By Karl W. Nehring
As we reach the end of another year (how did that happen?) it is our custom to offer a list of some of our favorite recordings from among those we have reviewed over the past year. In roughly chronological order, here are some that I especially enjoyed.
Every Note Is True. The More It Changes; The Eternal Verities; She Won’t Forget Me; For Ellen Raskin; Blue; Goodness Knows; Had I But Known; Merely Improbable; Praise Will Travel; At The Bells and Motley. Ethan Iverson, piano; Larry Grenadier, bass; Jack DeJohnette, drums. Blue Note B003473002.
As the program proceeds, the interplay among the three musicians is fascinating. None of them is showing off, but each of them is exhibiting mastery. The music just flows out of them. Gradually, the influence of baroque and classical gradually shifts until by the time we get to the final track, “At the Bells and Motley,” we are in blues territory. Adding to the appeal of the album is the top-notch engineering. It is simply one of the finest-sounding trio recordings I have ever auditioned. I have argued before that jazz can be thought of as a form of chamber music; this album is a prime example. Review here: https://classicalcandor.blogspot.com/2022/02/recent-releases-no-24-cd-reviews.html
Francesco Tristano: On Early Music. Tristano: Toccata; On Bull Galliard in D; Peter Philips: Fantasia in D Minor; Tristano: Serpentina; John Bull: Let ons met herten reijne; Tristano: On Girolamo Frescobaldi's Quattro correnti; Girolamo Frescobaldi: Partita sopra l’Aria la folia; Tristano; Ritornello; On Cristobal de Morales Circumdederunt Me; Orlando Gibbons: Pavan; Air & Alman; Italian Ground; Ground; Tristano: Ciacona seconda; Frescobaldi: Cento partite sopra passacaglie; Tristano: Aria for RS. Francesco Tristano, piano. Sony Classical 19439917392.
The musical program consists of Tristano originals written in the style of early music masters, Tristano’s “takes” on pieces by some of these masters, along with some more straightforward interpretations of their music. Although there is some variation in style and sonority, largely due to studio manipulation of the sonics and some generally subtle although occasionally surprising electronic effects, Tristano’s musical vision is coherent from beginning to end – clearly a labor of love. If you enjoy piano music – especially if you are a fan of Early/Baroque keyboard music – then this is a release you really ought to consider giving an audition. It’s a knockout both musically and sonically. Review here: https://classicalcandor.blogspot.com/2022/03/recent-releases-no-25-cd-reviews.html
Jóhannsson: Drone Mass. One Is True; Two Is Apocryphal; Triptych in Mass; To Fold & Remain Dormant; Diving Objects; The Low Drone of Circulating Blood, Diminishes with Time; Moral Vacuums; Take the Night Air; The Mountain View, The Majesty of the Snow-clad Peaks, From a Place of Contemplation And Reflection. Paul Hiller, conductor; American Contemporary Music Ensemble (Clarice Jensen, artistic director and cello; Ben Russell, violin; Laura Lutzke, violin; Caleb Burhans, viola); Theatre of Voices (Else Torp, Kate Macoboy, Signe Asmussen, Iris Oja, Paul Bentley-Angell, Jakob Skjoldborg, Jakob Bloch Jespersen, Steffen Bruun). Deutsche Grammophon 483 7418.
Although the idea of electronics, a seemingly meaningless series of vowels, and even the very idea of a “drone mass” itself might sound forbidding and off-putting, the music itself is not so. Rather, it is music that is engaging and immersive, drawing the listener in with its interweaving of the mysterious and the familiar, the acoustic and the electronic, the ancient and the contemporary, the ephemeral and the eternal. Review here: https://classicalcandor.blogspot.com/2022/04/recent-releases-no-28.html
Schubert: The Last Quartets. CD1 String Quartet No. 15 in G Major D.887; CD2 String Quartet No. 14 in D minor “Death and the Maiden” D.810. Aviv Quartet (Sergey Ostrovsky, violin; Philippe Villafranca, violin; Noémie Bialobroda, viola; Daniel Mitnitsky, cello). Aparte AP266.
The final two string quartets of Franz Schubert are two of the great masterpieces of chamber music. If you are relatively new to classical music, please be forewarned that these are not compositions that are going to immediately soothe your ear with pretty melodies. But although yes, the music is dark, its very darkness gives it a focus and intensity that the playing of the Israeli-based Aviv Quartet and the audiophile-quality sonics combine to deliver an intense musical experience that reveals the beauty of Schubert’s writing for these four instruments. Review here: https://classicalcandor.blogspot.com/2022/05/recent-releases-no-30-cd-reviews.html
Prism IV: Danish String Quartet. Bach: Fugue in G minor, BWV 861; Beethoven: String Quartet No. 15 in A minor op. 132; Mendelssohn: String Quartet No. 2 in A minor op. 13. Danish String Quartet (Frederik Øland, violin; Rune Tonsgaard Sørensen, violin; Asbjørn Nørgaard, viola; Fredrik Schøyen Sjölin, cello). ECM New Series 2564.
Over the decades since I have listened to many and owned several sets of the late quartets on CD (the Yale, Emerson, Takács, and Tokyo box sets remain on my CD rack). Now in my later years I suddenly found myself being taught a revelatory lesson by about the late quartets by a relatively young string quartet. From start to finish, Prism IV is a rewarding musical experience that truly does reveal a line though genres and generations. You don’t have to read the liner notes to appreciate that Beethoven revered and studied the music of Bach and that Mendelssohn of course studied the music of Beethoven, but the notes are informative and helpful nonetheless in filling in some of the details. The engineering is up to the usual ECM standard, rich and resonant. Review here: https://classicalcandor.blogspot.com/2022/07/new-releases-no-33-cd-reviews.html
Beethoven: 33 Variations Op. 120 on a Waltz by Diabelli. Mitsuko Uchida, piano. Decca 485 2731.
Japanese-born British pianist Mitsuko Uchida (b. 1948) has long been one of my favorite musicians. Not only does she play wonderfully, but her modesty and charm are world-class. Despite a long career throughout which she has been known primarily as a specialist in the Viennese masters who has won wide acclaim for her performances and recordings of Mozart, Schubert, and Beethoven, this release is Dame Mitsuko’s first recording of the Diabelli Variations. Her performance comes across as thoughtfully balanced, able to express depths of emotion without ever sounding forced; neither too excitable or rushed in the lighter moments nor overly drawn-out and melodramatic in the softer, more reflective passages. Particularly noteworthy is the way the recording closes out, Variations XXIX-XXXIII. These variations have a little bit of everything, blessed with some of the most sublime soft and slow passages extant. This is a truly first-rate recording of a sometimes-overlooked masterpiece. Review here: https://classicalcandor.blogspot.com/2022/07/piano-potpourri-no-7-cd-reviews.html
Víkingur Ólafsson: From Afar. Bach: Christe, du Lamm Gottes, BWV 619 (Arr. G. Kurtág); Schumann: Study in Canonic Form, Op. 56 No. 1; Bach: Adagio from Sonata for Solo Violin in C major (Arr. Víkingur Ólafsson); Kurtág: Harmonica (Hommage á Borsody László) (From Játékok / Book 3); Bartók: Three Hungarian Folksongs from Csìk; Brahms: Intermezzo Op. 116, No. 4; Kurtág: A Voice in the Distance (From / Book 5); Birgisson: Where Life and Death May Dwell (Icelandic Folk Song); Bach: Trio Sonata No. 1, BWV 525: 1. Allegro moderato (arr. G. Kurtág); Kaldalóns: Ave María (Arr. Víkingur Ólafsson); Kurtág: Little Chorale (From Játékok / Book 1); Mozart: Laudate Dominum (Arr. Víkingur Ólafsson); Kurtág: Sleepily (From Játékok / Book 1); Schumann: Träumerei Op. 15, No. 7; Kurtág: Flowers We Are (From Játékok / Book 7); Adès: The Branch (Az Ág); Kurtág: Twittering (From Játékok / Book 1); Schumann: Vogel als Prophet Op. 82, No. 7; Brahms: Intermezzo Op. 116, No. 5; Kurtág: Scraps of a Colinda Melody – Faintly Recollected (Hommage à Farkas Ferenc) (From Játékok / Book 3). Víkingur Ólafsson, grand piano, CD1; upright piano, CD2. Deutsche Grammophon 486 1681.
The musical selections for the most part are brief, many lasting less than two minutes. Although the brevity of the tracks and variety of the composers might seem to portend a crazy quilt of styles and moods, the overall impression given off by the album as the program moves along from track to track is actually quite consistent. From the opening brief snippet of Bach, which is calm and reflective, Ólafsson seems to be inviting us to join him in contemplating the beauty, peace, and joy to be found among the 88 keys of the piano. Intimacy and playfulness are two defining characteristics of the music on From Afar. And that music has been recorded not once, but twice, for this release, as Ólafsson explains: “This album contains two recordings of the same music, one made on a Steinway concert grand and the other made on an upright with a layer of felt covering the strings, a permanent soft pedal.” Ólafsson’s liner notes are both interesting and informative. This is an interesting, involving, and endearing album that further enhances the growing reputation of this supremely talented and insightful master of the keyboard. Review here: https://classicalcandor.blogspot.com/2022/10/vikingur-olafsson-from-afar-cd-review.html
Mosaic. Debussy: Beau Soir (transcr. J. Heifitz); Première Rhapsodie; Tárrega: Recuerdo de la Alhambra (transcr. R. Ricci); Ravel: Pavane pour une infante défunte (transcr. V. Borisovsky); Vocalise-étude en forme de Habanera; Fauré: Élégie in C Minor, Op. 24; Papillon, Op. 77; Berceuse, Op. 16 (transcr. T. Butorac); Après un rêve, Op. 7, No. 1 (transcr. P. Cassals); Albéniz: Tango in D Major, Op. 165, No. 2; Akira Nishimura: Fantasia on Song of the Birds; Pablo Casals: El Cant dels Ocells (Song of the Birds); de Falla: Siete canciones populares españolas (transcr. E. Cólon) - I. El Paño Moruno; II. Seguidilla Murciana; III. Asturiana; IV. Jota; V. Nana; VI. Canción; VII. Polo. Wenting Kang, viola; Sergei Kvitko, piano. Blue Griffin BGR 609.
There just seems to be something special about the Chinese-born violist Wenting Kang (b. 1987), who has pulled together a captivatingly colorful and lively program of music that she has chosen to play so expressively on the viola, not the instrument for which they were originally written. As you can see from a glance through the titles above, the bulk of her program comes from French and Spanish composers of the late nineteenth and early twentieth centuries. From start to finish, Kang and Kvitko – who, in addition to playing the piano, also served as recording engineer and producer for this release, an impressively talented individual to be sure! – bring heartfelt expression to this lyrical collection, with the rich tone of the viola sounding “just right” for these pieces. Please understand what I mean when I say that Mosaic is not just another violin recital, which it obviously isn’t. What it is is something very special indeed. Review here: https://classicalcandor.blogspot.com/2022/09/new-releases-no-34-cd-reviews.html
Mozart: The Piano Sonatas. Robert Levin, fortepiano. ECM New Series 2710-16 (7 CDs).
Although Mozart’s piano sonatas are not – at least for me – not quite at the same exalted artistic level as those by Beethoven or Schubert, they are still wonderful works, full of marvelous melodies and a wide range of emotional expression. To have a complete set presented to us by an artist such as the American musicologist and pianist Robert Levin (b. 1947) is an occasion worth noting. There are extensive liner notes that discuss the music, including Levin’s reconstruction work, and the instrument. Ah, the instrument… The album cover proclaims that the sonatas are performed “on Mozart’s fortepiano.” There is an essay discussing the construction, sound, and history of the instrument included in the liner notes, in which it is noted that Mozart himself did some of his composing on this instrument, which was later gifted to one of his sons, and that Mendelssohn once tickled its keys. Of Levin’s profound knowledge of Mozart’s music and his ability to play it in an appropriate style there can be no doubt. Indeed, the music flows from his fingers with remarkable facility. For lovers of Mozart’s piano music, this set is going to be a must-have. The only reservation that keeps me from making an enthusiastic general recommendation is the sound of the instrument itself, a sound that is closer to that of a harpsichord than to a modern piano. For some, that will not be an issue, but for others, it might well be an insurmountable obstacle to their listening enjoyment. Still, everything about this release is first-class. The packaging, the liner notes, the performances, the engineering – this is truly an outstanding release.
Mozart: Complete Piano Sonatas Volume 1. No. 3 in B-flat Major K.281; No. 13 in B-flat Major K.333; No. 17 in B-flat Major K.570. Orli Shaham, piano. Canary Classics CC19.
Mozart: Complete Piano Sonatas Volumes 2 & 3. Vol. 1: No. 9 in A Minor K.310; No. 12 in F Major K.332; No. 18 in D Major K.576. Vol. 2: No. 9 in A Minor K.310; No. 12 in F Major K.332; No. 18 in D Major K.576. Orli Shaham, piano. Canary Classics CC21.
There are several contrasts between this set and the Levin set reviewed above. Most obviously, the Levin set is complete, while this new set by American pianist Orli Shaham (b. 1975) is ongoing (Vol. 1 was released in 2020, Vols. 2 & 3 in 2022, with Vols. 4 and 5 slated for release in the spring and summer of 2023, respectively). Another striking contrast is in the sound. While Levin recorded his set on “Mozart’s piano,” Shaham has chosen to record on a modern Steinway. As a further note about sound, the recording producer and editor for the series is the veteran Erica Brenner and the recording engineer for Vol. 1 and most of Vol. 2 was the late Michael Bishop (1951-2021), whom audiophiles may recognize as the engineer responsible for many of those spectacular Telarc recordings of days gone by. Following the loss of Bishop, engineering duties were taken over by Robert Friedrich, himself a top-rate engineer. Rest assured that Ms. Shaham – and your ears – have been afforded some state-of-the-art sonics. Ms. Shaham observes in the liner notes remarks that Mozart “taught the keyboard to sing.” There is indeed a fluid, singing quality to Shaham’s playing that is engaging and pleasurable. Add to that the beautifully captured sound of her piano and you wind up with Mozart recordings that are well-nigh irresistible. Levin and Shaham reviews here: https://classicalcandor.blogspot.com/2022/11/piano-potpourri-no-8-cd-reviews.html
Schubert: Piano Sonata in G major D894; Piano Sonata in E minor D769a (fragment; formerly D994); Piano Sonata in A major D664. Stephen Hough, piano. Hyperion CDA 68370.
Hough brings an interpretive touch to the music of Schubert that somehow sounds “just right.” He puts plenty of emotion and feeling into his playing, but never takes it over the top. You can feel his great love for this music, but his interpretations never sound overly sentimental. Moreover, the warmth of his playing is enhanced by the warmth of the recording. The music of Schubert, the artistry of Hough, and the production values of Hyperion (not just the engineering, but also first-class liner notes and cover art) make this a highly recommendable release. Review here: https://classicalcandor.blogspot.com/2022/04/piano-potpourri-no-6-cd-reviews.html
Hellbound Train: An Anthology. Steve Tibbetts, guitars/percussion/dobro/piano; Marc Anderson, congas/percussion/gongs/steel drum/handpan; with Jim Anton/Eric Anderson/Bob Hughes, bass; Michelle Kinney, cello/drones; Marcus Wise, table; Tim Weinhold, vase/bongos; Mike Olson, synthesizer; Claudia Schmidt/Rhea Valentine, voice. ECM 2656/57 455 7480.
American guitarist Steve Tibbetts (b. 1954) has been making imaginative music with his guitar for more than four decades. This two-disc compilation includes tracks from his previous seven ECM releases: Northern Song (1982), Safe Journey (1984), Exploded View (1986), Big Map Idea (1989), The Fall of Us All (1994), A Man About a Horse (2002), Natural Causes (2010), and Life Of (2018). Hellbound Train features 28 tracks spread over two CDs. CD I, which leans toward the more electric, high-energy side of things, contains 11 tracks: four from The Fall of Us All, five from A Man About a Horse, and one each from Exploded View and Safe Journey. CD II leans more to the acoustic side, containing 17 tracks: three from Natural Causes, three from Safe Journey, five from Big Map Idea, four from Life Of, and two from Northern Song. As an overview of Tibbetts’s body of work for ECM, it certainly serves its purpose. It’s an amazing collection. If you have never heard Tibbetts before, you really need to audition this album. Review here: https://classicalcandor.blogspot.com/2022/12/recent-releases-no-40-cd-reviews.htm
As we reach the end of another year (how did that happen?) it is our custom to offer a list of some of our favorite recordings from among those we have reviewed over the past year. In roughly chronological order, here are some that I especially enjoyed.
As the program proceeds, the interplay among the three musicians is fascinating. None of them is showing off, but each of them is exhibiting mastery. The music just flows out of them. Gradually, the influence of baroque and classical gradually shifts until by the time we get to the final track, “At the Bells and Motley,” we are in blues territory. Adding to the appeal of the album is the top-notch engineering. It is simply one of the finest-sounding trio recordings I have ever auditioned. I have argued before that jazz can be thought of as a form of chamber music; this album is a prime example. Review here: https://classicalcandor.blogspot.com/2022/02/recent-releases-no-24-cd-reviews.html
The musical program consists of Tristano originals written in the style of early music masters, Tristano’s “takes” on pieces by some of these masters, along with some more straightforward interpretations of their music. Although there is some variation in style and sonority, largely due to studio manipulation of the sonics and some generally subtle although occasionally surprising electronic effects, Tristano’s musical vision is coherent from beginning to end – clearly a labor of love. If you enjoy piano music – especially if you are a fan of Early/Baroque keyboard music – then this is a release you really ought to consider giving an audition. It’s a knockout both musically and sonically. Review here: https://classicalcandor.blogspot.com/2022/03/recent-releases-no-25-cd-reviews.html
Although the idea of electronics, a seemingly meaningless series of vowels, and even the very idea of a “drone mass” itself might sound forbidding and off-putting, the music itself is not so. Rather, it is music that is engaging and immersive, drawing the listener in with its interweaving of the mysterious and the familiar, the acoustic and the electronic, the ancient and the contemporary, the ephemeral and the eternal. Review here: https://classicalcandor.blogspot.com/2022/04/recent-releases-no-28.html
The final two string quartets of Franz Schubert are two of the great masterpieces of chamber music. If you are relatively new to classical music, please be forewarned that these are not compositions that are going to immediately soothe your ear with pretty melodies. But although yes, the music is dark, its very darkness gives it a focus and intensity that the playing of the Israeli-based Aviv Quartet and the audiophile-quality sonics combine to deliver an intense musical experience that reveals the beauty of Schubert’s writing for these four instruments. Review here: https://classicalcandor.blogspot.com/2022/05/recent-releases-no-30-cd-reviews.html
Over the decades since I have listened to many and owned several sets of the late quartets on CD (the Yale, Emerson, Takács, and Tokyo box sets remain on my CD rack). Now in my later years I suddenly found myself being taught a revelatory lesson by about the late quartets by a relatively young string quartet. From start to finish, Prism IV is a rewarding musical experience that truly does reveal a line though genres and generations. You don’t have to read the liner notes to appreciate that Beethoven revered and studied the music of Bach and that Mendelssohn of course studied the music of Beethoven, but the notes are informative and helpful nonetheless in filling in some of the details. The engineering is up to the usual ECM standard, rich and resonant. Review here: https://classicalcandor.blogspot.com/2022/07/new-releases-no-33-cd-reviews.html
Japanese-born British pianist Mitsuko Uchida (b. 1948) has long been one of my favorite musicians. Not only does she play wonderfully, but her modesty and charm are world-class. Despite a long career throughout which she has been known primarily as a specialist in the Viennese masters who has won wide acclaim for her performances and recordings of Mozart, Schubert, and Beethoven, this release is Dame Mitsuko’s first recording of the Diabelli Variations. Her performance comes across as thoughtfully balanced, able to express depths of emotion without ever sounding forced; neither too excitable or rushed in the lighter moments nor overly drawn-out and melodramatic in the softer, more reflective passages. Particularly noteworthy is the way the recording closes out, Variations XXIX-XXXIII. These variations have a little bit of everything, blessed with some of the most sublime soft and slow passages extant. This is a truly first-rate recording of a sometimes-overlooked masterpiece. Review here: https://classicalcandor.blogspot.com/2022/07/piano-potpourri-no-7-cd-reviews.html
The musical selections for the most part are brief, many lasting less than two minutes. Although the brevity of the tracks and variety of the composers might seem to portend a crazy quilt of styles and moods, the overall impression given off by the album as the program moves along from track to track is actually quite consistent. From the opening brief snippet of Bach, which is calm and reflective, Ólafsson seems to be inviting us to join him in contemplating the beauty, peace, and joy to be found among the 88 keys of the piano. Intimacy and playfulness are two defining characteristics of the music on From Afar. And that music has been recorded not once, but twice, for this release, as Ólafsson explains: “This album contains two recordings of the same music, one made on a Steinway concert grand and the other made on an upright with a layer of felt covering the strings, a permanent soft pedal.” Ólafsson’s liner notes are both interesting and informative. This is an interesting, involving, and endearing album that further enhances the growing reputation of this supremely talented and insightful master of the keyboard. Review here: https://classicalcandor.blogspot.com/2022/10/vikingur-olafsson-from-afar-cd-review.html
There just seems to be something special about the Chinese-born violist Wenting Kang (b. 1987), who has pulled together a captivatingly colorful and lively program of music that she has chosen to play so expressively on the viola, not the instrument for which they were originally written. As you can see from a glance through the titles above, the bulk of her program comes from French and Spanish composers of the late nineteenth and early twentieth centuries. From start to finish, Kang and Kvitko – who, in addition to playing the piano, also served as recording engineer and producer for this release, an impressively talented individual to be sure! – bring heartfelt expression to this lyrical collection, with the rich tone of the viola sounding “just right” for these pieces. Please understand what I mean when I say that Mosaic is not just another violin recital, which it obviously isn’t. What it is is something very special indeed. Review here: https://classicalcandor.blogspot.com/2022/09/new-releases-no-34-cd-reviews.html
Although Mozart’s piano sonatas are not – at least for me – not quite at the same exalted artistic level as those by Beethoven or Schubert, they are still wonderful works, full of marvelous melodies and a wide range of emotional expression. To have a complete set presented to us by an artist such as the American musicologist and pianist Robert Levin (b. 1947) is an occasion worth noting. There are extensive liner notes that discuss the music, including Levin’s reconstruction work, and the instrument. Ah, the instrument… The album cover proclaims that the sonatas are performed “on Mozart’s fortepiano.” There is an essay discussing the construction, sound, and history of the instrument included in the liner notes, in which it is noted that Mozart himself did some of his composing on this instrument, which was later gifted to one of his sons, and that Mendelssohn once tickled its keys. Of Levin’s profound knowledge of Mozart’s music and his ability to play it in an appropriate style there can be no doubt. Indeed, the music flows from his fingers with remarkable facility. For lovers of Mozart’s piano music, this set is going to be a must-have. The only reservation that keeps me from making an enthusiastic general recommendation is the sound of the instrument itself, a sound that is closer to that of a harpsichord than to a modern piano. For some, that will not be an issue, but for others, it might well be an insurmountable obstacle to their listening enjoyment. Still, everything about this release is first-class. The packaging, the liner notes, the performances, the engineering – this is truly an outstanding release.
Mozart: Complete Piano Sonatas Volumes 2 & 3. Vol. 1: No. 9 in A Minor K.310; No. 12 in F Major K.332; No. 18 in D Major K.576. Vol. 2: No. 9 in A Minor K.310; No. 12 in F Major K.332; No. 18 in D Major K.576. Orli Shaham, piano. Canary Classics CC21.
Hough brings an interpretive touch to the music of Schubert that somehow sounds “just right.” He puts plenty of emotion and feeling into his playing, but never takes it over the top. You can feel his great love for this music, but his interpretations never sound overly sentimental. Moreover, the warmth of his playing is enhanced by the warmth of the recording. The music of Schubert, the artistry of Hough, and the production values of Hyperion (not just the engineering, but also first-class liner notes and cover art) make this a highly recommendable release. Review here: https://classicalcandor.blogspot.com/2022/04/piano-potpourri-no-6-cd-reviews.html
American guitarist Steve Tibbetts (b. 1954) has been making imaginative music with his guitar for more than four decades. This two-disc compilation includes tracks from his previous seven ECM releases: Northern Song (1982), Safe Journey (1984), Exploded View (1986), Big Map Idea (1989), The Fall of Us All (1994), A Man About a Horse (2002), Natural Causes (2010), and Life Of (2018). Hellbound Train features 28 tracks spread over two CDs. CD I, which leans toward the more electric, high-energy side of things, contains 11 tracks: four from The Fall of Us All, five from A Man About a Horse, and one each from Exploded View and Safe Journey. CD II leans more to the acoustic side, containing 17 tracks: three from Natural Causes, three from Safe Journey, five from Big Map Idea, four from Life Of, and two from Northern Song. As an overview of Tibbetts’s body of work for ECM, it certainly serves its purpose. It’s an amazing collection. If you have never heard Tibbetts before, you really need to audition this album. Review here: https://classicalcandor.blogspot.com/2022/12/recent-releases-no-40-cd-reviews.htm
KWN
