Recent Releases, No. 13 (CD Reviews)

By Karl W. Nehring

Muhly & Glass: First Light. Muhly: Shrink (Concerto for Violin and Strings); Glass: The Orchard (from The Screens); String Quartet No. 3, “Mishima” (arr, for string orchestra by Pekka Kuusisto). Nico Muhly, piano; Pekka Kuusisto, violin and director, Norwegian Chamber Orchestra. Pentatone PTC 5186 745.

This is a recording that features a considerable degree of both musical and performative intertwining. The relatively young American composer Nico Muhly (b. 1981), the veteran American composer Philip Glass (b.1937) composer, and Finnish violinist and conductor Pekka Kuusisto (b.1976) are all linked closely together. As Kuusisto explains, “my consort with Nico Muhly began around 2010… I had previously become aware of his reputation as a creator and with an extraordinary touch, and was really excited to work with him. Thew experience was inspiring, moving and joyous, and we’ve enjoyed a steady flow of adventures since. The arrival of Shrink in late 2019 was the culmination of this decade of music and mischief… Philip Glass had been present in our interactions since the beginning. He and Nico go way back as colleagues… Against this background, coupling Shrink with a new arrangement of Philip Glass’ Mishima quartet seems appropriate… The pandemic-era, long-distance recording of Philip Glass’ The Orchard is an expression of gratitude to Philip on behalf of myself and Nico, and to the Norwegian Chamber Orchestra for their stellar work with us.” Although Muhly and Glass were colleagues, their music is markedly different in character, which leads to a recording with something of a split personality. Muhly’s Shrink is an energetic, driven concerto, played with intensity by Kuusisto on violin. Although not dissonant in character, it is not a piece that lingers over lilting melodies. Then comes Glass’s The Orchard, performed here as a duet for piano and violin, and the mood completely changes, becoming soothing and almost therapeutic. Following the frenetic forward motion of Shrink, to arrive in such a pleasant, peaceful, musical grove is a refreshing respite. The arrangement for string orchestra of Glass’s String Quartet No. 3, “Mishima” that closes the program adds some weight and texture to Glass’s minimalist creation. With excellent engineering and informative liner notes, this is a solid release of contemporary music from Pentatone.
 
Robert Ames: Change Ringing. Peal; Change Ringing; Tympanum; Dispersion; Cinque; Rounds. Modern Recordings LC95306.

Robert Ames (b. 1985) is the co-founder and co-conductor of the London Contemporary Orchestra, where he has worked to bridge the perceived gap between the classical tradition and contemporary music, working with musicians such as Frank Ocean, Jonny Greenwood, Jonsi (of Sigur Ros), Steve Reich, Terry Riley, and Philip Glass. He produced and recorded Change Ringing in his studio using both modern electronic techniques and western traditional annotation, forming layers of audio and written music that he manipulated and transformed into  a sound symphonic in scope, sounding like an amalgam of electronic and symphonic music. According to Ames, “most of the album was written and recorded between April and May 2019 in my small studio in the Peak District. I relied on sounds from my childhood. The echo of choirs and organs in large rooms, distant church bells, grand symphonic gestures crackling through an old car radio and competing with the soft hum and rumble of the wheels on the street and the cacophony of the orchestras slowly setting in. I resisted the temptation to use recognizable tempos and time signatures to convey a sense of timelessness. I like the idea that each track sounds like it's going on a never-ending journey and what's recorded is just a snapshot of something much longer.” Although there are six tracks on the album, they are similar enough in overall sound and mood that the listener can just hit PLAY and listen to the program as though it were one extended symphonic/electronic tone poem. No, this is nothing like electronic dance music (EDM) – there is no pulse or heavy beat moving things along. The music is much more nuanced than that, much more interesting and refined. At just over 34 minutes in length, the quantity of music on this release may leave something to be desired, but for those with adventurous ears, the originality and musical quality to be found in those 34 minutes will prove satisfying indeed.  

Milos: The Moon and the Forest. Jody Talbot: Ink Dark Moon; Ludovico Einaudi: Full Moon (arr. solo guitar by Michael Lewin); Howard Shore: The Forest; Robert Schumann: Traumerei (arr. solo guitar by Michael Lewin). Miloṥ Karadaglić. Guitar; Ben Gernon, BBC Symphony Orchestra; Alexander Shelley, Canada’s National Art’s Center Orchestra. Decca 485 1525.

Classical music lovers who have been longing to find a recording of concertos for guitar and orchestra they can enjoy as wholeheartedly as they have enjoyed recordings of Rodrigo’s Concierto de Aranjuez over the years now have reason to rejoice, for this new release by the Montenegro-born guitarist Miloš Karadaglić (b. 1983) should make them very happy indeed. Interestingly enough, in his liner note essay, Miloš writes, “Classical guitar is often wrongly defined by a handful of beautiful pieces. One of the most iconic is Rodrigo’s Concierto de Aranjuez. Performing this incredible concerto has taken me to some of the world’s  greatest stages  playing alongside some of the world’s leading orchestras. For many in the audience, this stunning work has been the first and only point of contact with the classical guitar. It is exactly this that inspired me to seek new ideas… I first experienced Jody Talbot’s music at Covent Garden, where his beautiful ballet scores caused a sensation. .. after just a few minutes of listening, I knew I had to meet him. We quickly became friends and, just as quickly, began work on this new concerto. Ink Dark Moon is like a perfect symphony—there is no element of delicacy or virtuosity left untouched… For many years I have been fascinated by Howard Shore’s extraordinarily imaginative soundtracks and classical compositions. The concerto for guitar and orchestra he wrote for me, titled The Forest, is magical – just like the enchanted forest he painted with his unique musical brushstrokes.” By the way, the CD booklet includes not only observations about the music by Miloš, but also some brief remarks from both Shore (b. 1946) and Talbot (b. 1971).  Talbot’s Ink Dark Moon opens quietly on the guitar, the mood of a dark moon being established at the outset. After this quiet intro, the energy level increases, but then the second movement once again lowers the energy level and conveys a sense of brooding introspection. As with most concertos, the finale picks up the energy level, bringing in some percussion to make things more boisterous and lively. The solo piece by Einaudi (b. 1955) is, as you might expect from that composer, beguilingly melodic in nature, serving as a pleasant interlude before we are swept into the magical sounds and rich textures of Shore’s The Forest. The opening movement displays a rich variety of sonic effects without ever sounding forced or artificial, while the second movement is slower, more contemplative, bringing to mind a quiet walk in the forest at twilight. The final movement returns to the more magical sounds of the opening movement, but is a bit darker in tone and texture, evoking a feeling of drama. Then the familiar melody of Schumann’s Traumerei closes out the program – has the enchanting musical program been a dream all along? As for the engineering, yes, the guitar seems a bit large, but I doubt that fans of the instrument are going to mind. All in all, this is a truly rewarding release that should bring a big smile to the faces of fans of the classical guitar  – and a whole bunch of other folks as well.

Bonus Recommendation:
Farrenc: Symphonies Nos. 2 and 3. Christoph König, Solistes Européens, Luxembourg. NAXOS 8.573706.

Once again I have had the pleasure of discovering delightful music by a composer entirely new to me; indeed, I suspect the name of French composer Louise Farrenc (1804-1875) will be new to the vast majority of those reading this review. Her output was not large: three symphonies, some overtures, some chamber works, and some piano music (she was an accomplished pianist but decided to concentrate on composition and teaching rather than performing). Judging from this recording, she was certainly a talented composer. Symphony No. 2 sounds like a hybrid of Mozart and Beethoven, with a slow introduction but then a lively first movement that does not lack for energy or inventiveness. But the real highlight for me is the third movement, a scherzo that is simply a dazzling delight. Remarkable! Symphony No. 3 likewise starts off with a slow introduction leading to an energetic opening movement, but as the symphony unfolds, it proves to be a more lyrical, more expressive, and ultimately even more impressive work than its discmate. There is an interesting – but disheartening – tale told about this work in the liner notes: “The work was relatively well-received at its premiere , and was performed in Brussels in 1847 – indeed, Farrenc’s symphony concerts usually attracted large audiences, partly because of the simple novelty of attending performances of orchestral music by a woman! However, she struggled to persuade Francois-Antoine Habeneck, conductor of the most prominent orchestral series in Paris, to perform her music. It was not until April 1849 that she succeeded in having her new Third Symphony (composed in 1847) performed by the Société dés  Concerts du Conservatoire under Habeneck’s successor, Narcisse Girard. Unfortunately, the decision was taken to programme it alongside Beethoven’s Fifth Symphony, which, as even the critics noted, was unfair on the new work; this Beethoven symphony was his most popular and highly regarded work in France at the time.” Geez, Louise… But thanks to this splendid recording, modern listeners can now give these works by Ms. Farrenc an unprejudiced audition and judge for themselves regarding their musical merit. Trust me, this is a CD well worth the time and effort.

KWN