trifonov) DG 4836617, M/J: Estep RIES: Cello Pieces 2 (Rummel) Naxos 573851, J/F: PC 1; Pag Rhaps; Preludes (Fedorova) Chanl 42620, Moore M/J: Vroon Sextet; Octet; Stg Trio (Franz Ens SACD) MDG PC 2; Sym Dances (Lim; Argerich/ Vedernikov) Warnr 9032136, M/A: Dutt 545551, J/F: Harrington RIHM: Organ Pieces [4CD] (Schmeding) Cybel 12, M/A: PC 2+3; Pag Rhaps (Moura Castro) DMC 3, M/J: Vroon Delcamp PC 3 (Abduraimov) RCO 19003, J/A: Estep RIMSKY-KORSAKOFF: Kashchei the Immortal (Samo- Songs (Sitkovetsky) Hyp 68309, N/D: Reynolds sud 1949) Melya 2605, S/O: Locke Trio 1 (Mezzena Trio) Dyn 7825, M/A: see TCHAIKOV Russian Fantasy (Gregory) Naxos 579052, J/F: see RACZYNSKI: Choral Sacred (Various Choirs) RecA 22, TANEYEV M/A: Greenfield Scheherazade; Cap Esp (Markevitch) Decca 4829378, RADZYNSKI: Cello Pieces (Plesser) Cent 3480, J/A: M/A: Vroon Moore Scheherazade; Cap Espagnole; Russian Eas (Petrenko) RAFF: Benedetto Marcello (SW German Radio) Sterl LAWO 1198, N/D: Hecht 1123, M/J: Locke Scheherazade (Trpceski, p) Onyx 4191, M/A: 190, Harr V Sons 1+2 (Kayaleh) Naxos 573841, J/F: Kell RINALDI: Piano Pieces (Bonucelli) Tact 841880, J/F: RAHBARI: Sym Poems 4-8 (Composer) Naxos 574065, Becker M/A: Gimbel P Pieces (Simonacci) Uran 14059, N/D: Becker RAMEAU: New Hpsi Pieces (Malafronte) Quart 2136, RINCK: Trios+ (Parnassus Trio SACD) MDG 9032171, J/A: Lehman N/D: Thomson Pygmalion (Bernolet) Ramee 1809, J/F: Brewer RIPPE: Lute Pieces (O’Dette) HM 902275, M/J: Moore,C RASMUSSEN: Andalog (Aldubaran) DaCap 8226133, RODRIGO: Chamber Orchestra Pieces (Lluna) IBS J/A: Gimbel 82020, N/D: O’Connor 4 Seasons after Vivaldi (Concerto Copenhagen) DaCap G Pieces (Rojas-Ogayar) IBS 172019, S/O: McCutcheon 8226220, J/F: Vroon ROHDE: It Wasn’t a Dream (Mundy+) Alb 1812, J/A: Sinking Through the Dream Mirror (Concerto Copen- Vroon hagen) DaCap 8226221, N/D: new, Vroon RORE: Madrigals (Blue Heron) BlueH 1009, J/F: RAUTAVAARA: Lost Landscapes (Kamenarska) Uxtex Moore,C 299, M/J: French Mass, Vivat Felix (Weser Renaissance) CPO Vigil (Helsinki Chamber Choir SACD) BIS 2422, J/F: 777989, M/A: Moore,C Greenf ROREM: 14 Stations of the Cross (Robinson, org) Delos RAVEL: Miroirs; Valse; Tombeau (Biret) IBA 571404, 3549, M/J: Delcamp M/J: Harrington ROSE,G: Red Planet; VC; Suite for Strings Miroirs; La Valse (Rana) Warnr 541109, M/A: Harrington (Skaerved/Rose) Tocc 558, S/O: Gimbel PC; Alborada; Tombeau (Perianes/Pons) HM 902326, ROSNER: Masses (Blossom Street) Conv 53, M/J: Gimb M/A: Kilpatrick ROSSI,G: Cantata for 2 Voices+ (Romabarocca) Bong PCs; Tzigane (Dumont, Gilbert/Slatkin) Naxos 573572, 2577, N/D: Moore,C J/F: French ROSSINI: Marriage of Thetis & Peleus (Gorecki Choir, Piano pieces [2CD] (Fergus-Thompson) Decca Cracow) Naxos 574282, N/D: Reynolds 4829041, M/J: Harrington Zelmira (Cracow/ Gelmetti) Naxos 660468, M/J: Locke Trio (Amatis Trio) Avi 8553477, J/A: see ENESCO ROTA: P Pieces 1 (Hodgkinson) Grand 827, M/J: Fisch Trio (Vienna Trio SACD) MDG 9422130, J/F: French ROUSE: Sym 5; Concerto for Orchestra (Guerrero) La Valse (Roth) HM 905282, J/A: see MOUSSORGSKY Naxos 559852, N/D: Estep V Sons (Kiffer) Stein 30103, J/A: Thomson ROUSSEL: Spider’s Feast (Rophe) BIS 2432, M/J: Frch REALE: Piano Music (Jensen) Naxos 559879, M/J: Gim- ROZYCKI: PC; Sym Poem & Scherzo (Makowski) Dux bel 1591, J/A: O’Connor REBAY: Sonatas for Violin or Viola & Guitar (Kayaleh, RUBBRA: PC (Lane/Botstein) Hyp 68297, S/O: O’Connr Kolk) Naxos 573992, N/D: Estep RUBENSON: Songs (Gentele) Sterl 1839, J/A: Moore,R REGER: Bach variations; Bocklin Tone Poems (Levin) RUBINSTEIN: Cello Sonatas & Trio (Von Bulow) DACO Naxos 574074, M/A: O’Connor 858, S/O: Moore Clar Qn; Sextet (Johanns) CPO 555340, N/D: Hanudel P Sons 1+2 (Chen) Naxos 573989, M/J: Harr Intimate Organ (Dobey) ProOr 7204, J/F: Delcamp P Pieces (Mamou) Pavan 7589, J/F: see TCHAIKOV Organ 6 (Weinberger SACD) CPO 777539, M/J: Delc 4-hand Piano, vol 2 (Pianistico di Firenze) Brill 95965, String Trios (Il Furibondo) SoloM 323, S/O: French J/A: Harrington REICHA: Lenore (Albrecht) Orfeo 1903, J/A: see RUDERS: PC 3; Cembal d’Amore II; Kalfkapriccio BEETHOVEN (McDermott+) Bridg 9531, M/J: Gimbel Piano Sonatas (Lowenmark) Tocc 273, J/A: Repp RUTTER: Requiem (Baker) Amber 119, N/D: Greenfield Wind Quintets (Belfiato Qn) Sup 4270, J/F: Hanudel SACHSEN-WEIMAR: VCs (Thuringian Bach Collegium) REINECKE: PC (Kauten) SoloM 315, M/A: see SCHU- Audit 97769, J/F: Loewen MANN,C SAINT-SAENS: Ascanio ballet; overtures (Markl) Naxos Sym 1+3; Overture (Raudales) CPO 555114, N/D: Alth 574033, M/A: French REIZENSTEIN: PC; Serenade; Cyrano Overture PC 3+5; Auvergne (Lortie) Chan 20038, M/J: Vroon (Triendl/Traub) CPO 555245, M/A: O’Connor P Pieces 5: rarities (Burleson) Grand 626, J/F: Harr RESPIGHI: Piano 4-hands (Baldocci & Caramiello) Tact Sym 1; Sym in A; Carnival (Fischer) Hyp 68223, M/A: 871804, N/D: Harr French 202 American Record Guide January/February 2021 Sym 3 (Conte) Raven 159, S/O: Delcamp Piano Sonatas, 4 late (Wosner) Onyx 4217, J/A: Repp Sym 3 (Jansons) BR 900178, J/A: Vroon Qt 13+14 (Fitzwilliam Qt) DivA 25197, S/O: Dutt Trio 2 (Gloriosa Trio) Cent 3744, M/J: Vroon Qt 14 (Valchev Qt) Gega 413, N/D: Dutterer V Sons (Kantorow) MDG 6502153, S/O: see MEND Qt 14 (Navarra Qt) Orch 135, N/D: French SALIERI: Cantatas (Herrmann) Hans 19079, J/A: Qt 15 (Voce Qt) Alpha 559, J/F: see MOZART Reynolds Qts, vol 1 (Alinde Qt) Hans 19071, S/O: Vroon SALMENHAARA: Organ Pieces, all (Lehtola) Tocc 515, Sakontala (Bernius) Carus 83509, S/O: Locke J/A: Delcamp Schone Mullerin (Gliemans) B 25, J/A: Moore,R SALVIUCCI: Serenade; Chamber Sym; Qt (Ens Uber- Schwanengesang (Finley) Hyp 68288, J/F: Moore,R bretti) Naxos 574049, J/F: Sullivan Schwanengesang (Williams) Chan 20126, S/O: Moore,R SAMUEL-HOLEMAN: Jeune Fille+ (Claes) MusW 1892, Songs (Richter) Penta 5186839, J/A: Moore,R J/A: Moore,R Songs (Sulayman) Avie 2400, J/A: Moore,R SANCES: Motets (Scherzi Musicali) Ricer 141, S/O: String Trio & Quintet (Aviv Qt) Naxos 573891, S/O: Moore,C Vroon SATIE: Piano Pieces 4 (Horvath) Grand 823, M/A: Harr Sym 3+7 (Edusel) SoloM 339, N/D: Vroon Vexations (Ogawa) BIS 2325, N/D: Estep Trio 2 (Gaspard Trio) Avi 8553105, N/D: French SAURET: Etudes-Caprices (Rashidova, v) Naxos Trio 2; Notturno (Hamlet Trio) Chanl 41719, M/A: Dutt 574159, N/D: Magil Trout Qn (Thymos Qt, Eschenbach) Avie 2416, S/O: Alth SAWER: Rumpelstiltskin Suite; Cat’s Eye; April (Birming- Trout Quintet (Henschel Qt) SoloM 332, N/D: Moore,R ham Contemp Mus Ens) NMC 251, M/A: Gimbel V Fantasy (Kamenarska) Uxtex 299, M/J: see RAUTA SAWYERS: Sym 4; Kandinsky Homage (Woods) Nimb V Sons (Carrettin) SonoL 92240, J/A: Magil 6405, N/D: Gimbel Violin Pieces (Daskalakis) BIS 2363, J/F: Kell SCARLATTI: Sonatas (Dichamp) Brill 96067, S/O: see Violin Sonatas (Skaerved) Athen 23208, N/D: Magil GRANADOS Winterreise (Buet) Muso 35, J/A: Moore,R Sonatas (McCabe) DivA 21231, M/A: Kang Winterreise (Bostridge) Penta 5186764, J/F: Moore,R Sonatas K 98-146 (Ullrich) Tacet 247, M/A: Lehman Winterreise (Gee, trombone) Naxos 574093, J/A: Kilp SCARLATTI,A: Cantatas & Recorder Sonatas (Col- Winterreise (Hedegaard) DACO 865, M/J: Moore,R legium Pro Musica) Brill 95721, M/A: Brewer Winterreise (Mattei SACD) BIS 2444, J/F: Moore,R SCHARWENKA: P Music vol 1 (Pipa) Tocc 521, M/J: Winterreise (Oliemans) Chanl 42119, M/A: Moore,R Becker Winterreise (Sabata) Berl 1309, M/J: Moore,R SCHARWENKA,P: Violin & Viola Pieces (Breuninger) Winterreise (Schwarz, mz) Rond 6182, J/F: Moore,R Capr 5391, S/O: Dutt Winterreise, arr (Voyager Qt) SoloM 335, S/O: Dutt SCHNABEL: Solo V Son (Ingolfsson) Genui 20711, S/O: SCHULLER: Fisherman & His Wife (Odyssey Magil Opera/Rose) BMOP 1070, S/O: Altman SCHNEIDER: Mozart Ascending; Inner Worlds (Gau- SCHUMANN: C Son 2; Intermezzo (Poltera) BIS 2167, denz) Wergo 5125, M/A: Kilp M/J: Moore SCHNITTKE: String Trio (Trio Lirico) Audit 97753, J/F: Carnaval; Kreisleriana; Arabesque (Min) Hans 19024, see VAINBERG S/O: Repp Various Works (Rozhdestvensky+) Melya 2630, N/D: Cello Pieces (Ythier) Met 28590, J/F: Moore Gimbel Cello Pieces (Bohorquez) Berl 1282, M/J: Moore SCHOCKER: Flute Sonatas () Cent 3741, M/A: Clarinet Pieces (Punzi) Brill 95871, J/A: Hanudel Gorman Davidsbundlertanze (Avramovic) Genui 20684, J/A: Piano Pieces (Composer) Cent 3818, N/D: new, Faro Repp SCHOENBERG: Pelleas & Melisande; Erwartung (Gard- Dichterliebe; Lenau Songs (Pregardien,C SACD) Chall ner SACD) Chan 5198, S/O: Haskins 72788, M/A: Moore,R Qt 2 (Arod Qt) Erato 542552, M/A: see ZEMLINSKY Fantasy Pieces, op 12; PC (Downes) Flip 0, J/F: Becker VC; Transfigured Night (Faust+) HM 902341, M/J: Thom Fantasy; Kreisleriana (Son) Onyx 4202, S/O: Repp VC (Liebeck) Orch 129, J/A: see BRAHMS Faschingsschwank; Fantasy; Arabeske (Tong) Quart SCHREKER: Intermezzo & Scherzo (Veses) Apart 207, 2134, J/F: Becker J/A: see BERG Frauenliebe; Liederkreis; Maria Stuart (Kielland & Weiss- SCHUBERT: Fantasy (De Maeyer) EvilP 34, N/D: see er) LAWO 1197, N/D: Moore,R STRAVINSKY Humoreske; Forest Scenes; Night Pieces (Fejervari) Impromptus op 90; P Son D 960 (Kobrin) Cent 3695, ATMA 2816, S/O: Repp M/J: Repp Kerner Songs; Dichterliebe (Wllfisch) Reson 10247, J/F: Impromptus; Moments Musicaux; 3 Pieces (Demus) DG Moore,R 4840777, M/A: Repp Kreisleriana; Sym Etudes (Zagor) BlueG 509, J/A: Beck Moments Musicaux; Impromptus (Carbone) DaVin 253, Myrthen songs (Tilling, Gerhaher) Sony 94536, M/A: N/D: Becker Moore,R P Son in A, D 959; Impromptus, op 90 (Chukovskaya) P Qn; P Qt (Mortensen, Engegard Qt) LAWO 1189, M/J: Dux 1618, S/O: Kang Dutterer P Son in A, D 959 (Volodos) Sony 86829, M/A: Becker Piano 4-hands (Fischer & Lutes) Cent 3751, J/A: Harr P Son B-flat; 3 Pieces (Lucchesini) Audit 97766, N/D: Piano 4 Hands (Plano & Del Negro) Brill 95675, M/J: Becker Harrington P Son B-flat; Impromptus (Vanden Eynden) Palai 9, M/J: Sym 1+3 (Gardiner SACD) LSO 844, J/A: Hecht Repp Sym 1+4; Concertos (Rosbaud) Prof 19085, M/A: Alth P Son B-flat; P Pieces; Moments Musicaux (Ugorskaya) Sym 2+4; Genoveva Overture (Gardiner SACD) LSO Avi 8553107, M/A: Vroon 818, J/F: Vroon P Son C minor (Miyamoto) BlueG 503, J/A: Repp Sym 2+4 (Herreweghe) Phi 32, M/A: Vroon P Son D 664; Wanderer Fantasy, arr Liszt (Park) Capr Trios; Fantasy Pieces (Kungsbacka Trio SACD) BIS 5412, S/O: Estep 2437, S/O: Dutterer P Son in G (Oh-Havenith) Audit 20043, M/A: Repp V Son; Romances (Poulet) Palai 11, M/J: Magil P Sons & Pieces (Williams) Sign 831+2, M/J: Repp VC (Weithaus/Manze) CPO 555172, M/J: Althouse American Record Guide January/February 2021 203 SCHUMANN, CAM: Horn Pieces (Halsdorf) Naxos SORABJI: Sequentia Cyclica on Dies Irae (Powell, p 579051, S/O: Kilp [7CD]) Piano 10206, S/O: Estep SCHUMANN,C: Chamber Pieces (Schenkman+) BSF Toccata 2 (Sanchez-Aguilera) Piano 10205, J/A: Estep 191, M/A: Dutt SORENSON: La Mattina; Serenidad; PC; Var (Kauten) SoloM 315, M/A: Repp (Andsnes, Frost, Helseth) DaCap 8226095, J/A: Vroon Piano Pieces (Codispoti) Piano 10193, M/A: Repp SOWERBY: Piano Pieces (Guillman & Tsien) Ced 7006, Piano Transcriptions (De Beenhouwer) MDG 9032115, M/J: Harrington J/F: Becker SPEKTOR: Songs (Mesko) Navon 6256, M/A: new, Boyd Romances (Downes) Flip 0, J/F: see SCHUMANN SPONTINI: Metamorfosi di Pasquale (Montesano) Dyn SCOTT: Piano Pieces (Gvetadze) Chall 72819, M/A: 7836, M/A: Locke Becker Olimpie (Flemish Radio) BruZ 1035, M/J: Locke SCRIABIN: P Sons, all (Maltempo) Piano 10168, J/A: STADELMANN: Flute Pieces (Lotscher) Genui 20717, Harrington N/D: new, Vroon Piano Pieces [5CD] (Fergus-Thompson) Decca STAM: Cello Sonata+ (Holtrop) Aliud 109, M/J: Moore 4829034, M/A: Harr STAMITZ: FC; F & Ob C (Trondheim Soloists) Penta Piano Preludes, all (Pereira) Odrad 352, S/O: Harr 5186823, M/J: Gorman Piano Sonatas, all (Trotta) Dyn 7864, N/D: Harr STANCHINSKY: Piano Pieces (Solovieva) Grand 766, SCZINER: Echoes of Youth (Masi) Navon 6260, M/J: see M/J: Harrington BRAHMS STANFORD: Motets (Westminster Abbey) Hyp 68301, SEREBRIER: Orchestral Pieces—BIS 2423, M/J: Gimbel S/O: see PARRY SHCHEDRIN: Carmen Suite (Jansons) BR 900183, M/J: Quartets 1,2,6 (Dante Qt) Somm 607, M/J: O’Connor French Travelling Companion (Sussex Opera) Somm 274, M/A: SHEBALIN: Suite 3+4; Ballet Suite (Vasiliev) Tocc 164, Hecht J/A: French STEFFAN: Hpsi Concertos (Keglerova) ArcoD 211, S/O: SHOSTAKOVICH: Cello Concertos (Gerhardt) Hyp Lehman 68340, N/D: Sull STEFFANI: Duets (Vinikour+) MusOm 802, J/A: Lehman Cello Sonatas (Anouchka) Genui 20701, N/D: Moore STENHAMMAR: Romances (Ruubel) Sorel 16, N/D: see Piano Sonatas & Preludes (Gugnin) Hyp 68267, J/F: Har ELGAR Preludes (Prisuelos) IBS 182019, J/A: Estep STEVENS: Prevailing Winds (Composer+) DivA 25194, Qt 2,7,8 (Haas Qt) Sup 4271, M/J: Estep J/A: new, Faro Sym 1+5 (Moseda SACD) LSO 802, J/A: Estep String Quartets & Quintet (Behn Qt) DivA 25203, N/D: Sym 2+12 (Tabakov) Gega 388, N/D: Hecht new, Boyd Sym 3+14 (Tabakov) Gega 387, J/F: Estep STEVENSON: Piano Pieces (Hamilton) Prima 107, M/J: Sym 7 (Jansons) BR 900184, M/J: Estep Sull Sym 10 (Jansons) BR 900185, M/A: Hecht STOHR: Chamber Music vol 4—Tocc 536, N/D: Thoms Sym 10 (Liss) FugaL 756, M/A: Hecht STRAUSS: Alpine Symphony (Dausgaard) SSM 1023, Sym 11 (Storgards SACD) Chan 5278, J/A: Estep J/F: see LANGGAARD Sym 13 (Karabits) Penta 5186618, N/D: Estep Alpine Symphony (Petrenko) LAWO 1192, J/A: Hecht Sym 13 (Muti) CSO 1901, J/A: Estep Also Sprach Zarathustra; Till; D&T (Chailly) Decca Trio 2 (Marvin Trio) Genui 19678, M/A: see VAINBERG 4833080, M/J: Hecht VCs (Ibragimova) Hyp 68313, S/O: Estep Zarathustra; Burleske (Trifonov/Jansons) BR 900182, VCs (Pochekin) Prof 19073, J/A: Estep J/A: Hecht SIBELIUS: Kullervo (Lintu SACD) Ond 1338, M/A: Alth Don Quixote (Bailey/Llewellyn) Stein 30156, N/D: see Sym 2; King Christian (Rouvali) Alpha 574, J/A: Vroon WALTON Sym 4+6 (Elder) Halle 7553, J/A: O’Connor Don Quixote; Don Juan; Till (Petrenko,V) LAWO 1184, VC (Tetzlaff/Ticciati) Ond 1334, J/F: see BEETHOVEN M/A: O’Connor VC (Tjeknavorian) Berl 301424, S/O: see TJEKNAVOR Macbeth; Rosenkavalier Suite; Death & Trans (Shui SIERRA: Cantares; Triple Concerto (Marcelletti) Naxos SACD) BIS 2342, N/D: Hecht 559876, S/O: Gimbel Metamorphosen (Salonen) Alpha 544, J/F: see BEET SILVESTRI: Piano Pieces (Borac) Prof 20028, N/D: Rosenkavalier Suite (Leinsdorf) Decca 4840184, M/J: Kang see MAHLER SINIGAGLIA: Quartet Pieces (Archos Qt) Naxos Songs (Siegel) Hans 19078, M/J: Moore,R 574183, S/O: Dutterer Sym F minor; Concert Overture (Baumer) CPO 555290, SKALKOTTAS: PC 3 (Vandewalle) Palad 106, M/J: J/A: O’Connor Estep V Son (Golcea) Genui 19668, J/F: 179, Magil Sinfonietta+ (Fidetzis SACD) BIS 2434, J/A: Sull STRAUSS FAMILY: 2020 New Year Concert (Nelsons) Sinfonietta; Classical Sym (Tsialis) Naxos 574154, J/A: Sony 70240, J/A: Fisch Sullivan STRAUSS,J: Waltzes+ (Krips) Decca 4840692, M/A: SKEMPTON: Music (Sirinu) Met 28580, J/A: new, Faro Fisch Preludes; Nocturnes; Images (Howard,p) Orch 100116, Waltzes (Wei,p) Cent 3734, M/A: 190, Fisch J/A: Haskins STRAVINSKY: Ballet Movements (Rana) Warnr 541109, SKORYK: VC 1-4 (Bielow) Naxos 574088, J/A: Gimbel M/A: see RAVEL SLONIMSKY: Choral Pieces 2 (Kontorovich) Melya Firebird & Petrouchka Pieces (Kiffer) Stein 30103, J/A: 2598, M/J: Greenf see RAVEL SMYTH: Mass; Wreckers Overture (Oramo SACD) Chan Firebird Suite; Petrouchka mvmts (Poghosyan) Cent 5240, M/A: Greenf 3772, M/J: see RACHMANINOFF Songs (Stevens) Somm 611, J/A: Moore,R Mass (Berlin Radio) Penta 5186774, N/D: see BRUCKN SOMMERVELL: Maud; Shropshire Lad (Williams) Somm Suite Italien (De Maeyer) EvilP 34, N/D: 141, Magil 615, S/O: Moore,R STROZZI: Songs (Youngdahl+) Cent 3672, M/A: Loewen SOR: Guitar Pieces (Giglio) Somm 604, N/D: McCutch SUCCARI: Near Eastern Album (Frasse-Sombet) Mague Guitar Pieces (Grondona) Strad 37129, N/D: McCutch 358432, M/A: see GELANIAN 204 American Record Guide January/February 2021 SUK: Serenade for Strings (Anima Musicae) Hung Frankfurt Sonatas (Von der Goltz) Apart 217, M/A: Thom 32824, S/O: see DVORAK Miriways (Labadie) Penta 5186842, S/O: Locke SUSMAN: Collision Point (Piccola Accademia) Belar 7, Oboes (Corall & Griesshaber) Talan 90012, J/F: Hanudel M/A: new, Boyd Partitas (6) (Goen, hpsi) Brill 95683, S/O: Lehman SWAYNE: Stations of the Cross (Nieminski) Reson Recorder Concertos (Lauzer) ATMA 2789, N/D: Gorman 10118, J/A: Delcamp Recorder Sonatas (Dahl) LAWO 1181, M/J: Gorman SWEELINCK: Hpsi Pieces (Egarr) Linn 589, M/A: Lehm VCs (Les Accents) Apart 206, J/F: see BACH SZARZYNSKI: Mass; choral pieces (Wroclaw Baroque) TEODORESCU: Piano Pieces (Smolyar) Tocc 448, J/F: Acco 261, M/J: Gatens Harrington SZYMANOWSKI: Preludes & Etudes (Vivanet) Naxos TESSARINI: Violin Sonatas (Losito) Brill 95861, J/A: 551401, J/F: Repp Loewen Qt 2 (Eliot Qt) Genui 19661, M/A: Thomson THALBERG: Fantasies on French Operas (Viner) Piano Quartets (Carmina Qt) MDG 6502167, S/O: Magil 10178, J/F: Kang TABAKOV: Sym 2+6 (Tabakov) Tocc 562, N/D: Gimbel Opera Transcriptions (Hamelin) Hyp 68320, N/D: see Sym 5; Db Concerto (Tabakov) Tocc 530, J/F: Gimbel LISZT TANEYEV: John of Damascus (Kitaenko) Oehms 470, THEILE: St Matthew Passion (Weser Renaissance) CPO N/D: see RACHMANINOFF 555285, N/D: Gatens Songs, all (Cent 3749, M/J: Moore,R THOMAS: Auditions+ (ICE Ensemble) Nimb 6402, S/O: Suite de Concert (Gregory) Naxos 579052, J/F: O’Con Gimbel TANSMAN: Guitar Pieces 1 (De Vitis) Naxos 573983, Diary of Anne Frank; Rilke Meditations (Thomas) SFS M/A: Smith 79, N/D: Gimbel G Pieces 2 (De Vitis) Naxos 573984, N/D: McCutcheon THWAITES: Choral Pieces (Ex Cathedra) Somm 612, TCHAIKOVSKY: Ballet highlights; Serenade (Fistoulari) J/A: Delcamp Decca 4829366, J/A: Vroon TICHELI: Wind Band Pieces 2 (Corporon, Fennell) GIA Liturgy; Sacred Choruses (Latvian Radio) Ond 1336, 1082, S/O: Kilpatrick J/F: Greenfield TIN: To Shiver the Sky (Tin) Decca 32422, N/D: Vroon Mazeppa (Bolshoi/Mansurov) Melya 2613, N/D: Locke TISHCHENKO: Harp Con; pieces (Marinutsa) Naxos Nutcracker (Jurowski) Penta 5186761, M/A: Vroon 579048, M/J: Gimbel PC 1 (Li) Warnr 537957, M/A: French TJEKNAVORIAN: VC (Tjeknavorian) Berl 301424, S/O: P Son in G (Douglas) Chan 20121, M/A: Harrington Althouse P Son in G; Pieces (Donohoe) Sign 594, J/A: Harr TODD: Choral Pieces (Bach Choir) Sign 591, S/O: Piano pieces (Schellenberger) Hans 19007, J/F: Harr Moore,R Qts; Sextet (Danel Qt) CPO 555292, J/F: Dutt TOMKINS: Choral Works (Hampton Court) Reson Seasons (Mamou) Pavan 7589, J/F: 175, Harr 10253, M/J: Gatens Serenade (Anima Music) Hung 32764, J/F: see DOHN TORROBA: Sonatina; Sonata-Fantasia (Locatto) Strad Serenade (Amsterdam Sinfonietta) Chanl 37119, M/J: 37127, J/F: Smith see ARENSKY TURINA: Serenade (Balkan Chamber Orch) Audit 20045, N/D: Piano Pieces (Jones 4CD) Nimb 1710, N/D: see DVORAK Kang Song transcriptions (Severus) Grand 795, M/A: 189, TURNER: Horn Pieces 1 (Composer+) Naxos 579050, Estep J/A: Kilpatrick Souvenir de Florence (Camerata du Leman) Penta TURRINI: Hpsi Sons (Barchi) Brill 95522, M/A: Lehman 5186762, J/A: Vroon UEBAYASHI: Misericordia (Wincenc) Azica 71325, J/F: Sym 3; Suite 3; Hamlet; VC (Elman/Boult) Decca Gorman 4840381, J/A: Vroon UNG: Space between Heaven & Earth; Spirals (Various) Sym 4 (Honeck SACD) Ref 738, S/O: Hecht Bridg 9533, J/A: Gimbel Sym 4+5 (Gergiev) Mari 17, J/F: Vroon USTVOLSKAYA: Orchestral Suites & Poems (Mravinsky, Sym 4+5; Suite 3; Cap Italien (3 conductors) Decca Jansons+) Brill 96084, J/A: Gimbel 4840407, J/A: Hecht VAINBERG: Cello Concerto; Fantasy; Concertino (Wall- Sym 4+6; VC (Ricci/ Kleiber) Decca 4840373, J/A: Hecht fisch) CPO 555234, N/D: Estep Sym 5 (Ettinger) Hans 19048, J/F: see RACHMANINOF Cello Pieces (Fudala) Dux 1545, M/A: Moore Syms, all; PCs, all; Serenade; Romeo; Fr (Bychkov) Chamber Sym 1+3 (Krimer) Naxos 574063, J/F: Hecht Decca 4834942, J/F: Vroon Clarinet Pieces (Oberaigner) Naxos 574192, S/O: Hanu Trio (Gluzman, Moser, Sudbin SACD) BIS 2372, M/A: Flute Concertos (Stein) Naxos 573931, M/A: Gorman Vroon Qt 14+15; 3 Palms (Silesian Qt) Acco 268, J/A: Estep Trio (Mezzena Trio) Dyn 7825, M/A: Vroon Solo Viola Sonatas (Dinerchtein) SoloM 310, J/F: Magil VC (Dalene/ Blendulf) BIS 2440, M/J: see BARBER String Trio (Trio Lirico) Audit 97753, J/F: French VC & Pieces (Lozakovich) DG 4836086, M/A: French Trio; Cello Sonata 1 (Trio Khnopff) Pavan 7590, J/F: Sull Vigil; Hymns (Latvian Radio Choir) Ond 1352, S/O: Trio (Marvin Trio) Genui 19678, M/A: Estep Greenfield Violin Pieces; Trio (Kremer) DG 4837522, M/A: Estep TCHEREPNIN,A: My Flowering Staff (Acmeist Male Violin Pieces (Newicka) RecA 6, M/A: Magil Choir) Tocc 537, S/O: Reynolds VALENT: Poetic Logbook (Ensemble/Valent) DG TCHEREPNIN,N: Marcissus & Echo (Borowicz) CPO 4818169, J/A: new, Faro 555250, N/D: Estep VALI: For violin, quartet (Carpe Diem Qt) MSR 1738, TELEMANN: Cantatas & Sonatas (Spanos; Pandolfis M/A: Gimbel Consort) Gram 99215, S/O: Loewen VALLS: Mass, Regalis (Academy Ancient Music) AAM 8, Cantatas for countertenor (Potter) CPO 555192, J/F: S/O: Brewer Gatens VARESE: Ameriques (Langree) FanF 16, M/A: see Chamber Pieces (Elephant House Qt) Penta 5186749, GERSHWIN M/J: Loewen VASKS: P Qt (Ipp-Ivanov Qt) Naxos 574073, J/A: new, Flute Fantasias (Nahajowski) RecA 9, M/J: Gorman Faro Flute Fantasies (Roselli) Naxos 579054, M/J: Gorman Trio pieces (Palladio Trio) Ond 1343, J/A: Gimbel American Record Guide January/February 2021 205 VC; Summer Dances; P Qt (Gluzman+ SACD) BIS VOLCKMAR: Organ Pieces (Szadejko) MDG 9062139, 2352, S/O: Haskins M/J: see GRONAU VAUGHAN WILLIAMS: Dona Nobis Pacem (Smith) Ref VON EINEM: The Trial (Gruber) Capr 5358, J/F: Sullivan 732, J/F: see BATES WAGNER: Overtures & Excerpts [2CD] (Levine) DG Life & Work (Albio 39, M/A: O’Connor 4840636, M/A: Hecht Songs (Bevan, Williams) Albio 38, M/A: Moore,R Siegfried, sel (Inkinen) SWR 19078, J/F: Altman Songs (Whately, Williams) Albio 37, J/F: Moore,R Wesendonck Songs (Pregardien,C SACD) Chall 72788, Sym 3+4 (Brabbins) Hyp 68280, M/J: Althouse M/A: see SCHUMANN Sym 5 (Collins SACD) BIS 2367, N/D: Vroon Wesendonck Songs (Siegel) Hans 19078, M/J: see VELASQUEZ: V Son 1+2 (Baldini) Naxos 574118, J/F: STRAUSS Kellenberger WALKER,D: Chamber Music (Various) Alb 1794, M/A: VENABLES: Requiem (Gloucester Cathedral) Somm new, Faro 618, N/D: Vroon WALTON: Cello Concerto (Bailey/Llewellyn) Stein VENDETTI: Piano Pieces; Sax Pieces (Vendetti) 4Tay 30156, N/D: O’Connor 4055, M/J: new, Faro Facade Suites+ (Geer) Somm 614, S/O: Moore,R VEPRIK: Orchestral Pieces (Mueller SACD) MDG V Sons (Huang) Cent 3681, J/F: Magil 9012133, J/F: Hecht WEBER: Clarinet Concertos; Symphonies (Lluna) IBS VERACINI: Overtures (Arte dell’Arco SACD) CPO 222019, S/O: Hanudel 555220, S/O: French Euryanthe (Vienna Radio/ Trinks) Capr 5373, J/F: Locke VERDI: (Bavarian Radio) BR 900330, S/O: Locke Flute Sonata & Trio (Seo) Naxos 573766, J/F: Gorman 4 Seasons (Minasi) PHR 112, N/D: see VIVALDI Freischutz (Leipzig Radio/ Janowski) Penta 5186788, Macbeth (Verrett,Cappuccilli/Abbado) DG 4835601, J/F: M/A: Altman Altman Freischutz (Essen/ Netopil) Oehms 988, S/O: Reynolds Songs (Solis) IBS 192019, J/A: Reynolds Peter Schmoll (Vienna Radio) Capr 5376, J/F: Locke Trouvere (Bologna/R Abbado) Dyn 7835, J/F: Hecht WEIGL: Qt 7+8 (Thomas Christian Ensemble) CPO VERESS: Stg Trio (Lockenhaus) Alpha 458, J/F: see 555201, N/D: Dutterer BARTOK WEILAND: Quartets 4+5 (Melbourne Qt) Naxos 574028, VICTORIA: Mass, Gaudeamus (Contrapunctus) Sign N/D: new, Boyd 608, S/O: Brewer WEINER: Pieces for Orchestra 3 (Csanyi) Naxos Requiem () Regen 551, M/J: Brewer 574125, N/D: French VIEUXTEMPS: VC 4 (Feng) Chanl 40719, M/A: see WEIR: Chamber Pieces & Songs (Hebrides Ens) Delph PAGANINI 34228, M/A: Gimbel Violin & Orchestra (Kuppel) Naxos 573993, N/D: Thoms WELTER: Cantatas (Ecco La Musica) Chris 77440, J/F: VILLA-LOBOS: Guitar C; Harmonica C; Qn Loewen (Barrueco/Guerrero) Naxos 574018, N/D: McCutcheon WHITACRE: Marimba Qts (Burgess+) Sign 625, S/O: Piano Pieces; Bachianas 4 (Solounios) Sheva 218, J/F: new, Faro Estep WHITBOURN: Choral Pieces (Cor Cantiamo) DivA Sextet; Guitar Etudes (Sextuor Mystique Ens) Uran 25192, J/A: Greenfield 14050, J/F: Smith WHITE,J: Piano Sonatas (Powell) Conv 515, J/A: Haskn VILSMAYR: Solo Violin Partitas (Bernardi) Strad 37147, WHITING: Percussionist-Storyteller (Composer) NewF S/O: Brewer 259, N/D: new, Vroon VINCI,L: Gismondo—Parn 17, N/D: Locke WIDOR: Organ Sym 1; Latin Suite (Bell) Cent 3763, J/A: VINCI,P: Spiritual Sonnets (Note Bene) Tocc 553, N/D: Delcamp Moore,C Organ Syms 1+2 (Rubsam) Naxos 574161, M/J: Delc VINE: Piano Sonatas 1+4; Preludes; Bagatelles (Garrit- Organ Sym 2+3 (Bell) Cent 3764, N/D: Delcamp son) LG 0, M/J: Gimbel Organ Sym 4+7 (Bell) Cent 3765, N/D: Delcamp VIOTTI: Flute Qts (Viotti Qt) Brill 95645, S/O: Gorman Songs (Hays, Hanig, Saunders) Alb 1813, S/O: Moore,R VITALI: Chamber Sonatas op 14 (Italico Splendore) Tact WILLAN: Songs (Various) Centr 26719, M/A: Moore,R 632202, J/A: Moore,C WILLIAMS,L: Songs (Faux) NewW 80818, J/F: new, Sonatas (Italico Splendore) Tact 632206, N/D: Brewer Boyd Violin Sonatas (Italico Splendore) Tact 632204, S/O: WILMS: Flute Sonatas (Dabringhaus) MDG 9032149, Thomson N/D: Gorman 2-Violin Sonatas (Italico Splendore) Tact 632203, S/O: P Qts (Valentin Qt) CPO 555247, J/F: Kell Thomson WINTERBERG: Piano Pieces (Helbig) Tocc 531, M/J: VIVALDI: Concertos for Strings (Archicembalo) Brill Haskins 95835, J/F: Lehman WOLF: Italian Songbook (Seefried, Fischer-Dieskau) DG Concertos, Paris (Modo Antiquo) Tact 672260, M/J: 4840556, M/A: Moore,R Brewer Songs. vol 10 (Various) Stone 80918, M/J: Althouse Concertos (Tafelmusik) Tafel 1039, M/A: Loewen WOLFE,J: Fire in My Mouth (Van Zweden) Decca 4 Seasons (Sulic, cello) Sony 98635, M/A: Moore 30845, M/A: Gimbel 4 Seasons (Minasi) PHR 112, N/D: French WOOLF: Fire & Flood (Haimovitz, Trinity Wall St) Penta 4 Seasons, with Piazzolla (Steinbacher SACD) Penta 5186803, M/J: new, Boyd 5186746, N/D: Thomson WORDSWORTH: PC; VC (Gibbons) Tocc 526, J/F: O’Co VCs (Plewniak) Evoe 7, M/J: French WOS: Flute Pieces (Kaczka) Hans 20001, M/J: Gorman Violin Concertos VII, Castello (Tampieri) Naive 7078, YSAYE: Violin Pieces (Various) FugaL 758, M/J: Magil M/A: Magil ZAIMONT: V Son; Qts (Amernet Qt) MSR 1709, J/F: Gim Manchester V Sons (Fewer) Leaf 229, M/J: French ZAREBSKI: P Qn (Plawner Qt) CPO 555124, J/F: see VLADIGEROV: Piano Pieces (Gatev) Gega 412, N/D: MONIUSZKO Estep ZEBROWSKI: Magnificat; Mass, Pastoritta (Kosendiak) VLASSE: Songs (Plitman) MSR 1754, N/D: new, Boyd Acco 258, J/F: Greenfield VOGLER: Gustaf Adolf (Farnscombe) Sterl 1121, M/A: ZEMLINSKY: The Mermaid (Albrecht SACD) Penta Reynolds 5186740, N/D: Hecht 206 American Record Guide January/February 2021 Qt 2 (Arod Qt) Erato 542552, M/A: 168, Dutterer Apollo Chamber Players: within earth—Brouwer, Wal- Sinfonietta; Maeterlinck Songs (Malkki) Capr 5377, S/O: czak, Dubois—Navon 6262, J/A: new, Boyd O’Connor Azrieli Music 2: Murphy, Dorman, Glick (St John+) Anal Der Traumgorge (Albrecht) Capr 5395, M/J: Locke 9262, J/F: new, Boyd ZEYNALOVA: Chamber Pieces (Composer+) DreyG Boston Symphony Commissions: Nathan, Tsontakis, 21117, J/F: new, Faro Andres, Shepherd (Nelsons) Naxos 559874, M/A: 165, ZIMMERMANN: Piano Pieces (Fernandez) BIS 2495, Gimbel N/D: Gimbel Contemporary American: Lifschitz, James (Beck) N/S V Sons (Milwidsky) Tocc 541, S/O: Magil 1065, J/A: 136, Gorman ZIMMERMANN,W: Lokale Musik (Composer) Mode 307, Dancing on Glass—women (violin, cello) Alb 1797, J/A: J/F: Gimbel new, Boyd Delicate Omens: flute & guitar—Maret & Bergeron (Folias COLLECTIONS Duo) Folia 2, M/A: new, Boyd ORCHESTRAL Diaries of Adam & Eve: Daugherty, Knific, Chave (Walvo- British Tone Poems 2: Foulds, Fogg, Howell, Cowan, ord) Alb 1791, J/A: 140, Sullivan Hadley (Gumba) Chan 10981, J/F: 155, O’Connor Dimensions 2: Stem, Whitley, Francis—Navon 6251, M/A: Cantos Islenos (Sanches-Arana) IBS 212019, N/D: new, new, Faro Boyd Empowering Silenced Voices (Chorosynthesis) Cent Cleveland Orchestra Box: Strauss, Prok, Beet, Varese, 3699, J/F: new, Boyd Deutsch—Cleve 1, S/O: 113, Hecht Figments (Various) Navon 6259, M/A: new, Faro Forgotten Treasures: Schmidt, Weiner, Pizzetti, Tcherep- Flute & Clarinet (O’Connor & Neidlich) NewF 258, N/D: nin (Falletta) BeauF 531, M/A: 165, O’Connor new, Vroon Jascha Horenstein [10CD] Prof 19014, S/O: 114, Hecht For My Love 3 (Mann) Tocc 504, M/J: new, Boyd Rafael Kubelik: Russian & Czech [10CD] Prof 19019, M/J: Healing Modes (Brooklyn Rider) Circ 14, J/A: new, Boyd 141, Hecht Meredith, Goehr, Matthews (Aurora Orchestra+) NMC Karl Munchinger: Baroque [8CD] Decca 4840160, M/J: 239, S/O: new, Faro 143, Althouse Modules+ (Composer+) CompC 48, J/F: new, Boyd Karl Munchinger: Classical [8CD] Decca 4840170, M/A: Moto Celeste (Trio Casals) Navon 6266, M/J: new, Faro 165, Althouse New Armenian Pieces: Avanesov, Kartalyan, Zohrabyan Night at the Ballet (Fistoulari) Guild 3502, J/F: 155, Fisch (Various) NewF 244, M/J: new, Faro Opera-Comique Overtures (Halasz) Naxos 574122, N/D: New Music: Movio, Grossman, Gato—Kairo 15070,2,5, 116, Fisch N/D: new, Vroon Palace Premieres (Countess of Wessex Strings) CW New Music: Scelsi & Baltakas—Kairo 15030+45, N/D: 5001, M/A: 166, Fisch new, Vroon Piano Concertos: Kapustin, Shostakovich (Masleev) New Music: Globokar & Hilli—Kairo 15059+78, N/D: new, Melya 2624, J/A: 136, Estep Vroon Hans Swarowsky [10CD] Prof 18061, M/A: 167, Vroon Panufnik Legacies III (Roth) LSO 5092, S/O: new, Faro George Szell, 1950s [9CD] Prof 19018, J/F: 156, Vroon Playing on the Edge: Erickson, Castellano, Field (Sirius Qt) Navon 6249, J/F: new, Boyd CHAMBER Prisma 3 (Peterdlik) Navon 6271, M/J: new, Faro Advenio Trio: horn, violin, piano—Atwell, Aurebach, Sar- Ran, Higdon, Zwilich (Pacifica Qt) Ced 196, N/D: new, gon—Cent 3770, J/A: 137, Kilpatrick Faro Anders Chydenius Collection: Sacchini, Schulz, Pugnani Spark Catchers (Chineke Orchestra) NMC 250, M/J: new, (Kokkola Qt) Alba 449, S/O: 117, French Faro Armenian Piano Trios (Aeternus Trio) Tocc 6, N/D: 117, Third Sound: Heard —Innov 990, J/A: new, Boyd Estep Untold (Summerhayes, Grainger) Nimb 6398, J/A: new, Chamber Music with Jorg Demus: Beet, Schum, Dvor, Boyd Demus—Gram 99203, J/A: 155, Thomson Viola & Strings: Brill 96053, S/O: 136, Thomson Cobbett Prize Winners: Hurlstone, Knussen, Lewis Vox (Heare Ens) Innov 40, M/J: new, Faro (Berkeley Ens) Reson 10243, J/F: 157, Dutt Voyages: Convery & Boyle (The Crossing) Innov 28, J/F: English Piano Trios (Anima Mundi Trio) DivA 25158, M/J: new, Boyd 144, O’Connor Flute-Cello-Piano: Martinu, Gaubert, Weber, Damase BRASS (Boyd-Doane-Snyder) Bridg 9539, N/D: 120, Gorman (Kilpatrick unless noted) Lark Quartet Farewell: Harbison, Weesner, Waggoner— Brass Showcase—8 groups: Sayd 452, M/A: 170 Bridg 9524, M/A: 169, Kilpatrick Chicago Brass & Organ: Reformation—MSR 1735, M/A: The Leipzig Circle: Schumann 2, Mendelssohn 2, Gade 171 (Phoenix Trio) Stone 80949, S/O: 117, Althouse Constellations: Gjeilo, Wagner, Gabrieli (Canadian Leipzig Circle 2: Mend Trio 1; Schumanns Trios (London National Brass) Anal 8924, J/A: 137 Bridge Trio) Somm 619, N/D: 117, Dutterer From Heaven to Earth: Telemann to Rheinberger (Pfeiffer New England Trios: Piston, Perera, Bernstein (Pitchon+) Trumpet Consort Cant 58052, J/F: 159 Bridg 9530, J/A: 137, Estep Gewandhaus Brass: Genui 20693, J/A: 138 Portuguese Trios: Santos, De Freitas, Delgado (Pangea Night before Christmas (Burning River Brass) Azica Trio) Naxos 574014, J/F: Dutterer 71319, N/D: 159 Russian Trios: Rachmaninoff, Babajanian, Alabiev Norwegian Trombone Ens: Beet, Telemann, Deb—LAWO (Zhdanov) Prof 16092, M/A: 153, Vroon 1194, S/O: 118 Silenced Voices (Black Oak Stg Trio) Ced 189, J/F: 159, Preludes, Rags, Cakewalks: (London Brass) MPR 5, J/A: Faro 138 String Quartets before the String Quartet: Purcell, Locke, River Raisin Ragtime Revue: CMU 241, N/D: 138 Blow (Kitgut Qt) HM 902313, M/J: 145, Thomson Royal Brass King James I (Andre+) Decca 4828527, M/A: 170 CONTEMPORARY American Record Guide January/February 2021 207 OBOE & BASSOON Summerland: Black American Cello (Yeon-JiYun) MSR 20th Century Jewish Oboe: Gal, Finzi, Dorati, Haas 1752, J/A: 141 (Schmidt) Strad 37102, M/A: 182, Hanudel Luciano Tarantino: Tortelier, Tcherepnin—Brill 95964, J/F: Bassoon & Guitar (Ferrara Duo) Antes 319307, N/D: 118, 162 Gorman Tea for 2 Cellos—Chinese: SoloM 327, J/F: 160, Fisch Bassoon Concertos: Mozart, Weber, DuPuy (Sambeek) Paul Tortelier [3CD] Audit 21455, J/A: 140 BIS 2467, J/A: 138, Vroon Benjamin Whitcomb: Bloch, Reger, Muczynski—MSR Botanica: Haas, Roven, Soukup (Fraker) MSR 1723, J/F: 1587, J/A: 141 170, Hanudel Theresa Delaplain: Soler, Rubbra, Bacewicz—MSR 1691, CLARINET M/A: 181, Hanudel (most by Hanudel) French Bassoon (McGovern) Alb 1799, M/J: 146, 3 Sax Concertos: Cerha, Latzer, Lauba (Ernst) Genui Hanudel 19669, M/A: 174, Kilpatrick Mexican Oboe (Thompson) Equil 158, N/D: 127, Vroon Belle Epoque: Debussy, Brahms, Trojohn (Van Wauwe) Monde d’Hier (Lussier) ATMA 2778, M/J: 146, Hanudel Penta 5186808, J/F: 164 Oboe Concertos: Pla, Telemann, Albinoni, CPE Bach Bernstein Story (Studnitzky & Manz) Berl 1109, J/F: 163, (Hauser) BlueG 525, J/A: 145, Gorman Fisch Oboe Sonatas: Mozart, Grieg, Prokofieff (Willett) Alb Clarinet Concertos: Lindberg, Hartmann, Farjot (Votano) 1782, J/F: 171, Gorman FugaL 752, J/F: 165 Oboe Sonatas: Cooke, Jones (Williams) Willo 63, J/A: Clarinet Quintets for Our Time: Ellington, Rogerson, Cole- 145, Vroon man (Shifrin) Delos 3576, M/A: 175 Theo Plath, bn: Weber, Crusell, Jolivet—Genui 20683, Clarinet Trios: Mozart, Schumann, Reinecke (Teton Trio) S/O: 118, Hanudel Cent 3786, N/D: 120 Song of the Redwood Tree (Pool) MSR 1749, J/A: Gor- Clarinets at the Opera (Imep Namur ) Cypre man 2625, M/J: 149 Contemporary Clarinet: Hajdu, Harrop, Hoffmann, Heimer CELLO (Hoffmann+) Genui 20695, S/O: 120 (D Moore mostly) Fairy Tales: Mozart, Schumann, Kurtag, Prok (Kuff, Self- 20th Century Cello: Armstrong, Martinu, Thompson,P heims) Music 56969, J/F: 163 (Handy) Sleev 1011, M/A: 172 Wesley Ferreira: Durao, Derrica, Cattapatoso—Cent 21st Century Double Bass: Hodgson, Panufnik, Ellis, 3743, M/J: 149 Parkin (Bosch) Merid 84655, M/A: 171 Flute & Clarinet Solo (Darling & Arbulu) Cent 3717, S/O: Zuill Bailey: Brahms, Schumann, Bruch Stein—30123, 121, Gorman J/F: 160, Althouse Pierre Genisson: Copland, Bernstein, Stravinsky—Apart Baroque Cello (Harnoy) Anal 8907, M/A: 173 218, J/A: 142 Baroque Cello Concertos: Vivaldi, Boccherini, Haydn Latin American Clarinet: Lobato, Saglie, D’Rivera (Polo) IBS 52020, N/D: 119 (Figueiredo) Cent 3740, S/O: 120 Baroque Violin-Cello Duos (Tartini Duo) Muso 31, J/F: Northern Fantasies: Draeseke, Loewe, Winding (Nelson) 163 Sound 1111, J/F: 164 British Cello: Smyth, Clarke, Maconchy (Handy) Lyrit 383, Second Wind: Bach, Canfield, Handel, Koechlin M/A: 172 (Camwell) Navon 6253, M/A: 174 British Solo Cello (Saram) FHR 45, M/A: 173 Solas—Sax & Organ (McChrystal & Wilson) FHR 93, N/D: Casals Homage (Abel) Naxos 551418, J/F: 160 120 Cello & Marimba (Stick & Bow) Leaf 231, M/J: 147 Spheres (Trio Eclipse) Prosp 2, N/D: 117 Cello Encores (Rummel) Palad 105, N/D: 120, Vroon Classic Hauser: Sony 98853, M/J: 147, Vroon Complices (Queyras) HM 902274, M/J: 148 FLUTE Double-Bass: Schumann, Brahms, Misek (Beringer) (most by Gorman) Genui 20706, S/O: 119 20th Century: Hindemith, Denisov, Prok (Lupachev) Double-bass Encores: (Oppelt) MSR 1731, J/F: 161, Naxos 579069, N/D: 121 Fisch Anonymous Venetian Recorder Sonatas (D’Avena) Entr’acte: Rach, Deb, Chabrier, Webern (Platte) Alb 1786, Ramee 1905, M/J: 173 J/F: 161 British Flute: Scott, VWms, Bowen (Sherman) BlueG 515, Exiles in Paradise: Immigrants in Hollywood (Smith) J/F: 167 Naxos 579055, S/O: 119 Early 20th Century Women: Bonis, Boulanger, Chami- French Cello (Frankova) Cent 3753, M/J: 147 nade (Hurel) Alpha 573, J/A: 143, Harrington Haydn & Friends—Gamba (Eckert) Hans 17064, N/D: 119 Flute & Cello Rarities (Koga & Lomakov) Genui 20700, Italian Violin-Cello Duos (Zanisi & Sollima) Arcan 468, N/D: 121 J/A: 140 Flute & Clarinet Chronicles (Crescent Duo) BlueG 543, Antonio Janigro 4CD: Prof 20002, J/A: 139 J/A: new, Faro Sheku Kanneh-Mason: Elgar, Bloch, Klengel—Decca Flute & Guitar (Glinka & Botsis) Phasm 15, N/D: new, 31491, J/A: 139 Boyd Kolophonistinnen: 4 cellos—Gram 99218, S/O: 118 Flute & Harp: Debussy, Jolivet, Schafer (Kalysta Duo) Richard Locker: Short pieces & arias—Leg 518, J/F: 162, Leaf 226, M/J: 151 Fisch Flute & Harp: Schub, Schum, Deb, Caplet (Queens Duo) Daniel Muller-Schott: Solo cello—Orfeo 984191, M/A: 173 Genui 20691, S/O: 122 Requiebros (Saram) FHR 97, S/O: 119 Flute Fantasias w Guitar (Cavatina Duo) Bridg 9541, N/D: Russian Cello (Croise) Avie 2410, M/A: 172 121 Russian Visions: Strav, Schnittke, Smirnov (Vukotic) Flute Pieces by Women: Saariaho, Williams—FurAr 6826, Somm 606, M/J: 148 N/D: new, Vroon Denis Severin: Schumann, Cassado, Rach, Faure— Flute Sonatas: Hummel, Reicha, Weber (Pilch) RecA 3, SoloM 318, S/O: 119 M/J: 151 208 American Record Guide January/February 2021 Flute, Viola, Harp: Debussy, Bax, Genzmer (Trio Partout) David William Ross: Nakada, Piazzolla, Takemitsu— Gram 99196, J/F: 166 Ravel 8019, M/A: 180, Smith Fragile Phrases: flute & guitar (Duo Delinquo) Prop 2083, Salut d’Amour: Ponce, Castelnuovo-T, Haug (Gronona, J/F: 166 Ciccolini) Strad 37141, M/A: 178, Smith Giantess (Brown) Innov 43, M/A: new, Boyd Sonatinas 19th Century: (Forqueddu) Brill 95558, N/D: Iwona Glinka: Willo 13, M/J: 150 124, McCutcheon Temo Kharshiladze: Reinecke, Prok, Taktakishvili—Gram Souvenirs of Spain & Italy (Isbin; Pacifica Qt) Ced 190, 99201, M/A: 176 M/A: 179, Smith Opera for Flute (Seel) Hans 19077, J/A: 143 Frank Wallace: Wallace, Britten, Segreras—Gyre 10113, Emmanuel Pahud: Dreamtime: Reinecke, Penderecki, M/A: 181, Smith Takemitsu—Warnr 539244, M/A: 176 Friedemann Wuttke & Friends: Piazzolla, Boccherini, Piccolo Concertos: Liebermann, Campo, Damase (Beau- Rodrigo—Prof 19067, N/D: 126, McCutcheon madier) Skarb 3192, M/A: 175 Piccolo Encounters: 20th Century (Stahel) SoloM 329, HARP N/D: 122 Lauren Scott: 20th Century—Avie 2417, J/A: 144, French Recorder Pieces: Marcello, Vivaldi, Bellinzani (Staropoli) Viola & Harp: Bax, S-S, Schub, Britten (Xu & Schrama) Brill 96052, J/A: 144 Prof 19069, S/O: 136, Thomson Recorder Sonatas, 18th Century Netherlands (Bosgraaf) Brill 95907, J/F: 165 HARPSICHORD Sonora Slocum: Barber, Bartok, Copland—Affet 1903, Avant-Garde Cembalo (Nyquist) Music 55723, M/A: 181, J/F: 167 Lehman Ashley Solomon—historic inst: Bach, Telemann, Leclair— Fitzwilliam Virginal Book 7 (Belder) Brill 95648, S/O: 124, Chanl 43020, J/A: 142 Lehman Song in the Night—belle epoque (Mazzoli) Dyn 7862, Hpsi Sons: Scarlatti, Soler, Albeniz (Pozuelo) Strad S/O: 121 37140, J/F: 170, Lehman Wieslaw Suruto: Taffanel, Doppler, Briccialdi—RecA 27, Modern Harpsichord: Takemitsu, Saariaho, Bryars (Esfa- M/A: 177 hani) Hyp 68287, S/O: 124, Haskins Swedish Women (Gudmundson) MSR 1722, M/J: 150 Time Flies—contemporary (Funaro) Cent 3783, N/D: 127, Voyage: Flute & Guitar (Friend, Ogden) Chan 20037, J/F: Lehman 166 Toccata (Buccarella) Ricer 407, J/F: 169, Lehman Alena Walentin: Amirov, Bowen, Schulhoff—Guild 7820, M/J: 152 MISCELLANEOUS LSO Percussion Ensemble: Reich, Corea, Locke, Sim- GUITAR cock—LSO 5090, S/O: new, Faro 2-Guitar Recital: Petit, Rodrigo, Cast-Ted (Olsen & Haug- Piano & Erhu III (Li & Hamm) Redsh 474, N/D: new, Boyd land) Simax 1361, M/A: 181, Smith Ali Arango: Naxos 574111, M/A: 177, Smith ORGAN Arctic Sonata: (Bjornsson) Emec 137, M/A: 178, Smith Art & Rhapsodie (Chriss) ATMA 2782, M/J: 152, Delcamp Robert Aussel: Tangos—IBS 62019, J/F: 167, Smith Berlin Organ: Mendelssohn, Rufer (Sieling SACD) MDG Balkan Guitar: (Grgic) Naxos 573920, M/A: 178, Smith 9462161, S/O: 127, Delcamp Anton Baranov: Fleur 58047, J/F: 168, Smith Eastbourne (Eadon) Willo 60, M/J: 153, Delcamp Eileen Baum: ArcoD 215, N/D: 123, McCutcheon Alexander Ffinch: Jongen, Dove, Liszt—DivA 25193, J/F: Rupert Boyd: SonoL 92231, M/A: 177, Smith 171, Delcamp Alejandro Cordova: Naxos 573972, J/F: 169, Smith French Eclat: Messiaen, Widor (Bruns) ProOr 7220, J/F: Davide Fabbri: Viaggio: DotG 1908, N/D: 123, Brewer 171, Delcamp Salvatore Fodera: Mediterranean—Brill 95862, M/J: 173, Gdansk Organ 1 (Szadejko) MDG 9062157, N/D: 129, Brewer Loewen Grawemeyer Award Composers: Tower, Takemitsu, Amelie Held Recital: Hera 2128, M/J: 153, Delcamp Andriessen, Currier (Kupinski+) Sound 1112, N/D: 124, Nordic Journey 9 (Hicks) ProOr 7290, S/O: 126, Delcamp McCutcheon Nordic Journey 10 (Hicks) ProOr 7292, N/D: 129, Del- Liz Hogg: Alb 1801, N/D: 123, McCutcheon camp Italian Concertos (Segre) Delos 3546, N/D: 125, McC Once Upon a Time: Ravel, Durufle, Robin (Robin at Dis- Vojin Kocic: Jose, Albeniz, Manen—Naxos 574133, M/A: ney Hall) Brill 96134, S/O: 126, Delcamp 179, Smith Organ Pieces by Women (Ajossa) Strad 37132, J/A: 145, Mateusz Kowalski: Acco 251, M/A: 179, Smith Delcamp Celia Linde: Shades of Blue—Propr 2085, M/A: 180, Organ Trios: Rheinberger, Gustafsson, Storm (Johnsson) Smith Prop 2084, M/A: 182, Delcamp Napoleonian Sonatas (Valois) Cent 3733, N/D: 126, Organ at Bobenthal (Brembeck) Cant 58053, N/D: 128, McCutcheon Gatens New Canadian 2-Guitar Pieces (Cowan & Cicchillitti) Anal Organic Creatures (Vicens) ConsS 139, J/A: 147, 8792, J/F: 168, Smith Lehman New Zealand Guitars: (Curry & Moriarty) Naxos 579041, Timothy Parsons: Regen 523, M/J: 153, Gatens J/F: 169, Smith Pax Britannica (Stove) ArsOr 2, J/A: 146, Delcamp New with Guitar 12: Lehrdahl, Bland, Leisner (Starobin) Prairie Sounds (Thevenot) Raven 162, M/J: 154, Del- Bridg 9520, M/A: 180, Smith camp Ji Hyung Park Recital: Naxos 574140, S/O: 123, Christa Rakich: Bach, Senfter, Woodman—Loft 1139, J/A: McCutcheon 146, Delcamp Peace: Radice, Johnson, Sor (Johnson) DosA 2019, S/O: St Agostino in Cremona (Bottini) Crem 19049, N/D: 127, 122, McC Gatens Premiere Recordings (Isbin) Zoho 202005, S/O: 122, Swedish 18th Century (Lundblad) Capr 21928, J/A: 146, McCutcheon Delcamp American Record Guide January/February 2021 209 Manuel Tomadin: Strungk, Morhardt—Brill 95758, M/J: Shinnosuke Inugai: Genui 20680, S/O: 129, Estep 154, Gatens Italian Inspirations: Bach, Rach, Liszt, Dallapiccola (Bax) Gillian Weir: Dupre, Vierne, Charpentier—Decca Sign 611, J/A: 149, Repp 4818742, M/A: 183, Delcamp Svetozar Ivanov: Intermissions—Gega 419, S/O: 129, Haskins PIANO Jewish Composers, 1922-43 (Worms) Zefir 9669, S/O: 20th Century Foxtrots (Wallisch) Grand 813, J/A: 152, 132, Becker Fisch Peter Jozsa: Haydn, Schub, Brahms, Chopin, Liszt— A New Yorker—Impressions (Chang) Cent 3795, M/J: Gram 99213, S/O: 129, Repp 155, Harr Kete: African & Diaspora (Nyaho) MSR 1708, S/O: 130, James Adler: Mouss, Moz, Deb, Adler—Alb 1781, J/F: Estep 172, Harr Honggi Kim: Schum P Qn; Vine, Granados, Ravel— All Waltzes (Deliyska) Chall 72841, J/A: 149, Repp Naxos 574232, N/D: 133, Becker American Rage: Rzewski, Copland, Wolfe (Tao) Warnr Oleg Kleiankina: Salonen, Bolcom, Crumb, Zaimont— 535477, M/A: 189, Sull BlueG 505, M/J: 157, Haskins Miyako Arishima: Chopin, Takemitsu, Szymanowski— Latin American 2-Pianos: Gustavino, Pinto, Bolcom (Bal- Stein 30118, J/F: 172, Repp taian & Polischuk) BlueG 539, J/A: 148, Harr Baroque Suites: Bach, Rameau, Schnittke (Proshayev) Latin Soul: South Americans (Martino) Tico 2, M/A: 187, Piano 10179, M/J: 159, Lehman Kang Jean-Efflam Bavouzet: Clementi, Dussek, Hummel— Lebanese Piano (Khoury) Grand 812, M/A: 188, Sull Chan 20128, N/D: 130, Repp Les Six (Roges) Onyx 4219, J/A: 151, Harr Stephen Beus: Dance: Bach, Mozart, Ravel—Cent 3745, Long 17th Century (Pienaar) Avie 2415, M/J: 158, S/O: 127, Harr Lehman Bravura: Addinsell, Turok, Chopin, Litolff (Pierce) MSR Moura Lympany [6CD] Decca 4829404, M/A: 186, Repp 1640, M/A: 188, Vroon Warren Mailley-Smith: Mozart, Chopin, Beethoven, Sara Beth Briggs: Haydn, Mozart, Schubert, Gal—Avie Gershwin—Sleev 1002++, J/F: 175, Vroon 2418, N/D: 130, Repp Moon Rainbow: Bach & Kapustin (Imorde) Berl 301407, British 2 Pianos: Bax, Britten, Bowen, Bennett (Berlin- S/O: 128, Harr skaya & Ancelle) Melya 2565, M/A: 183, Harr Keigo Mukawa: Ravel, Liszt, Bach—Acous 13819, J/A: Dmytro Choni: Deb, Ginastera, Prok—Naxos 574136, 150, Repp N/D: 131, Harr Neo-Classic: Haydn-Stravinsky (Greenberg) FurA 6820, Chopin Festival Hamburg 2019 (4 Pianists) Naxos M/J: 156, Repp 579068, N/D: 136, Repp Norwegian piano (Sobon-Wakarecy) Acco 267, S/O: 131, Jane Coop: Bach, Beethoven, Rach—Sky 1901, M/A: Repp 183, Estep Cecile Ousset [7CD] Decca 4827395, M/A: 188, Becker Czech cycles (Ahn) Cent 3781, J/A: 148, Repp Percy & his friends (Masters) Herit 179, M/J: 158, Becker Favorite Encores (Kirova) ConBr 22091, S/O: 130, Estep Philippine Piano (Pinkas) MSR 1645, J/F: 175, Kang Anna Fedorova: Chopin, Liszt, Scriabin—Chanl 42219, Reminiscences of Brazil (Badgerow) DivA 25201, N/D: M/A: 183, Repp 129, Kang Finnish Favorites (Olszewski) Cent 3732, M/A: 187, Kang Richter in Prokofieff & Rachmaninoff [11CD] Prof 19052, Fire: Falla, Stravinsky, Liszt (Kosuge) Orch 108, M/A: S/O: 130, Harr 185, Repp Ada Aria Ruckschlos: Bach, Franck, Beet, Prok—Hans Rudolf Firkusny [10CD] Prof 19013, N/D: 131, Repp 20033, N/D: 134, Becker French Piano (Fialkowska) ATMA 2766, M/A: 184, Harr Savile Club Composers: Parry, Quilter, Arnold, Stanford French Piano Rarities: Deb, Messiaen, Boulez (Van Raat) (Karpeyev) Somm 601, J/F: 174, Becker Naxos 573894, N/D: 134, Harr JeungBeum Sohn: Beet, Schub, Ravel—Genui 20688, Elena Gaponenko: Beet, Schub, Schumann—Oehms S/O: 132, Kang 1707, J/F: 173, Kang Solomon [10CD] Prof 20032, N/D: 135, Becker Umi Garrett: Bach, Chopin, Beet, Liszt—Umi 0, J/F: 174, Swedish Miniatures (Forsberg) DB 194, M/A: 184, Vroon Repp Alexandre Tharaud: Abrahamsen, Pesson, Strasnot— Emil Gilels 11: Beet & Rach PC 3 (Jochum & Ormandy) Erato 532307, J/A: 151, Haskins Dorem 8100, S/O: 128, Vroon Transcriptions (Taverna) Somm 605, M/J: 160, Becker Friedrich Gulda: concertos—SWR 19088, J/A: 150, Hask- Andrew Tyson: Scarlatti, Schubert, Albeniz—Alpha 546, ins M/A: 190, Kang Great Pianists as Composers: Schnabel, Gould, Lipatti Aline Van Barentzen: Chopin, Liszt, V-Lobos—APR 6031, (Miyamoto) BlueG 501, M/J: 158, Haskins N/D: 136, Harr Gugnin, Kholodenko, Geniusas: Beethoven, Schubert, Variations: Schumanns, Muhly, Brahms, Iyer (Momen) Schumann—Melya 2619, S/O: 132, Repp Somm 603, M/A: 187, Kang Half-Remembered Music: Chopin, Bach, Mompou, Crumb Versailles: Rameau, Couperin, Duphly (Tharaud) Erato (Yang) BlueG 531, M/J: 161, Vroon 538642, M/J: 160, Kang Hidden Treasures: Norwegian (Marin) Alba 446, M/A: Heidi Louise Williams: Griffes, Walker, Floyd, Barber—Alb 187, Kang 1790, M/A: 191, Becker Hikaye: Turkish, Bloch, Takemitsu (Bengi) FugaL 759, Women Composers (Wenglin & Lomon) Navon 6254, M/J: 155, Kang M/A: new, Boyd Homage to Godowsky (Gugnin) Hyp 68310, S/O: 128, Jae-Yeon Won: Bach to Bartok—Acous 13919, J/A: 153, Kang Repp Humoresques: Grieg, Dvorak, Reger, Schumann (Gul- Amit Yahav: Fantasies—Chopin, Mend, Schumann— badamova) Hans 19036, M/A: 185, Becker Genui 20709, N/D: 136, Repp Hungarian Melody: Brahms, Liszt, Schubert (Gulbadamo- Amy Yang: Bach, Shaw, Schumann—MSR 1655, M/J: va) Hans 19037, M/J: 157, Repp 160, Haskins Iberia & Francia: Ravel, Falla, Albeniz, Mompou (Cooper) Chan 20119, J/F: 173, Repp 210 American Record Guide January/February 2021 TRUMPET & BRASS SOLO French Violin: Debussy, Ravel, Poulenc (Ovsyanikova) (Kilpatrick) Stone 80963, N/D: 143, Magil Alison Balsom: Handel, Bach, Purcell—Warnr 537006, French V Sonatas: Faure, Ravel, Deb, Poulenc (Pietsch) M/J: 161 Audit 97751, S/O: 140, Magil Keith Benjamin, tpt: Adler, Schoenberg, Garrop—Crys French V Sonatas: Poulenc, Franck, Chausson (Van 961, M/A: 191 Driessche) Antar 17, J/A: 158, Thomson Egregore (Brum) Naxos 574204, N/D: 137 Early Years: Rhine 11, J/F: 178, Kell Chris Gekker: Moon Marked—Met 28605, S/O: 134 Ivry Gitlis [4CD] Violin Concertos—Prof 19056, S/O: 137, Early Horn (Monberg) Hyp 68289, M/J: 162 Magil Simon Hofele, trumpet: Hummel, Haydn, Arutjunian—Berl Daniel Hope—Belle Epoque: DG 4837244, J/A: 154, 301314, J/A: 153 Magil Horn Monologues (Wall) Affet 2002, S/O: 134 Nigel Kennedy Early Years [7CD] Warnr 535574, M/J: John McGuire, horn: Navon 6267, M/J: 162 164, Magil The Natural Trumpet: Sperger, Stamitz (Kovats) CPO Klagenfurt Manuscript (Skaerved) Athen 23206, N/D: 150, 555144, N/D: 138 Magil New Trumpet Music with piano: Larson, Williams, Stanton Barbora Kolarova: Francaix, LeBoeuf, Slavinsky—FurAr (Cook) MSR 1659, S/O: new, Faro 6822, J/A: 156, Thomson Peter Steiner, trb: Berl 1298, J/F: 176 Denes Kovacs concertos: Dorem 8101, J/A: 156, Magil Andrew Stetson: Stephenson, Hagerty, Mikulka—MSR Fritz Kreisler 9: Naxos 111410, J/A: 157, Magil 1664, J/A: 153 Tessa Lark: Fantasy: Telemann, Schub, Ravel—FHR 86, Stories: Jolas, Beamish, Neuwirth (Hardenberger) BIS J/F: 180, Kell 2293, J/F: 175, Vroon Carol Lieberman 2: Cent 3702, M/J: 165, Magil Aaron Tindall, tuba: Rowles, Bolling, Tackett—Bridg 9536, Meet at the Horizon: Sleeper, Drew (Powells, v & db) N/D: 139 Cent 3728, J/F: 162, Moore Trumpet & Trombone (Berlin, Spiridopoulos) MSR 1728, Melanconico: Schumanns & Enesco (Goldstein, va) Cent S/O: 133 3692, J/F: 179, Magil Trumpet Camaleonica (Lee) Mark 54339, J/F: 176 Alexander Meshibovsky: Romantics—Cent 3710, J/F: Violin & Horn: Women composers (Darvarova & Wall) 181, Kell Affet 2004, S/O: 134 Miniatures (Ostrowski) RecA 28, M/J: 166, Kell Opera Fantasies (Reinhold SACD) MDG 9032134, J/F: VIOLIN & VIOLA 182, Kell 2 Moments in a City (Rossels) Music 55722, M/A: new, Pas de Deux: violin & cello (Rowland & Bogdanovic) Chall Boyd 72833, N/D: 143, Thomson 2-Violin Sonatas: Ysaye, Prok, Gorecki (Milstein, Van Liya Petrova: Beet, Barber, Britten—Mirar 504, J/A: 158, Bellen) Chall 72807, J/A: 157, Thomson Thomson 4 Centuries: Mozart, Schum, Bloch, Levinson (Merdinger) Michael Rabin 4CD: Prof 20003, J/A: 158, Magil Sheri 5, J/F: 182, Magil Rejoice: Ysaye, Penderecki, Gubaidulina (Stawek) Acco 5 Centuries of Violin (Beikircher) Emec 140, M/J: 163, 264, M/J: 148, Moore Magil Rose Petals—Canadian Va (Carey) Centr 26319, M/J: American Avenues: Gershwin, Bernstein, Rorem new, Boyd (Haertzen) Cent 3722, M/A: 193, Magil Dmitry Sitkovetsky: Beet, Schub, Grieg—Melya 2595, American Violin Sonatas: Schoenfeld, Stucky, Harbison M/A: 194, Kell (Lin) Naxos 559888, N/D: 142, Thomson Solo Viola: Reger, Hindemith, Pochon (Euler SACD) MDG Arte di Diminuire: baroque violin (Estro d’Orfeo) Chall 9032160, S/O: 135, Thomson 72843, J/A: 164, Loewen Steven Staryk: short pieces—Cent 3680, M/A: 195, Kell Bach & Vivaldi Double Concertos (Carmignola & Brunella) Swedish Violin (Zilliacus) DB 195, N/D: 144, Magil Arcan 472, S/O: 148, Loewen Telmanyi & Hubay: DACO 851, M/J: 166, Magil Lisa Batiashvili: City Lights—DG 4838586, N/D: 141, Diana Tishchenko: Strangers in Paradise—Ravel, Vroon Enesco, Prok, Ysaye—Warnr 540391, M/A: 195, Magil Belle Epoque: Franck, Ysaye, Dubois (Ingolfsson) Genui Jac van Steen: VWms, Ravel, Dutilleux—Somm 275, 19674, M/A: 194, Magil M/A: 195, Kell British Violin Sonatas: Walton, Alwyn, Leighton, Jacob Viennese Divertimentos: Vanhal, Dittersdorf, M Haydn (Howick) Somm 610, J/A: 155, Magil (Cicchitti) Brill 96127, S/O: 116, Thomson British Violin Sonatas 3: Bowen, Ireland, Coates, Alwyn Viola & Guitar: Paganini, Carulli, Margola (Duo Moebius) (Little) Chan 20133, S/O: 139, Magil Bong 5208, S/O: 135, Thomson Cantilena—Viola Pieces: Piazzolla, Falla, Montsalvatge Viola Gems: short pieces (Klemmstein) Thor 2666, N/D: (Zimmermann) HM 902648, J/A: 159, Thomson 140, Thomson Tatiana Chulochnikova, solo v: Stein 30131, M/A: 191, Viola Pieces: Bach, Biber, Hindemith, Britten (Mei) Genui Magil 19666, J/F: 181, Magil Czech Viola Concertos: Feld, Flosman, Bodorova (Hos- Viola Romance: short pieces (Golani 2CD) Hung 32811, prova) Sup 4276, S/O: 138, French S/O: 136, Thomson Czech Violin Sonatas (Duo Anime) Genui 19671, M/A: Viola Sonatas & Pieces: Clarke, Werkman, Milhaud 194, Kell (Zemtsov) Chanl 42320, N/D: 140, Estep Duo Maiss You: Bartok, Janacek, Leister—TXA 19130, Violin & Cello by women: Archer, Coulthard, Cummings N/D: 142, Magil (Mercer) Centr 27719, M/J: 165, French Folk Roots: Janacek, Veress, Enesco, Bartok (Cabeza) Violin & Guitar: Vivaldi, Corelli, Paganini (Gomyo & Eske- Genui 20689, S/O: 137, French linen) BIS 1998, M/A: 192, Magil Vilda Frang: Paganini & Schubert—Warnr 541936, M/J: Violin & Orchestra: Bruch, Bloch, Chausson, Vitali 163, French (Boutellis-Taft) Apart 234, J/A: 154, O’Connor French Violin: Ravel, Deb, Franck (Barati) Brill 95576, Violin Concertos: Bach, Jalbert, Part, Vasks (Batjer J/A: 154, Magil SACD) BIS 2309, J/F: 177, Magil American Record Guide January/February 2021 211 Violin Romances: Beet, S-S, Dvorak, Bruch, Svendsen Extra Time (La Serenissima) Sign 641, N/D: 118, Kilp (Alogna) Brill 95896, J/F: 177, Vroon First Voyage Around the World (Euskal Baroque Ens) Violin Sonatas, Cello Sonatas: Barber, Dohnanyi, Strauss AliaV 9933, M/A: 198, Brewer (Gilbert, Work) Fleur 58048, M/J: 145, Thomson Florence 1350 (Sollazzo Ens) Ambro 55, S/O: 142, Violin-Cello Duos: Eisler, Ravel, Widmann (Gringolts & Moore,C Kouzov) Delos 3556, J/F: 158, French For Milan Cathedral (Siglo de Oro) Delph 34224, M/J: Violins of Hope (Ashkenazi) Alb 1810, N/D: 141, Thomson 168, Moore,C Voila Viola 1—British (Dolman) Music 56971, N/D: 139, For the Mayflower (Passamezzo) Reson 10263, N/D: 151, Magil Gatens Voila Viola 2—French (Dolman) Music 56976, N/D: 139, From Court to Court (Frottolisti Anonima) Tact 400007, Thomson N/D: 148, Moore,C Dawn Wohn: Esmail, Zwilich, Kapralova, Price—Delos Funeral Cantatas: Bach, Telemann, Riedel (Ricercar Con- 3547, M/A: 196, Magil sort) Ricer 148, S/O: 147, Loewen Alexander Woods: Dvorak, Thornock, Mozart—MSR Guerra Manuscript 5 (Ars Atlantica) Naxos 574092, J/F: 1689, N/D: 144, Magil 185, Brewer Impossible Silence: Dowland, Handel, Sephardic (Eratos WINDS Trio) Gram 99207, J/A: 166, Brewer 3 Reeds Duo: Britten, Morris, Marie—BlueG 523, N/D: Intermedi della Pellegrina 1589 (Modo Antiquo) Dyn 145, Vroon 7856, M/J: 168, Moore,C Baroque Wind Sonatas (Freitagsakademie) Wintr Italian Baroque (RedHerring Ens) Antar 14, M/A: 200, 910263, N/D: 145, Vroon Brewer Elements: Bennett, Giroux (Eastern Wind Sym) Mark Judeo-Spanish Songs (Alhambra) Cent 3635, S/O: 143, 54625, J/F: 182, Kilp Brewer Favorite Marches (Norwegian Navy Band) FMK 2001, Krummhorn (Syntagma Amici) Ricer 146, S/O: 144, N/D: 146, Fisch Loewen Four: Bozza, Bridge, Francaix, Bennett (London Myriad) Late Medieval Mass (Aeolos Ens) Cant 58049, S/O: 141, Met 28587, M/A: new, Boyd Gatens Noteworthy: Sparke, Fouchet, Stephenson (N Texas Wind Leonardo’s Age (Caristi, s) Cent 3807, S/O: 143, Moore,C Sym) GIA 1073, J/A: 160, Hanudel Leufsta Bruk III: De Boeck, Johnsen, Monsigny (Rombo, Oboe, Clarinet, Bassoon Trios: Lutoslawski, Veress, Rebaroque SACD) BIS 2354, J/F: 185, Loewen Juon, Schulhoff (Trilli Trio) Brill 95688, S/O: 141, Gor- Lost (Umbra Lucis Ens) Uran 14054, M/J: 169, man Gatens One for All: Navarro, Vilaplana, Brotons (N Texas Wind Lute & Theorbo Duos (Zapicos) Wintr 910258, S/O: 123, Sym) GIA 1076, J/A: 160, Hanudel Lehman Piano & Winds: Mozart, Danzi, Beethoven (Hadland, Oslo Maria, Dolce Maria (Roobol) Brill 95893, M/A: 197, Academy) LAWO 1187, M/J: 167, Hanudel Moore,C Polish Winds: Lutoslawski, Baird, Zulawski (Sonora Maximilian (1459-1519) (Per Sonat) Chris 77438, J/F: Winds) MSR 1702, M/J: 167, Hanudel 183, Loewen Quaternity (UNLV Winds) Klav 11223, N/D: 145, Kilp Medieval Finland & Sweden (Ens Peregrina) Tacet 248, Voci Dentro Il Tempo (oboe, bassoon, piano) Bong 5207, M/J: 167, Loewen M/J: new, Boyd Music of the Cure (La Ninfea) PN 1904, S/O: 147, Brewer Neapolitan Baroque (Tempesta Basel) Vanit 13, M/J: 172, EARLY Moore,C 12th Century Sacred Pieces (Ens Scholastica) ATMA O Rose Belli—15th Century (Ens Dionea) Brill 95529, J/F: 2804, S/O: 141, Gatens 183, Loewen 15th Century Lute Duos (Lewon & Kieffer) Naxos 573854, Office of St Sigfrid (Gemma Ens) Sterl 1840, J/A: 161, J/A: 162, Lehman Gatens 17th Century English Consort (Dart) Decca 4828574, Passions, Venice 1600-1750—Monteverdi, Lotti, Caldara M/A: 200, Brewer (Les Cris de Paris) HM 902632, M/A: 199, Gatens Akoe: Dowland, Josquin, Isaac (Taracea) Alpha 597, S/O: Piae Cantiones—sacred (Utopia Chamber Choir) AliaV 146, Loewen 9932, J/A: 163, Loewen Anamorfosi: Allegri, Rossi, Monteverdi (Poeme Har- Plaisirs de Louvre: 1600s (Ens Correspondances) HM monique) Alpha 438, J/F: 185, Moore,C 905320, J/A: 164, Brewer Calls of Rome: Victoria, Josquin, Allegri (The 16) Coro Polish Canzonas (Filatura di Musica) RecA 33, J/A: 165, 16178, S/O: 145, Gatens Loewen Caroline Shaw: PhilB 12, N/D: new, Boyd Polish Lute (Held) Hans 19034, J/F: 184, Loewen Christmas Songs (Van Veen/Koopman) Erato 539312, Red Book of Ossory (Anakronos) Heres 25, N/D: 146, N/D: 166, Moore,R Brewer Circle in the Water: Dowland+ (Capella de Ministrers) Renaissance Collection (Vox Luminis) Ricer 155, J/A: CdM 1947, M/J: 172, Gatens 166, Brewer Codex Jacobides 1600 (Cizmar) Sup 4278, N/D: 148, Roma 600 (Bassifondi) Arcan 467, M/A: 198, Moore,C Loewen Saint and Sultan—13th Century (Pera Ensemble) Berl Coffee Cantatas (Ensemble Masques) Alpha 543, M/A: 301383, J/A: 161, Brewer 201, Loewen Salve Antverpia—16th Century (La Caccia) Ricer 137, Dialogo d’Amore: frottolas (L’Amorosa Caccia) Brill J/A: 164, Brewer 95759, S/O: 143, Moore,C Salve Regina: Porpora, Pergolesi, Leo (Napoletani) Brill Dumesny—Lully’s Counter-tenor (A Nocte Temporis) 96092, J/A: 175, Gatens Alpha 554, M/A: 206, Brewer Sephardic-Italian Pieces (Bet Hagat Ens) Strad 37124, Early American Songs (Boston Camerata) HM 902628, S/O: 144, Moore,C J/F: 186, Greenf Spanish Baroque (Vandalia) IBS 12020, S/O: 146, Brewer Eton Choirbook (Purcell Consort) Decca 4840250, J/A: Spanish Baroque Songs & Dances (La Boz Galana) 163, Loewen Ramee 1909, M/J: 171, Brewer 212 American Record Guide January/February 2021 Spanish Madrigals (Amystis) Brill 95905, J/F: 184, Male Chorus Pieces 6 (Limburg Camerata) Genui 19672, Loewen J/F: 188, Greenf Spanish Nativity (Stile Antico) HM 902312, N/D: 160, Mirabile Mysterium: Christmas (Saxon Vocal Ensemble) Brewer CPO 555318, N/D: 163, Gatens Venetian Cello Sonatas (Nasillo) Arcan 465, J/F: 161, New England Choirworks: Olson, Williams, Hill (Yale Moore Schola) Hyp 68314, M/A: 203, Greenf Venetian Gondolier (Falk, Nuovo Aspetto) Prosp 3, N/D: North American Choral: Muhly, Larsen, Paulus (Merton 152, Moore,C College Choir) Delph 34232, S/O: 149, Greenf Venetian Violin Quartets (Clematis) Ricer 404, J/F: 184, O Schone Nacht: Rheinberger, Herzogenberg (Orpheus Brewer Vocal Ens) Carus 83510, N/D: 153, Althouse Pieces (Cherici) Verm 40024, N/D: 148, Brewer Opera Choruses (Bavarian Radio) BR 900329, M/A: 201, Violin Concertos: Locatelli, Leclair, Telemann (Pomo Reynolds d’oro) Naive 30576, M/J: 170, Loewen Ora Singers: Tallis, Macmillan+ HM 902669, N/D: 147, Winter (Marti+) Ayros 4, J/A: 162, Brewer Gatens Papagena: Many composers—Somm 608, J/A: new, CHORAL Boyd Advent Carols (King’s College London) Delph 34226, Prayers for Notre Dame: Dupre, Poulenc, Demessieux N/D: 163, Gatens (Walsh) Regen 538, M/A: 202, Delcamp Advent Moon (Audite Chamber Choir) Alba 56, N/D: 160, Rosa Mystica: Songs to the Virgin (Birmingham Conser- Greenf vatory) Somm 617, N/D: 153, Greenf American Christmas Carols (True Concord) Ref 734, N/D: Sacred Fire (Festival Singers) Amber 125, J/F: 186, 164, Vroon Reynolds Ash Wednesday (St John’s College) Sign 605, J/A: 168, Sacred Pieces: Whitacre, Musgrave, Tippett (Scottish Gatens National Youth) Sign 604, S/O: 150, Greenf Aufblick: Verdi, Wolf, Reger (Chemnitz) Auris 5089, S/O: Sacred Romantic Partsongs (Meister) Rond 6180, J/F: 148, Moore,R 187, Althouse Ave Maria 7 Centuries (Various) Antes 179001, S/O: 154, Secret Life of Carols (The Telling) FHR 94, N/D: 159, Gatens Moore,R Be All Merry (University College Dublin) Sign 643, N/D: Silent Night (Seattle Pro Musica) SPM 9812, N/D: 164, 161, Vroon Greenf Black Birch in Winter (Voces Musicales) MSR 1675, J/F: So Hallow’d the Time: Christmas—Delos 3580, N/D: 165, 189, Greenf Delcamp Blessed art Thou Among Women (Patram Singers) Ref Something Borrowed (Christiana Male Choir) LAWO 737, S/O: 149, Greenf 1188, J/A: 167, Greenf Cantate Domino: Bach, Handel, Telemann (BachWerk- St Louis Premieres (St Louis Chamber Chorus) Regen Vokal SACD) MDG 9022138, M/J: 174, Gatens 541, J/A: 168, Greenf Christ Cathedral Dedication: Goth 49326, M/A: 202, Del- Ton sur Ton: 20th Century (Flemish Radio Choir) EvilP 33, camp J/A: 167, Greenfield Christmas (Gesualdo 6) Hyp 68299, N/D: 162, Gatens The Waiting Sky: Advent & Christmas (Sansara) Reson Christmas: Britten & Pinkham (Warland) Goth 49317, 10250, N/D: 160, Brewer N/D: 165, Delcamp AWinter’s Night—Christmas (Winchester College) Sign Christmas Day (Eley, choirs) Affet 1904, N/D: 166, Fisch 646, N/D: 165, Vroon Christmas at St George’s, Windsor: Hyp 68281, N/D: 165, Delcamp Christmas in New York (NY Children’s Chorus) MSR VOCAL 1700, N/D: 162, Greenf Academie Orsay-Royaumont: Loewe, Schumann, Cornhill Visions (St Michael’s) Regen 550, M/J: 174, Debussy—B 21, J/A: 179, Moore,R Gatens Adieu (Rohrer) BlueG 529, J/A: 177, Moore,R Evensong (King’s College) Kings 38, J/F: 187, Gatens American Songs: Hundley, Thomson, Beach (Barham) Fading (Gesualdo 6) Hyp 68285, J/A: 165, Gatens Guild 7819, M/J: 176, Reynolds Festival of Carols (Indianapolis Choir) Naxos 579065, Amour Eternel: arias & duets (Siurina) Delos 3583, N/D: N/D: 165, Fisch 157, Reynolds Frieder Bernius: Haydn, Schubert, Brahms—Hans 18100, Apparition (Zubel, s) Acco 263, M/J: 182, Reynolds J/A: 166, Althouse British Airs w violin (Astrop, s) Cent 3775, S/O: 150, Fryd (Cantus SACD) 2L 158, N/D: 161, Estep Moore,R Guitar & Choir (St Martin’s Chamber Choir) Brill 96085, Caledonian Scenes—songs: Weir, Britten, MacCunn S/O: 150, Greenf (Vickers) Alb 1800, J/A: 178, Moore,R Heavenly Display: Shaker melodies (Georgia State Univ) Canadian Art Songs (Haldane) Redsh 464, N/D: new, Goth 49324, M/J: 175, Greenf Faro Horizons: world choral (Singer Pur) Oehms 1714, J/F: Clytemnestra: Samuel, Mahler, Berg (Hughes) BIS 2408, 188, Greenf M/J: 179, Reynolds In Paradisum+ (Sofia Vocal Ens) Footp 112, M/A: 203, Countertenor Duets: Purcell & Blow (Davies & Hall) Vivat Greenf 116, J/F: 190, Reynolds In Praise of St Catherine (St Catherine College) Reson Couples in Love—songs: Maier, Rontgen+ (Bisholt) DB 10246, M/A: 197, Moore,C 192, J/A: 170, Moore,R King’s Singers Library 1: Sign 601, J/A: 173, Fisch Czech Duets: Dvorak, Bendl, Bodorova (Dobesova & Like to the Lark (Swedish Chamber Choir SACD) Chan Ruzickova) ArcoD 210, M/J: 178, Moore,R 5255, M/J: 175, Delcamp Didone Abbandonata: arias (Im) CPO 555243, J/A: 173, Lost Voices of Hagia Sophia: Byzantine Chant (Cappella Reynolds Romana) CapR 420, M/A: 197, Brewer Dirty Minds (Vermeulen) Chall 72835, S/O: 154, Reynolds Make We Merry (Benenden Chapel Choir) Regen 547, Duben Collection (Acronym) OldeF 917, N/D: 149, Brewer N/D: 160, Moore,R English Songs (Giebler) Bridg 9542, N/D: 154, Moore,R American Record Guide January/February 2021 213 English Songs: Walton, Quilter, Bridge (Sampson SACD) Stephane Degout: songs—HM 902367, J/A: 171, BIS 2413, J/A: 178, Moore,R Moore,R Every Tiny Thing: songs (Fierter) Alb 1809, N/D: new, Alfred Deller: Purcell, Buxtehude, Campion—Decca Boyd 4840518, M/A: 204, Loewen Femmes Fatales (Nasibli) Naxos 579066, J/A: 176, Fischer-Dieskau Volume 2: Orfeo 993204, N/D: 154, Reynolds Moore,R Flax & Fire: songs of devotion (Jackson) Orch 139, N/D: Flagstad Rarities: VAI 1286, M/J: 178, Reynolds 156, Moore,R [3CD] Erato 537555, M/A: 205, Brew- Fremde Heimat (Fingerlos, bar) Oehms 1711, N/D: 153, er Moore,R Jonas Kaufmann: Vienna—Sony 95040, M/A: 205, Altman French Songs: Ravel, Deb, Ibert, Duparc (Kanaris) Hans Magdalena Kozena: Soiree—Dvorak, Brahms, Ravel— 19068, J/A: 173, Moore,R Penta 5186671, J/A: 190, Reynolds Greek & German Songs (Antonelou SACD) BIS 2439, Konstantin Krimmel, bar: Loewe, Jensen, Schub, M/J: 176, Estep Schum—Alpha 549, J/F: 191, Moore,R Italian Songs (Chaiter, b) Romeo 7332, J/A: 171, Fisch Kate Lindsey: Arianna—Alpha 576, M/J: 171, Brewer Jenny Lind Tribute (Rombo) DB 196, M/J: 181, Vroon Samuel Marino: Handel & Gluck—Orfeo 998201, S/O: Jugendstil (Tilling,s) BIS 2414, M/J: 181, Reynolds 152, Reynolds Juyeon Song: Wagner & Strauss—Affet 2005, N/D: 158, Edith Mathis: lieder—Audit 95647, J/F: 191, Oberoi Altman Ludwig Mittelhammer: Schubert, Wolf, Medtner—Berl Lieder: Schumann & Beethoven (Scharich) MSR 1762, 1246, J/F: 192, Moore,R S/O: 153, Moore,R Peter Nekoranec: French arias—Sup 4260, J/A: 176, Mexican Art Songs (Condacse) BlueG 547, S/O: 151, Reynolds Vroon Jakub Orlinski: Facce d’Amore—Handel, Cavalli+ Erato Morgen: songs (Dreisig) Erato 531948, J/A: 172, Moore,R 542338, M/A: 207, Moore,C Nuits Blanches: Russian Opera 18th Century (Gauvin) Andreas Perez-Ursulet: songs—Warnr 534915, M/A: 207, ATMA 2791, S/O: 151, Reynolds Vroon Orchestral Songs: Berg, Duparc, Rangstrom (Bystrom) Christoph Pregardien: Mahler, Reger, Zemlinsky—SoloM SwedS 1168, M/J: 178, Reynolds 328, J/A: 177, Greenfield The Other Cleopatra: Queen of Armenia—Vivaldi, Hasse, Margaret Price: Verdi & Songs—Decca 4825237, M/A: Gluck (Bayrakdarian) Delos 3591, J/A: 170, Reynold- 207, Altman shut Melba Ramos: Spanish Songs—Capr 3008, J/F: 192, Reine de Coeur: songs—Schumann, Poulenc, Zemlinsky Repp (Muller) Penta 5186810, J/A: 174, Moore,R Charlotte de Rothschild: songs—Nimb 6395, J/A: 177, Romance: arias & songs (Nafornita,s) Outh 705, M/J: Harr 180, Altman Rudolf Schock in complete operas [11CD] Prof 20012, Romantic Songs in a Dark Time (Broberg) Thor 2656, J/F: N/D: 156, Altman 189, Moore,R Asen Selimski, baritone arias—Gega 407, M/A: 208, Sephardic Songs: Cast-Ted+ (Malkin) Brill 95652, M/J: Reynolds 180, Altman Raoul Steffani: songs—Schum, Grieg, Sib, Berg—Chall Slavic Songs: R-K, Dvorak, Tchai, Rach, Janacek 72785, M/A: 208, Moore,R (Romaniw) Orch 131, S/O: 153, Estep Dimitar Uzunov: arias—Gega 404, J/F: 192, Reynolds Sleepless Night—songs: Rach, Sib, Brit, Grieg (Alder) Fritz Wunderlich 20th Century pieces: SWR 19075, J/F: Chan 20153, J/A: 169, Harr 193, Reynolds Solitude: Purcell, Schubert, Barber, Dove (Gilchrist) Chan 20145, N/D: 155, Moore,R VIDEOS Song Decade 1840-1850: Vivat 119, M/J: 182, Moore,R ADAM: Postillon de Lonjumeau (Rouen Opera) Naxos Songs: Bach to Stravinsky (Westbroek) Chall 72824, M/J: 112, N/D: Reynolds 164, French BACH: Cello Suites (Ma) Cmaj 754408, N/D: Moore Songs & Vexations: Debussy, Faure, Satie, Dove (Booth) BELLINI: Norma (Devia) Bong 20041, J/F: Altman Nimb 6372, J/F: 189, Oberoi HANDEL: Messiah (Concert Spirituel) Vers 13, M/J: Songs by Women (Lee, Williams) Lorel 143, N/D: 158, Gatens Moore,R JANACEK: House of the Dead (Bavarian Opera) BelA Songs of the Night: German (Miedl) Capr 3009, J/A: 174, 573, J/A: Altman Moore,R KORNGOLD: Violanta (Turin/Steinberg 2020) Dyn 57876, South American Songs: Villa-Lobos, Ginastera, Guastavi- N/D: Altman no (Lojendio) IBS 22020, S/O: 152, Fisch LANDI: Morte d’Orfeo (Rousset) Naxos 111, N/D: Altman Transparente (Raisanen) Alba 453, S/O: 153, Reynolds LEONCAVALLO: Pagliacci (Florence May Festival) Dyn Voices of Angels (Stockholm Syndrome SACD) BIS 2344, 37863, J/A: Altman N/D: 158, Reynolds MONTEVERDI: Coronation of Poppea (Les Arts Wayfarer Songs: Mahler, Wolf, Liszt, Lehar (Arcayurek) Florisants) HM 8902622, J/F: Altman Avi 8553409, J/A: 169, Moore,R MONTEVERDI: Vespers (Pygmalion) Vers 5018, S/O: Whither Must I Wander (Liverman, bar) Odrad 389, M/J: Thomson 179, Moore,R MOZART: Magic Flute (Glyndebourne) OpArt 1304, N/D: Altman VOCAL RECITALS OFFENBACH: Orpheus in Hades ( Roberto Alagna: Caruso—Sony 95048, M/A: 203, 2019) Cmaj 803104, N/D: Fisch Reynolds OFFENBACH: Tales of Hoffmann (Dutch Opera/Rizzi) Lilyana Bareva: arias—Gega 408, M/J: 176, Altman Cmaj 752606, S/O: Fisch Bartoli: Farinelli—DG 4850214, M/J: 177, Altman PAER: Agnese (Turin) Dyn 37850, J/A: Altman Piotr Beczala: Penta 5186733, S/O: 151, Reynolds PUCCINI: Il Tabarro (Florence May Festival) Dyn 57872, Lyubomir Bodurov: arias—Gega 406, M/A: 204, Reynolds N/D: Reynolds 214 American Record Guide January/February 2021 PUCCINI: Turandot (Madrid/Luisotti) BelA 170, N/D: Alt- CRITICAL CONVICTIONS man J/F: Christmas at the Symphony; Youth PURCELL: King Arthur (Jacobs) Naxos 2110658, S/O: M/A: Sexual Harrassment Altman M/J: Beauty; Irrational Feminism; Epidemic RESPIGHI: Bella Dormente (Cagliari) Naxos 2110655, J/A: Criticism; Concert Cancellations; Epidemic; S/O: Altman Piano Performance: Scientific Perspective (Repp) SAINT-SAENS: S/O: Writing & Journalism; Artist Biographies SPONTINI: Fernand Cortez (Florence May Festival) Dyn N/D: Music Critic and Reader (Locke); Why? 37868, S/O: Altman VERDI: Domingo Gala (Verona Arena) Cmaj 755104, N/D: Reynolds Word Police: Festival of Stupidities VERDI: Due Foscari (Parma/Muscato) Dyn 37865, S/O: Altman Summer publicity promotes “an immersive VERDI: (Salsi/Gergiev) Cmaj 802608, N/D: Altman walk-through experience”, and a few minutes VERDI: Traviata (Bouffes du Nord) BelA 156, M/J: Altman later “an in-home hi/lo-tech experience”. VERDI: Trovatore (Verona 2019) Cmaj 754608, N/D: Alt- man WAGNER: Meistersinger (Bayreth/Jordan) DG 735453, The 1970 dictionary defined “campus” as “the J/F: Altman grounds of a school or college”. In 2020 we got WAGNER: Walkure (Royal Opera/Pappano) OpArt 1308, publicity that said “the Lincoln Center Cam- S/O: Altman pus” had suspended public performances for WEBER: Euryanthe (Vienna Radio) Naxos 2110656, J/A: Altman the rest of March “to prioritize the health of ZEMLINSKY: Der Zwerg (Berlin/Runnacles) Naxos our communities”. No one my age could think 2110657, S/O: Altman of Lincoln Center as a “campus”, and none of us would use that miserable word “prioritize”, Bavarian State Opera: Naxos 2110660, S/O: Reynolds Coronation of Louis XIV: (Ens Correspondences) Vers 17, either. As any good usage book will tell you, J/A: Brewer “prioritize” smells of bureaucracy. English Organ: FSF 12, J/A: Delcamp Galerie Doree: Versailles Concert (Concert de la Loge) A publicity notice told us about a famous BelA 171, M/J: Brewer Stravaganza d’Amore—Medici Court (Pygmalion) Vers actor who “commentates a film documen- 19, J/A: Altman tary”. (Obviously an illegitimate back-forma- Verona Operas: Turandot, Aida, Romeo (Carelle) BelA tion from “commentator”. But note that the 621, J/F: Altman latest dictionaries accept it.) BOOK REVIEWS Bach’s Musical Universe (Wolff) J/A, Brewer “The process of compromise achieved from Experiencing Mahler (Ashby) S/O, Hecht our diversity as individual artists can create Janacek Conpanion (Simeone) J/F, Hecht deeply impactful experiences for our audi- Karl Muck Scandal (Burrage) J/F, O’Connor ences.” —an all-white musical group, promot- Loving Music Till It Hurts (Cheng) M/J, Vroon Opera Coaching (Montgomery) M/J, Reynolds ing their concert (Ah, but some of them are Peggy Glanville Hicks (Robinson) J/F, Becker women!) Plowed Time (Huber) N/D, Locke Rough Ideas (Hough) J/F, Vroon Segovia Manuscript (Fuhrmann) J/A, Brewer From liner notes: “Originally written for string quartet, the composer always believed WORD POLICE 2020 that (it) could be reorchestrated and expand- anticipate J/A ed”. So the composer was written. This kind of differing J/A drop M/A stupid sentence is everywhere now. All it Festival of Stupidities J/F needs is “it was” at the beginning and “but” fraught J/F after the comma to be rational. Apparently no gender N/D one edits liner notes. jell J/A legacy J/F language changes J/A From an obituary: “He died sadly....” How do majorly J/F they know how he felt about dying? Maybe he partially M/J Publicity Stupidities S/O was glad to be free of this miserable world. robotic speech N/D What they were trying to say was that it is sad sanction J/A for us that he died and that’s not at all the way silent letters S/O to say it. spoken language M/J virtual S/O woke M/J Satement from a medical school about the new virus: “The evidence for these measures are not as strong as we would like it to be.”

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Gift Subscription from: Please make check payable to American Record Guide or Credit Card No: Exp: 216 January/February 2021 Continued from page 189 the rhythms mathematically and must be han- he points out harmonic progressions and pays dled otherwise. even more attention to rhythm relations, The Puccini chapter tells us that the com- which are important if the line is to move poser’s use of motifs “advances Italian opera seamlessly. That is true with most operas from beyond where Verdi had taken it”. Puccini’s the Romantic era on, but so much so with tempos “tend to correspond to the speed of Tristan that Rescigno provides rhythm tables speech” (Richard Strauss too, the author for each scene. adds)—one reason not to fool too much with The author makes it clear that such seam- the sung tempos of these composers. Rescigno lessness is not really possible with operas even identifies `First Noel’ references in La using recitative or spoken dialogue because of Boheme. Some of his points may be contro- all the stopping and starting. Enter Gounod’s versial, e.g., that the tutti passage at the opera’s Faust, an opera where such flow is important end should be its loudest music. I always and difficult to execute. The reason is that the assumed that honor went to parts of the Act II original version of the opera contained speak- cafe scene, but now I think he has a point. As ing parts, and it is difficult to maintain flow for the cafe scene being held outdoors at over breaks for speech or recitative. Absent Christmas time in the middle of winter, those parts in Faust, a long line is difficult to Rescigno tells us that Paris had a climate like create. Faust also comes up in discussing the Puccini’s native Lucca, Italy, so the compos- reliability of metronome markings—Gounod’s er’s setting is not far-fetched. In discussing are usually unreliable. Tosca, Rescigno claims that Scarpia’s solo in Rescigno writes that the first version of the `Te Deum’ of Tosca is “the finest scene Bizet’s Carmen (“the first verismo opera”) also Puccini ever wrote for baritone”. used dialogue. The better known version, with There is plenty of technical analysis clear- recitatives, was produced posthumously by ly written, peering into the mind of an experi- Bizet’s friend Ernest Guiraud. Rescigno notes enced opera conductor. Many of Rescigno’s that the action is moved mainly by the soloists, comments about various passages are subjec- that the voices of Carmen and Don Jose tive—conductors are interpreters, after all— should match (the opposite is true in many but his ideas are often compelling. The book operas), and that Escamillo’s baritone must should appeal to any young opera conductor project without the conductor having to tone and to a devoted opera lover. The bibliogra- down the orchestra too much. He discusses phy, notes, and detailed citations of relevant how to treat woodwind solos and notes that scores are all useful. the final duet will not respond well to relating HECHT

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