Recent Releases No. 55 (CD Reviews)

by Karl Nehring

Sebastian Fagerlund: Terral (Flute Concerto); Strings to the Bone; Chamber Symphony. Sharon Bezaly, flute; Tapiola Sinfonietta conducted by John Storgärds. BIS-2639 SACD

 

These compositions by the Finnish composer Sebastian Fagerlund (b. 1972) reside in that in-between area: somewhat on the more modern side, with less of an emphasis on melody than more conservative listeners might prefer, but at the same time featuring passages of intriguing sounds and textures that will appeal to all but the most reactionary of listeners. Certainly the virtuosity of flautist Sharon Bezaly should be apparent to all as she takes center stage in Terral, the three-movement flute concerto that opens the program. Throughout the work, there are waves of tension and energy that ebb and flow, with the various sections of the orchestra getting their opportunities to interact with the soloist. The following Strings to the Bone is a fascinating piece in one movement that seems to shape-shift as it moves along, one of those works that immediately invites repeat listening for both pleasure and understanding. The program concludes with the three-movement Chamber Symphony. The movements are played without a break, the overall progression being slow-fast-slow, but of course the end product is more nuanced than that. It is a fascinating work, and the transparency of sound captured by the BIS engineering team offers listeners a true luxury listening experience.

Thorvaldsdottir: Archora; Aiōn. Iceland Symphony Orchestra conducted by Eva Ollikainen. Sono Luminus DSL-92268

 

We have reviewed a variety of music by the Icelandic Anna Thorvaldsdottir (b. 1977) previously at Classical Candor, including music for piano (reviewed here), a string quartet (reviewed here), and a work for orchestra, (reviewed here). On two of those three releases, all of which are on the Sono Luminus label, her compositions are included along with those of other composers; only for Enigma, her string quartet, is she the sole composer represented. However, this new release showcases two of her large-scale compositions for orchestra: Archora (2022) was commissioned by the BBC Proms, Los Angeles Philharmonic, Munich Philharmonic, Orchestre de Paris, Klangspuren Schwaz [a music festival], and the Iceland Symphony Orchestra, while Aiōn (2018), was commissioned by the Iceland Symphony Orchestra and the Gothenburg Symphony Orchestra. Both are bold, powerful works, bursting with energy. Archora is in one movement, which lasts nearly 21 minutes as performed here. The music sounds as though it is trying to burst its bounds, as though the composition demands more energy that the orchestra can quite deliver. That is not a criticism of the orchestra, or of the piece – it is simply the best way I can think of to describe how the music seems to be straining to become something larger than it is. On the one hand, it is an impressive sound; on the other hand, there are times when it seems as though perhaps less might be more. There is always just so much going on. Aiōn, in three movements, is also thickly scored, is also bursting with energy, but offers more sonic variety. Especially satisfying is its third movement, titled Entropia, wherein brass, strings, and percussion sections all get a chance to shine and interact with each other, leading to a glorious final few minutes. Sono Luminus has done an excellent job of capturing the power of the orchestra, and for those few who might have the requisite audio equipment, have included along with the regular CD a Pure Audio Blu-ray disc that supports both stereo and surround-sound (Native 7.1.4) playback. 

Hough, Stephen. Enough: Scenes from Childhood. Faber & Faber Limited (2023)

 

A few years ago we reviewed a fascinating book by British pianist Stephen Hough (b. 1961) titled Rough Ideas (see review here), a volume in which he offered a blend of insights into music and a variety of other topics. Anyone who read the book could not help but be impressed by the depth and breadth of Hough’s knowledge not only of music, but of other arts as well. That same post with the book review also included a review of his superlative recording of the complete Chopin Nocturnes; other Hough releases reviewed in Classical Candor include music by Mompou, reviewed here; a Schubert disc, reviewed here; and a release containing music by several composers, reviewed here. In this new book, Hough offers a kind of memoir, giving us some insights into his musical education, his changing outlook on religious belief, his early education, and his early challenges with coming to terms with his sexuality. Throughout, he writes with insight, honesty, and wit. Hough was recently knighted by King Charles, so he is now Sir Stephen Hough, CBE. It is an honor he richly deserves, for his service to music has been exemplary. I am certainly not alone in looking eagerly forward not only to future recordings by Sir Steven, but to future installments of his memoirs.