Max Richter: In a Landscape (CD Review)

by Karl Nehring

They Will Shade Us With Their Wings; Life Study I; A Colour Field (Holocene); Life Study II; And Some Will Fall; Life Study III; The Poetry of Earth (Geophony); Life Study IV; Only Silent Words; Life Study V; Late and Soon;Life Study VI; Andante; Life Study VII; A time mirror (Biophony); Life Study VIII; Love Song (after JE); Life Study IX; Movement, Before All Flowers. Max Richter, electronics, piano, Hammond organ, electronic percussion; Eloisa-Fleur Thorn & Max Baillie, violins; Connie Pharoah, viola; Max Ruisi & Zara Hudson-Kazdaj, cellos; Martin Robertson & Paul Richards, bass clarinets; David Fuest, contrabass clarinet; Martin Williams & Graeme Blevins, tenor saxophones; Gemma Moore, baritone saxophone. Decca 587 5717 

 

In a Landscape is the ninth solo studio album by the German-born British composer and keyboard performer Max Richter (b. 1966). Our first review of a work by Richter appeared more than a decade ago, when Classical Candor’s founder John Puccio posted his review of Richter’s bold “recomposition” of Antonio Vivaldi’s Four Seasons (you can read John's review here). In 2022, Richter released another version of his Seasons recomposition, this time around one of the main differences being we have (other than Richter) musicians playing on gut strings and period instruments: the sort that Vivaldi would have heard and played in his own time. Also, this time around, Richter plays a vintage Moog analog synthesizer rather than the modern digital synth he had employed on the 2014 release (you can read our review here). Then a year later, we reviewed yet another recording of Richter’s Recomposed Four Seasons, this time performed not by Richter himself, but by the Los Angeles-based chamber ensemble Delirium Musicum. You can read our review of this delightful release, which also includes Philip Glass’s American Four Seasons, here.

 

Of course, there’s more to Max Richter’s music than his reimagining of Vivaldi’s greatest hit. One of his most highly publicized musical endeavors was Sleep, an 8-hour “lullaby for a frenetic world” to which listeners at the few liv performances were encouraged to bring cots, sleeping bags, blankets, etc. it is available as a 4-CD set, on an app, plus there is an abbreviated version, From Sleep, which is available on a soothing yet musically satisfying 1-hour CD (our review is available here). But Richter has not only been interested in making music to lull his listeners into states of quiet passivity; quite the opposite, in fact, as revealed by his releases Voices (reviewed here) and Voices 2 (to be found in this set of reviews) with their focus on human rights, plus his later Exiles, with its title composition inspired by a refugee crisis in Syria that involved many thousands of people fleeing for their lives under desperate circumstances (you can find that review here).

The music on In a Landscape is peaceful, introspective, but not somnolent. Richter says of the album that it is about “reconciling polarities, bringing together the electronic and the acoustic, the human and the natural world, the big questions of life and the quiet pleasures of living.” It’s his first solo album recorded at Studio Richter Mahr, the minimalist, eco-conscious creative retreat designed and operated by Richter and his wife, visual artist Yulia Mahr. “The whole building is like an instrument,” he says. “There's an element of exploring the capabilities of the building, how all the spaces sound, all the textures, and trying to discover the fingerprint it has.”

 

He kept the creative process decidedly minimal, writing the notation by hand and restricting the arrangements to just a few instruments: string quintet, grand piano, Hammond organ and MiniMoog, plus tape delays, vocoders, and reverbs. As you can see from the header above, the program comprises 20 tracks: ten musical pieces, which range in duration from 8:33 to 2:16, alternating with nine “Life Studies,” brief ambient field recordings that add an aura of intimacy to the proceedings. Richter’s music is relatively simple in structure, but rich in emotional resonance, capable of engaging both the head and heart of the listener. What’s more, the recorded sound is rich and full. My only quibble is the lack of meaningful liner notes. Other than that, In a Landscape is a meditative masterpiece.

Intermezzo: Works of Michele Mangani (CD Review)

by Karl Nehring

Mangani: Executive; Pagina d’Album; Intermezzo; Astor Piazzolla: Tango Étude No. 3 (Arr. Mangani); Mangani: Love Theme; Dancing Doll; Ave Maria; Tre Danze Latine for Clarinet and Piano – I. Contradanza II. Vals Criolio III. Chorinho; Dreaming; Theme for Clarinet; Andante Malinconico; Souvenir. Seunghee Lee, clarinet; Manhattan Chamber Players; Steven Beck, piano. Musica Solis MS202408

 

As Ry Cooder once sang on his treasurable album Paradise and Lunch (well, not really, but it was awfully close), “oh, I’m a fool for a clarinet.” And yes, folks, I really am. I played the clarinet myself, long ago and not particularly well. However, when played by a skilled clarinetist such as Seunghee Lee, I can hardly imagine a sweeter instrumental sound. Lee, who was born in Seoul, South Korea, but who moved at the age of nine to the Chicago area with her family, presents here an engaging program featuring the music of the Italian composer Michele Mangani (b. 1966), someone whose music that has long held an attraction for the clarinetist, perhaps because Mangani is not only a composer, and a conductor, but also a clarinetist himself. He currently resides in Urbino, Italy.

 

Ms. Lee also has other talents beyond the clarinet. 
She collaborated with the noted author Deepak Chopra on his album and book: HOME: Where Everyone is Welcome, a collection of poems and songs inspired by a diverse group of immigrants. She is also a talented golfer, known as “Sunny Kang,” in the golf world. She has been featured in HK Golfer Magazine and has spoken at TEDx Hong Kong about the surprising similarities between golf and music and the mental challenges of viewing both skills through the lens of a perfectionist. 

 

A good introduction to the music to be found on this release can be found in this video introduction to the album by Ms. Lee herself. In it, she remarks that one of the features of Mangani’s music that draws her to it is that it allows her to feel as though she is able to sing through her clarinet. Indeed, Mangani’s music has an expressive, melodic, sweet quality to it that is entertaining but not cloying. The program is divided roughly into halves; from the opening Executive (a performance of which you can view here) through Ave Maria, Ms. Lee is accompanied by the strings of the Manhattan Chamber Players, while the remainder of the program finds Ms. Lee accompanied by the piano of Steven Beck. Included in the first half of the program is the one composition – Astor Piazzolla’s Tango Étude No. 3 – that is not by Mangani himself, but in his arrangement, it fits right in. A particular highlight of the latter collaboration is Andante Maliconico, with its simple but sincere melody played with a full, rich, steady tone by Ms. Lee. All in all, Intermezzo is one of the most pleasant releases to cross my path in quite some time. Highly recommended to those who love melody.

Anna Clyne: Shorthand (Streaming Review)

by Karl Nehring

Shorthand; Three Sisters; Prince of Clouds; Within Her Arms; Shorthand REDUX. Yo-Yo Ma, cello; Avi Avital, mandolin; Colin Jacobsen, Pekka Kuusisto, violins; The Knights; Eric Jacobsen, conductor. Sony Classics

It seems impossible that it was back in early 2020 when I first became acquainted with the music of British-born composer Anna Clyne, who now resides in the Hudson Valley area of New York
. I can’t remember exactly where or when I first saw her name in print, but not long after that, I mentioned her name to Bill Heck during a phone conversation. To my surprise and delight, Bill responded that he and his wife had attended a concert by the Pro Musica Chamber Orchestra in Columbus, Ohio, where they had both been greatly impressed by a piece titled Within Her Arms – a piece composed by none other than Anna Clyne. Intrigued, I checked Amazon for a recording, but alas, there was none to be found. However, I was soon able to audition it thanks to YouTube, where I was able to track down a video of a live performance. Like Bill and Mary, I too was greatly impressed. I quickly sent the link to another music-loving friend, who was also impressed. How was this wonderful music not yet available on CD?!

Although Within Her Arms was not yet available on disc back in 2020, a few months later I was able to review a new CD release on the AVIE label that paired the venerable Cello Concerto by Sir Edward Elgar with an invigorating new cello concerto by Ms. Clyne titled Dance, a review you can read here. Then early in 2021 AVIE released an all-Clyne orchestral CD titled Mythologies, a release that left no doubt about Clyne’s distinctive and imaginative compositional voice (you can find that review here).

Well, fast-forward three years to the present day, 2024, and it appears that the time has come for Anna Clyne to be more widely acknowledged as a major contemporary composer with this new release featuring her music being played by the well-known superstar soloists Yo-Yo Ma of Sesame Street fame (just [half] kidding) and mandolin virtuoso Avi Avital, supported by the up-and-coming young New York-based chamber orchestra, The Knights. This is certainly an exciting release – but why oh why is there no CD? Call me old-fashioned, but I (and many others) still prefer physical media, thank you. (And don’t tell me about “CD rot,” for the first CD I ever bought, Glenn Gould’s 1981 Goldberg Variations, still plays just fine, thank you.) My fear is that there will be music lovers who will miss out on discovering the remarkable music of this gifted composer simply because they still use CD as their primary source of listening to music. I hope I am wrong – and I will end my rant and return to this rewarding release.

Speaking of the opening composition on the program, Clyne writes, “I wrote Shorthand in 2020 when we were in the midst of the COVID-19 Pandemic and when I was invited to write a piece for The Knights’ recording project, The Kreutzer Project. I was thrilled to compose this piece as I am a cellist, and I love writing for strings – I can imagine and relate to the physicality of the instruments. Shorthand references two themes from Beethoven’s Kreutzer Sonata for violin and piano (which inspired Tolstoy’s novella The Kreutzer Sonata): the opening theme, as well as a second theme that Janácek also incorporated in his own String Quartet No. 1, “Kreutzer Sonata” (also inspired by Tolstoy’s novella). That second Beethoven theme inspires the opening material for Shorthand. The title comes from Tolstoy’s comment that ‘Music is the shorthand of emotion. Emotions, which let themselves be described in words with such difficulty, are directly conveyed to man in music, and in that is its power and significance’.” From the opening phrases of Ma’s cello, the emotions do indeed pour forth from this piece, but with sincerity and power, not saccharine and schmaltz. The way The Knights reflect and interact with Ma’s solo part the highlights the beauty of both his playing and Clyne’s writing, both of which are sublime. 

The next work on the program offers a contrasting sonority as the solo instrument shifts from the cello to the mandolin. Clyne writes of her work Three Sisters, which features featuring mandolinist Avi Avital, “in 2016 I was awarded the Hindemith Prize, which provided an opportunity to compose a new work for Avi and string orchestra: Three Sisters. I began work on Three Sisters at an artist retreat in upstate New York in 2017. Alone in a studio in the middle of the woods, dwarfed by a sea of 100-feet pine trees that masked the daylight and harbored the night’s creatures, and situated on an estate littered with haunting stories of ghostly visitations, the music that emerged was itself haunting and ghostly. And so, I fled back home. Saving just a few fragments from my curtailed residence upstate, I continued the work at my home studio in Brooklyn but soon after returning, I had to move apartment unexpectedly. The work was completed in a tiny apartment a little further away from the lights of Manhattan, but which offered something far more beautiful—a rooftop with an unobstructed view of the night sky, decorated with a scattering of jewels on a clear night. And it is the constellation Orion that stared down upon me night after night—the three stars of his belt, the three sisters, shining bright. And so, this work of three portraits unfolded, each portrait sharing the same DNA in varying guises. In addition to my varying whereabouts, the main source of inspiration throughout this journey was Avi’s incredible dexterity and virtuosity, coupled with the tenderness that he brings to the most delicate and sparse of music.” The plucking of the mandolin set against the contrasting sounds of the strings offers a fascinating musical sonority over the work’s three movements, each lasting a little over five minutes, with the movements being cast in the traditional fast-slow-fast concerto arrangement. It’s an utterly delightful work, an unexpected highlight – at least for those of us who never would have expected the mandolin, these days so associated with bluegrass music (sorry, I’m showing my USA provincialism here – but Avi Avital’s playing is completely convincing. Such a wonderful performance of such an enticingly entertaining work this proves to be!

Next on the program is Prince of Clouds, featuring violinists Colin Jacobsen (brother of conductor Eric Jacobsen and a co-director of The Knights) and Pekka Kuusisto. Clyne writes of this work, “originally composed for Jennifer Koh and her mentor at the Curtis Institute of Music, Jaime Laredo, this thread was in the foreground of my imagination as a dialogue between the soloists and ensemble. As a composer, working with such virtuosic, passionate and unique musicians is also another branch of this musical chain. I always imagined this piece having more moments of folk-style-inflections and I’m delighted to have an opportunity to revisit Prince of Clouds with Colin and Pekka.” It’s an intense piece that alternates between lyrical passages and almost violent outbursts from the soloists. Interestingly enough, as I was doing some background research, I ran across a review that John Puccio did of the original recording made back in 2014 by Jennifer Koh and Jaime Laredo, which you can read here.

Within Her Arms is scored for fifteen individual string parts,” explains Clyne, “and the musical material, which begins with a simple A-G-F#-G motif, dances around the ensemble from beginning to end. Weaved into the climax of the piece is the melody from a Taizé prayer, Oh Lord Hear My Prayer. The score includes an outline for where each musician should be positioned on stage, and I orchestrated the music accordingly, so that the musical motifs move around the listener. The score also includes specific indications for unified musical inhalations and exhalations at specific moments in the piece. On October 17th 2008, I was walking up 7th Avenue - just around the corner from Central Park - in New York City, when my father called to share the devastating news that my mother had unexpectedly passed away. For the next few days, the music that forms Within Her Arms poured out of me. Each evening I sat at the piano, in my childhood home, with a candle and a recent photo of her standing on a bridge with a warm smile from a few days before she died. Writing this music allowed me space to reflect on what had happened, and also to find a closeness and peacefulness with her. The title comes from a writing by the Vietnamese Buddhist monk and peace activist, Thich Nhat Hanh – I found these words in my mother’s very beautiful handwriting during the week following her death. This is my most personal piece of music and I couldn’t imagine a more special group of musicians to record it with.”  It is a composition that is at once calm and intense, swirling with emotion that stirs the soul. The listener can feel longing, but also resolution as the sound of the strings rises and fades. 

The album ends with an abbreviated version of Shorthand, which this time around seems to be the perfect way to follow the emotional tone set by Within Her Arms. There is a sense of looking back with satisfaction toward what has come before, of accepting life’s losses, challenges, and blessings with equanimity. Of course, each lister will have their own reaction to this – or any – music, for such reaction is certainly subjective; however, I feel confident in making the objective judgment that Anna Clyne is a composer whose time has come, and that Shorthand is an album well worth a serious audition. 

Rachmaninov: Symphonic Dances etc. (CD Review)

by Karl Nehring

Symphonic Dances, Op. 45; Capriccio on Gypsy Themes ‘Caprice Bohémien’, Op. 12; Scherzo in D minor; The Isle of the Dead, Op. 29. St. Louis Symphony Orchestra; Leonard Slatkin, conductor. VOX-NX-3042CD

 

How gratifying it is to see Naxos continuing its release of conductor Leonard Slatkin’s traversal of Rachmaninoff’s (that’s the currently accepted English spelling) symphonic music, which he recorded for the budget Vox label back in the 1970s with the St. Louis Symphony Orchestra. We reviewed the first of these recordings to be released back in February, 2023, a release that contained Symphony No. 2 along with the haunting Vocalise that review can be seen hereMost classical music lovers of a certain age are no doubt familiar with Vox, a budget label that produced some real gems over the years. Even though Vox was a budget label, the sound quality on some of their releases could be excellent, especially those recorded by the production team at Elite Recordings, led by engineer Marc Aubort and producer Joanna Nickrenz. There is an article at the PS Audio website discussing the fine-sounding Ravel box set Vox released in the 1970s that provides some insight into Elite’s recording process, which you can find here. The main sonic drawback back in the LP days of yore was the often-substandard quality of Vox’s vinyl pressings. But in the past few years, there have been some significant advances in digital technology, allowing the good folks at Naxos, who now own the rights to the Vox treasure trove, the opportunity to give us truly elite versions of the Elite recordings.

Appearing on the back cover of these new “Vox Audiophile Edition” versions is a highlighted statement affirming that “The Elite recordings for Vox legendary producers Marc Aubort and Joanna Nickrenz are considered by audiophiles to be among the finest sounding orchestral recordings.” For these reissues, Naxos engineers have taken those tapes from the vaults and carefully prepared these CDs for release, the end product of their labors being what they describe as “new192 kHz / 24-bit high definition transfers of the original Elite Recordings analogue master tapes.” Of course, all that work would not mean much if the performances captured by Aubort and Nickrenz were no great shakes to begin with; however, these Rachmaninoff recordings by Maestro Slatkin and the SLSO were excellent when they were released, and they are excellent now. These new remasterings onto CD allow today’s listeners to fully enjoy the confident, expressive playing of the SLSO under Slatkin’s leadership captured in transparent, dynamic sound that captures the sense of an orchestra playing in a hall. 

 

The major works on the disc are the opening Symphonic Dances and the closing The Isle of the Dead. Slatkin leads the SLSO in a tight, controlled, yet lyrical reading of the former, made even more enjoyable by the transparent quality of the recording, which offers a convincing illusion of hearing an orchestra in a hall. The sound might lack that last bit of power and excitement that Telarc afforded David Zinman and his Baltimore players, but it is still very, very good. I really don’t have much to say about The Isle of the Dead, however; to be honest, although many folks find it to be one of Rachmaninoff’s most moving works, it is a piece that makes no real impression on me and I seldom give it a listen Slatkin’s version sounds just fine, to be sure, but that’s about all I can say. 

However, I will close with great enthusiasm by pointing out that the other two pieces on the program, the Capriccio on Gypsy Themes and especially the brief (4:49) Scherzo in D minor are delightfully tuneful and refreshing romps that remind you how much a master melodist Rachmaninoff could be. The Scherzo is a piece that almost demands that the listener break into a dance step before those brief five minutes pass by. By including these two extra compositions, Naxos has given a CD containing more than 77 minutes of well-recorded, well-performed music both familiar and unfamiliar. Like the other Slatkin/SLSO “Audiophile Edition” VOX releases, this one is well worth seeking out.