By Karl W. Nehring
As I write these words, the Omicron variant of the COVID-19 virus is wreaking havoc around the globe; I urge all readers of Classical Candor to become fully vaccinated (and boosted) and to practice masking and social distancing. The safest thing might be to stay at home as much as possible, where the most pleasant thing might be to enjoy some fine music. To that end, and to follow that venerable end of the year tradition, I have compiled a list of a dozen delightful recordings that it was my pleasure to review over this past year. Let us all hope that 2022 proves healthier and safer for us all while bringing us even more musical delights. Happy New Year!
Americascapes: Loeffler: La Mort de Tintagiles, Op. 6; Ruggles: Evocations (Orchestral version, 1943); Hanson: Before the Dawn, Op. 17; Cowell: Variations for Orchestra. Delphine Dupuy, viola d’amore; Robert Trevino, Basque National Orchestra. Ondine ODE 1396-2.
It is always exciting to come across a new release that features a program of unfamiliar music by composers you have heard of although you have heard very little of their music. It is even more exciting when it turns out to be as delightful a disc as this new Ondine release of American music played by a Spanish orchestra led by American conductor Robert Trevino (b. 1984). The engineering is first-class, the orchestra plays with finesse, the program is imaginative and rewarding – what’s not to like? Hats off to a Finnish label for recording a Mexican-American conductor leading a Spanish orchestra in a revealing program of rarely-heard American music deserving much wider recognition. Bravo!
Arnold: Complete Symphonies and Dances. (CD1) Symphonies Nos. 1 & 2; (CD2) Symphonies Nos. 3 & 4; (CD3) Symphonies Nos. 5 & 6; (CD4) Symphonies 7 & 8; (CD5) Symphony No. 9; Sir Malcolm Arnold in Conversation with Andrew Penny; (CD6) English Dances, Set 1; English Dances, Set 2; Four Scottish Dances, Op. 59; Four Scottish Dances, Op. 91; Four Irish Dances; Four Welsh Dances. Andrew Penny, National Symphony Orchestra of Ireland (Symphonies), Queensland Symphony Orchestra (Dances). Naxos 8.506041.
October 21, 2021, marked the 100th birthday of the late British composer Sir Malcolm Arnold, one of the greatest yet most overlooked composers of the 20th century. Even in the UK, his music is seldom performed in concert, which is a shame. Thanks to Naxos, though, who have decided to mark the occasion of this centennial year with a budget-priced boxed set of his complete symphonies and dances, music lovers now have the chance to immerse themselves in the symphonic music of this most remarkable composer for a most reasonable price. Please rest assured that although this is a budget release, the playing and the engineering are all first-rate. The booklet included in the box gives some background on the symphonies and is prefaced with a reflection about the music and the composer by conductor Andrew Penny. Arnold’s music is a musical universe begging to be explored by those who have not yet entered it, and now Naxos has provided the portal key. Enter and enjoy!
Chopin: Nocturnes. (CD 1) Nocturne in B Flat minor Op. 9 No.1; Nocturne in E Flat Major Op. 9 No. 2; Nocturne in B Major Op. 9 No. 3; Nocturne in F Major Op. 15 No. 1; Nocturne in F Sharp Major Op. 15 No. 2; Nocturne in G minor Op. 15 No. 3; Nocturne in C Sharp minor Op. 27 No. 1; Nocturne in D Flat Major Op. 27 No. 2; Nocturne in B Major Op. 32 No. 1; Nocturne in a Flat Major Op. 32 No. 2; Nocturne in G minor Op. 37 No.1; Nocturne in G Major Op. 37 No. 2; (CD 2) Nocturne in C minor Op. 48 No. 1; Nocturne in F Sharp minor Op. 48 No. 2; Nocturne in F minor Op. 55 No. 1; Nocturne in E Flat Major Op. 55 No. 2; Nocturne in B Major Op. 62 No. 1; Nocturne in E Major Op. 62 No. 2; Lento Con Gran Espressione in C Sharp minor 'Nocturne', Kkiva/16; Nocturne in E minor Op. 72 No. 1: Nocturne in C minor Kkivb/8; Anonymous: Larghetto in C Sharp minor 'Nocturne Oublié', Kkanh. Ia/6; Nocturne in E Flat Major Op. 9 No. 2B. Stephen Hough, piano. Hyperion CDA86351/2.
British pianist Stephen Hough (b.1961) introduces this recording by noting that, “Chopin wrote no operas, even though that art form was his favorite and singers, not pianists, were his musical heroes… Enter the nocturnes – a corpus of some of the finest operatic arias ever written. Here bel canto melodies abound, dramatic, tender and tragic, with virtuoso decoration reminiscent of a coloratura diva.” Hough has a touch at the keyboard that seems to bring out the beauty of these pieces by truly making them sing. The engineering helps, too, as Hough’s piano seems to be recorded just a bit distantly, giving it a slightly warmer, enveloping sound. A wonderful release!
Echoes of Life. IN THE BEGINNING WAS | Francesco Tristano: In the Beginning Was; Chopin: Preludes op. 28: Nos. 1-4: INFANT REBELLION | Ligeti: Musica ricercata I; Chopin: Preludes op. 28. Nos. 5-9; WHEN THE GRASS WAS GREENER | Nino Rota: Valzer; Chopin: Preludes op. 28: Nos. 10-15; NO ROADMAP TO ADULTHOOD | Chilly Gonzales: Prelude in C sharp major; Chopin: Preludes op. 28: Nos. 16-18; IDENTITY | Takemitsu; Litany I; Chopin: Preludes op. 28: Nos. 19-20; A PATH TO WHERE | Arvo Pärt: Für Alina; Chopin: Preludes op. 28: Nos. 21-24; LULLABY TO ETERNITY | Alice Sara Ott: Lullaby to Eternity. Alice Sara Ott. Piano. Deutsche Grammophon 486 0474.
As the German pianist Alice Sara Ott (b. 1988) explains it, “Echoes of Life is a personal reflection on the thoughts and moments that influence and change our lives. With his Preludes op. 28, Frédéric Chopin composed a collection of individual character pieces – very different from each other and yet all connected in some way. They remind me of life. I have chosen seven contemporary works to intersperse the Preludes and, while they echo some of my most personal and vulnerable experiences, they also conform how modern, provocative, and timeless Chopin’s music is.” The end result is a musical delight, as Ott mingles stimulating newer music together with the music of Chopin to create a program that flows smoothly and draws the listener in. You really don’t get the sense that you are jumping back and forth in time or making abrupt shifts in style. Yes, the Ligeti piece has a fierceness about it, but not overwhelmingly so, and yes, when you think about it, Chopin’s music has energy in abundance also. And so it goes with Takemitsu and Chopin, and Pärt and Chopin; in the hands of Alice Sara Ott, this music all makes sense together. The engineering is also first-rate, with a coherent piano sound. This truly is a splendid release.
Ramon Humet: Llum (Light). Tanca els ulls (Close Your Eyes); Camina endins (Walk Inside); Baixa al cim de l’Anima (Descent to the Summit of the Soul); Pedra nua (Naked Stone); Pau al Cor (The Peaceful Heart); Engrunes de Llum (Luminous Crumbs); Al•leluia (Alleluia). Sigvards Klava, Latvian Radio Choir. Ondine ODE 1389-2.
In his brief liner notes, Spanish composer Ramon Humet (b. 1968) invites his listeners to “take a journey inward, to travel to the immense space which is, precisely, what makes us human, to that silent place which exists within us, to the deep wellspring that is the birthplace of everything, to the bright sapling of Peace; to the infinite, which announces the Mystery; to the gift of Life, Peace and Love.” For many potential listeners, that might sound like pretentious twaddle; however, I hope it does not dissuade you from giving this release an audition, for I have found it to be one of the most beautiful recordings I have heard in quite some time.
Images: Anna Lapwood, Organ of Ely Cathedral. Ravel: Le Tombeau de Couperin (arr. Erwin Wiersinga); Patrick Gowers: An Occasional Trumpet Voluntary; Debussy: Andante from String Quartet in G Minor (arr. Alexandre Guilmant); Kerensa Briggs: Light in Darkness; Nadia Boulanger: III. Improvisation from Trois Improvisations; Owain Park: Images; Britten: Four Sea Interludes from Peter Grimes (arr.Lapwood); Messiaen: Vocalise-Étude (arr. Lapwood); Cheryl Frances-Hoad: Taking Your Leave. Signum Classics SIGCD688.
The centerpiece of the album is Ms. Lapwood’s arrangement and performance of Britten’s Four Sea Interludes from his opera Peter Grimes. This is music that in its orchestral guise is doubtless familiar to many readers of Classical Candor, two of the finest recordings being those of Andre Previn and the London Symphony Orchestra on EMI and Michael Stern and the Kansas City Symphony on Reference Recordings, but it is remarkable to hear how effective these transcriptions for organ turn out to be You quickly find yourself forgetting that this is not an orchestra -– you just let yourself be drawn into and swept away by the music. Images was recorded by the veteran engineer Mike Hatch, who has done his usual fine job of capturing a convincing sonic portrait. Ms. Lapwood offers informative and charming notes on all of the selections included on the album. In every way, this is truly a first-class production for which I offer a highly enthusiastic recommendation.
Last Song. Louis Couperin (1626-1661): Unmeasured Prelude (arr. Una Sveinbjarnardóttir & Tinna Þorsteinsdóttir);Atli Heimir Sveinsson (1938-2019): Three Marian Prayers (arr. Fritz Kreisler); Christoph Willibald Gluck (1714-1787): Melodie (arr. Fritz Kreisler); Jórunn Viðar (1918-2017): Icelandic Suite; Ole Bull (1810-1880) Ensomme Stunde (arr. Una Sveinbjarnardóttir); Jules Massenet (1842-1912): Meditation; Karólína Eiríksdóttir (b. 1951): Winter; Magnús Blöndal Jóhannsson (1925-2005): In a Dream; Lullaby; Couperin: Aubade Provencale (arr. Fritz Kreisler); Claudio Monteverdi (1567-1643): Ave Maria; Hildegard von Bingen (1098-1179): Anima Processional; Una Sveinbjarnardóttir (b. 1975): Last Song before the News. Una Sveinbjarnardóttir, violin; Tinna Þorsteinsdóttir, piano, prepared piano, toy piano. Sono Luminus DSL-92248.
Well, I see no need to beat around the bush on this one. Last Song is the finest, most entertaining, thoughtfully assembled, artfully performed, and skillfully engineered recording of music for violin and piano that I have heard in many years.
Mozart Momentum 1785. CD1: Piano Concerto No. 20 in D minor K 466; Piano Concerto No. 21 in C Major K 467. CD2: Fantasia in C minor K 475; Quartet for Piano, Violin, Viola, and Cello No. 1 in G minor K 478; Masonic Funeral Music in C minor K477; Piano Concerto No 22 in E-Flat Major K 482. Leif Ove Andsnes, piano and direction (concertos); Matthew Truscott, violin and direction (Masonic Funeral Music); Joel Hunter, viola; Frank Michael Guthmann, Cello; Mahler Chamber Orchestra. Sony Classical 194397462.
Norwegian pianist Leif Ove Andsnes brings us a two-CD set of music composed by Mozart in the year 1785. Certainly the two concertos found on CD1 are probably the best-known of all the Mozart concertos, having been paired together on LP and CD countless times by countless musicians, and for good reason – they are both amazing works. This is a splendid collection of some of Mozart’s most inspired music.
Arvo Pärt: Miserere. Which Was the Son of…; Festina lente; Tribute to Caesar; Sequentia; The Deer’s Cry; Miserere; And I Heard a Voice…. Howard Arman, Chor des Bayerischen Rundfunks; Münchner Rundfunkorchester; oestereichisches ensemble fuer neue music. BR Klassik 900527.
The choral music of Estonian composer Arvo Pärt (b. 1935) is always a joy to hear, and especially so when it is so expertly performed and recorded as it is on this collection featuring the Bavarian Radio Chorus. The excellent liner booklet that includes texts makes this a first-class release in every respect.
The See Within. Echo Collective. 7K! 7K024CD.
The music is scored for violin, viola, cello, harp and, in its first appearance on a commercially released album recording, the magnetic resonator piano (MRP). The See Within is a musical breath of fresh air blowing in from Brussels. Give this remarkable album an audition and be amazed, as was I, that all the sounds you hear are produced by acoustic instruments. I
Songs of Solitude: Hiyoli Togawa, viola. Toshio Hosokawa: Sakura/Solitude; Bach: Cello Suite No. 4 in E flat major, BWV 1010 – Sarabande; Johanna Doderer: Shadows; José Serebrier: Nostalgia; Bach: Cello Suite No. 1 in G major, BWV 1007 – Sarabande; Tigran Mansurian: Ode an die Stille; Michiru Oshima: Silence; Bach: Cello Suite No. 3 in C major, BWV 1009 - Sarabande; Kalevi Aho: Am Horizont; John Powell: Perfect Time for a Spring Cleaning; Bach: Cello Suite No. 5 in C minor, BWV 1011 – Sarabande; Cristina Spinei: Keep Moving; Rhian Samuel: Salve Nos; Bach: Cello Suite No. 2 in D minor, BWV 1008 – Sarabande; Gabriel Prokofiev: Five Impressions of Self-Isolation (Calling Out/Wine for One/Only Birds in the Sky/How Many Weeks...?/Back to the English Garden); Bach: Cello Suite No. 6 in D major, BWV 1012 – Sarabande; Federico Gardella: Consolation. BIS 2533 SACD.
This gorgeous production is generously filled along several dimensions. At nearly 79 minutes in duration, you certainly get your money’s worth in that respect; moreover, the booklet included with the disc contains not only an introductory note from violist Togawa about how the recording came about (yes, this is another of those pandemic-inspired projects) but also notes about the composers, complete with photos. A glance through the program reveals not just works by contemporary composers, but several Bach Sarabandes originally composed for solo cello but played here on the viola. The end result is an album of energy and grace, appropriate listening during a pandemic that is, alas, still ongoing.
Igor Levit: On DSCH. Shostakovich: 24 Preludes and Fugues Op. 87; Stevenson: Passacaglia on DSCH. Igor Levit, piano. Sony Classical 19439809212.
Levit brings a warmth and depth of expression to the Shostakovich that draws the listener in. Part of this impression may be attributable to the recorded sound of the piano, which is on the warm and full side, yet very clear and detailed. The Stevenson is a complex piece, expressing a multitude of styles and emotions, something like a symphony for the piano. The net result is a first-class release that I highly recommend to DSCH fans, even those who already have a favorite recording of his marvelous 24 Preludes and Fugues.
KWN
As I write these words, the Omicron variant of the COVID-19 virus is wreaking havoc around the globe; I urge all readers of Classical Candor to become fully vaccinated (and boosted) and to practice masking and social distancing. The safest thing might be to stay at home as much as possible, where the most pleasant thing might be to enjoy some fine music. To that end, and to follow that venerable end of the year tradition, I have compiled a list of a dozen delightful recordings that it was my pleasure to review over this past year. Let us all hope that 2022 proves healthier and safer for us all while bringing us even more musical delights. Happy New Year!
Americascapes: Loeffler: La Mort de Tintagiles, Op. 6; Ruggles: Evocations (Orchestral version, 1943); Hanson: Before the Dawn, Op. 17; Cowell: Variations for Orchestra. Delphine Dupuy, viola d’amore; Robert Trevino, Basque National Orchestra. Ondine ODE 1396-2.
It is always exciting to come across a new release that features a program of unfamiliar music by composers you have heard of although you have heard very little of their music. It is even more exciting when it turns out to be as delightful a disc as this new Ondine release of American music played by a Spanish orchestra led by American conductor Robert Trevino (b. 1984). The engineering is first-class, the orchestra plays with finesse, the program is imaginative and rewarding – what’s not to like? Hats off to a Finnish label for recording a Mexican-American conductor leading a Spanish orchestra in a revealing program of rarely-heard American music deserving much wider recognition. Bravo!
Arnold: Complete Symphonies and Dances. (CD1) Symphonies Nos. 1 & 2; (CD2) Symphonies Nos. 3 & 4; (CD3) Symphonies Nos. 5 & 6; (CD4) Symphonies 7 & 8; (CD5) Symphony No. 9; Sir Malcolm Arnold in Conversation with Andrew Penny; (CD6) English Dances, Set 1; English Dances, Set 2; Four Scottish Dances, Op. 59; Four Scottish Dances, Op. 91; Four Irish Dances; Four Welsh Dances. Andrew Penny, National Symphony Orchestra of Ireland (Symphonies), Queensland Symphony Orchestra (Dances). Naxos 8.506041.
October 21, 2021, marked the 100th birthday of the late British composer Sir Malcolm Arnold, one of the greatest yet most overlooked composers of the 20th century. Even in the UK, his music is seldom performed in concert, which is a shame. Thanks to Naxos, though, who have decided to mark the occasion of this centennial year with a budget-priced boxed set of his complete symphonies and dances, music lovers now have the chance to immerse themselves in the symphonic music of this most remarkable composer for a most reasonable price. Please rest assured that although this is a budget release, the playing and the engineering are all first-rate. The booklet included in the box gives some background on the symphonies and is prefaced with a reflection about the music and the composer by conductor Andrew Penny. Arnold’s music is a musical universe begging to be explored by those who have not yet entered it, and now Naxos has provided the portal key. Enter and enjoy!
Chopin: Nocturnes. (CD 1) Nocturne in B Flat minor Op. 9 No.1; Nocturne in E Flat Major Op. 9 No. 2; Nocturne in B Major Op. 9 No. 3; Nocturne in F Major Op. 15 No. 1; Nocturne in F Sharp Major Op. 15 No. 2; Nocturne in G minor Op. 15 No. 3; Nocturne in C Sharp minor Op. 27 No. 1; Nocturne in D Flat Major Op. 27 No. 2; Nocturne in B Major Op. 32 No. 1; Nocturne in a Flat Major Op. 32 No. 2; Nocturne in G minor Op. 37 No.1; Nocturne in G Major Op. 37 No. 2; (CD 2) Nocturne in C minor Op. 48 No. 1; Nocturne in F Sharp minor Op. 48 No. 2; Nocturne in F minor Op. 55 No. 1; Nocturne in E Flat Major Op. 55 No. 2; Nocturne in B Major Op. 62 No. 1; Nocturne in E Major Op. 62 No. 2; Lento Con Gran Espressione in C Sharp minor 'Nocturne', Kkiva/16; Nocturne in E minor Op. 72 No. 1: Nocturne in C minor Kkivb/8; Anonymous: Larghetto in C Sharp minor 'Nocturne Oublié', Kkanh. Ia/6; Nocturne in E Flat Major Op. 9 No. 2B. Stephen Hough, piano. Hyperion CDA86351/2.
British pianist Stephen Hough (b.1961) introduces this recording by noting that, “Chopin wrote no operas, even though that art form was his favorite and singers, not pianists, were his musical heroes… Enter the nocturnes – a corpus of some of the finest operatic arias ever written. Here bel canto melodies abound, dramatic, tender and tragic, with virtuoso decoration reminiscent of a coloratura diva.” Hough has a touch at the keyboard that seems to bring out the beauty of these pieces by truly making them sing. The engineering helps, too, as Hough’s piano seems to be recorded just a bit distantly, giving it a slightly warmer, enveloping sound. A wonderful release!
Echoes of Life. IN THE BEGINNING WAS | Francesco Tristano: In the Beginning Was; Chopin: Preludes op. 28: Nos. 1-4: INFANT REBELLION | Ligeti: Musica ricercata I; Chopin: Preludes op. 28. Nos. 5-9; WHEN THE GRASS WAS GREENER | Nino Rota: Valzer; Chopin: Preludes op. 28: Nos. 10-15; NO ROADMAP TO ADULTHOOD | Chilly Gonzales: Prelude in C sharp major; Chopin: Preludes op. 28: Nos. 16-18; IDENTITY | Takemitsu; Litany I; Chopin: Preludes op. 28: Nos. 19-20; A PATH TO WHERE | Arvo Pärt: Für Alina; Chopin: Preludes op. 28: Nos. 21-24; LULLABY TO ETERNITY | Alice Sara Ott: Lullaby to Eternity. Alice Sara Ott. Piano. Deutsche Grammophon 486 0474.
As the German pianist Alice Sara Ott (b. 1988) explains it, “Echoes of Life is a personal reflection on the thoughts and moments that influence and change our lives. With his Preludes op. 28, Frédéric Chopin composed a collection of individual character pieces – very different from each other and yet all connected in some way. They remind me of life. I have chosen seven contemporary works to intersperse the Preludes and, while they echo some of my most personal and vulnerable experiences, they also conform how modern, provocative, and timeless Chopin’s music is.” The end result is a musical delight, as Ott mingles stimulating newer music together with the music of Chopin to create a program that flows smoothly and draws the listener in. You really don’t get the sense that you are jumping back and forth in time or making abrupt shifts in style. Yes, the Ligeti piece has a fierceness about it, but not overwhelmingly so, and yes, when you think about it, Chopin’s music has energy in abundance also. And so it goes with Takemitsu and Chopin, and Pärt and Chopin; in the hands of Alice Sara Ott, this music all makes sense together. The engineering is also first-rate, with a coherent piano sound. This truly is a splendid release.
Ramon Humet: Llum (Light). Tanca els ulls (Close Your Eyes); Camina endins (Walk Inside); Baixa al cim de l’Anima (Descent to the Summit of the Soul); Pedra nua (Naked Stone); Pau al Cor (The Peaceful Heart); Engrunes de Llum (Luminous Crumbs); Al•leluia (Alleluia). Sigvards Klava, Latvian Radio Choir. Ondine ODE 1389-2.
In his brief liner notes, Spanish composer Ramon Humet (b. 1968) invites his listeners to “take a journey inward, to travel to the immense space which is, precisely, what makes us human, to that silent place which exists within us, to the deep wellspring that is the birthplace of everything, to the bright sapling of Peace; to the infinite, which announces the Mystery; to the gift of Life, Peace and Love.” For many potential listeners, that might sound like pretentious twaddle; however, I hope it does not dissuade you from giving this release an audition, for I have found it to be one of the most beautiful recordings I have heard in quite some time.
Images: Anna Lapwood, Organ of Ely Cathedral. Ravel: Le Tombeau de Couperin (arr. Erwin Wiersinga); Patrick Gowers: An Occasional Trumpet Voluntary; Debussy: Andante from String Quartet in G Minor (arr. Alexandre Guilmant); Kerensa Briggs: Light in Darkness; Nadia Boulanger: III. Improvisation from Trois Improvisations; Owain Park: Images; Britten: Four Sea Interludes from Peter Grimes (arr.Lapwood); Messiaen: Vocalise-Étude (arr. Lapwood); Cheryl Frances-Hoad: Taking Your Leave. Signum Classics SIGCD688.
The centerpiece of the album is Ms. Lapwood’s arrangement and performance of Britten’s Four Sea Interludes from his opera Peter Grimes. This is music that in its orchestral guise is doubtless familiar to many readers of Classical Candor, two of the finest recordings being those of Andre Previn and the London Symphony Orchestra on EMI and Michael Stern and the Kansas City Symphony on Reference Recordings, but it is remarkable to hear how effective these transcriptions for organ turn out to be You quickly find yourself forgetting that this is not an orchestra -– you just let yourself be drawn into and swept away by the music. Images was recorded by the veteran engineer Mike Hatch, who has done his usual fine job of capturing a convincing sonic portrait. Ms. Lapwood offers informative and charming notes on all of the selections included on the album. In every way, this is truly a first-class production for which I offer a highly enthusiastic recommendation.
Last Song. Louis Couperin (1626-1661): Unmeasured Prelude (arr. Una Sveinbjarnardóttir & Tinna Þorsteinsdóttir);Atli Heimir Sveinsson (1938-2019): Three Marian Prayers (arr. Fritz Kreisler); Christoph Willibald Gluck (1714-1787): Melodie (arr. Fritz Kreisler); Jórunn Viðar (1918-2017): Icelandic Suite; Ole Bull (1810-1880) Ensomme Stunde (arr. Una Sveinbjarnardóttir); Jules Massenet (1842-1912): Meditation; Karólína Eiríksdóttir (b. 1951): Winter; Magnús Blöndal Jóhannsson (1925-2005): In a Dream; Lullaby; Couperin: Aubade Provencale (arr. Fritz Kreisler); Claudio Monteverdi (1567-1643): Ave Maria; Hildegard von Bingen (1098-1179): Anima Processional; Una Sveinbjarnardóttir (b. 1975): Last Song before the News. Una Sveinbjarnardóttir, violin; Tinna Þorsteinsdóttir, piano, prepared piano, toy piano. Sono Luminus DSL-92248.
Well, I see no need to beat around the bush on this one. Last Song is the finest, most entertaining, thoughtfully assembled, artfully performed, and skillfully engineered recording of music for violin and piano that I have heard in many years.
Mozart Momentum 1785. CD1: Piano Concerto No. 20 in D minor K 466; Piano Concerto No. 21 in C Major K 467. CD2: Fantasia in C minor K 475; Quartet for Piano, Violin, Viola, and Cello No. 1 in G minor K 478; Masonic Funeral Music in C minor K477; Piano Concerto No 22 in E-Flat Major K 482. Leif Ove Andsnes, piano and direction (concertos); Matthew Truscott, violin and direction (Masonic Funeral Music); Joel Hunter, viola; Frank Michael Guthmann, Cello; Mahler Chamber Orchestra. Sony Classical 194397462.
Norwegian pianist Leif Ove Andsnes brings us a two-CD set of music composed by Mozart in the year 1785. Certainly the two concertos found on CD1 are probably the best-known of all the Mozart concertos, having been paired together on LP and CD countless times by countless musicians, and for good reason – they are both amazing works. This is a splendid collection of some of Mozart’s most inspired music.
Arvo Pärt: Miserere. Which Was the Son of…; Festina lente; Tribute to Caesar; Sequentia; The Deer’s Cry; Miserere; And I Heard a Voice…. Howard Arman, Chor des Bayerischen Rundfunks; Münchner Rundfunkorchester; oestereichisches ensemble fuer neue music. BR Klassik 900527.
The choral music of Estonian composer Arvo Pärt (b. 1935) is always a joy to hear, and especially so when it is so expertly performed and recorded as it is on this collection featuring the Bavarian Radio Chorus. The excellent liner booklet that includes texts makes this a first-class release in every respect.
The See Within. Echo Collective. 7K! 7K024CD.
The music is scored for violin, viola, cello, harp and, in its first appearance on a commercially released album recording, the magnetic resonator piano (MRP). The See Within is a musical breath of fresh air blowing in from Brussels. Give this remarkable album an audition and be amazed, as was I, that all the sounds you hear are produced by acoustic instruments. I
Songs of Solitude: Hiyoli Togawa, viola. Toshio Hosokawa: Sakura/Solitude; Bach: Cello Suite No. 4 in E flat major, BWV 1010 – Sarabande; Johanna Doderer: Shadows; José Serebrier: Nostalgia; Bach: Cello Suite No. 1 in G major, BWV 1007 – Sarabande; Tigran Mansurian: Ode an die Stille; Michiru Oshima: Silence; Bach: Cello Suite No. 3 in C major, BWV 1009 - Sarabande; Kalevi Aho: Am Horizont; John Powell: Perfect Time for a Spring Cleaning; Bach: Cello Suite No. 5 in C minor, BWV 1011 – Sarabande; Cristina Spinei: Keep Moving; Rhian Samuel: Salve Nos; Bach: Cello Suite No. 2 in D minor, BWV 1008 – Sarabande; Gabriel Prokofiev: Five Impressions of Self-Isolation (Calling Out/Wine for One/Only Birds in the Sky/How Many Weeks...?/Back to the English Garden); Bach: Cello Suite No. 6 in D major, BWV 1012 – Sarabande; Federico Gardella: Consolation. BIS 2533 SACD.
This gorgeous production is generously filled along several dimensions. At nearly 79 minutes in duration, you certainly get your money’s worth in that respect; moreover, the booklet included with the disc contains not only an introductory note from violist Togawa about how the recording came about (yes, this is another of those pandemic-inspired projects) but also notes about the composers, complete with photos. A glance through the program reveals not just works by contemporary composers, but several Bach Sarabandes originally composed for solo cello but played here on the viola. The end result is an album of energy and grace, appropriate listening during a pandemic that is, alas, still ongoing.
Igor Levit: On DSCH. Shostakovich: 24 Preludes and Fugues Op. 87; Stevenson: Passacaglia on DSCH. Igor Levit, piano. Sony Classical 19439809212.
Levit brings a warmth and depth of expression to the Shostakovich that draws the listener in. Part of this impression may be attributable to the recorded sound of the piano, which is on the warm and full side, yet very clear and detailed. The Stevenson is a complex piece, expressing a multitude of styles and emotions, something like a symphony for the piano. The net result is a first-class release that I highly recommend to DSCH fans, even those who already have a favorite recording of his marvelous 24 Preludes and Fugues.
KWN
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