A Few More from KWN

 By Karl W Nehring

Just a week ago I presented an annotated list of my favorite recordings from 2022. As this year comes to a close, I’d like to take the opportunity to say a few quick words about several recordings that made quite an impression on me over this past year but that for various reasons to be discussed below did not get included in that list. Here we go!

Vaughan Williams: Symphony No. 6 in E minor; English Folk Songs; Symphony No. 8 in D minor; England, my England. Martyn Brabbins, conductor; BBC Symphony Orchestra; BBC Symphony Chorus; Roderic Williams, baritone. Hyperion CDA68396

There’s a simple and straightforward reason why this one did not show up on my list – I overlooked it. When I realized I had done so, I felt terrible, for it truly was one of my favorites of the year. What’s worse, when I finished my list, I was amazed that there were no symphonic recordings on it. Well, there should been. This recording led by British conductor Martyn Brabbins (b. 1959) belongs right up there in any discussion of the best recordings of RVW’s symphonies. If you have never heard the Vaughan Williams Symphony No. 6, this new release from Hyperion would be a perfect introduction, with an excellent account of Symphony No. 8 as a bonus. Add to that the splendid engineering and a recommendation falls right into place. Review can be found here: https://classicalcandor.blogspot.com/2022/10/vaughan-williams-symphony-no-6-in-e.html

Sibelius: Symphonies Nos. 1-7; Tapiola Op. 112; Three Late Fragments. Klaus Mäkelä, Oslo Philharmonic. Decca 455 2256 (4 CDs)

This fine Sibelius set is not something I overlooked; instead, it was on my list until the very end, just missing the cut along with a couple of other recordings when I felt as though the list was just becoming too long. I had planned to keep the list at the usual ten and wound up with a baker’s dozen. The young Finnish conductor Klaus Mäkelä (b. 1996) caused quite a stir earlier this year when Decca released this set of then complete Sibelius symphonies conducted by a relatively unknown young man in his mid-twenties. As usual, there were mixed reactions, with some reviewers just not being able to get past Mäkelä’s age and perceived lack of credentials, others lavishing heady praise on an outstanding new release. I would not have bothered to say anything more about it had not a prominent American critic who is prolifically active on YouTube (and who does an amazingly good job of generating interest in classical music) just ripped this release a new orifice – but not by citing its musical qualities. Instead, his attack focused on the young age of conductor Klaus Mäkelä. Hmmm. My “keeper” box set has been the Vanska/Lahti on BIS; however, as good as the engineering is on that set, the Decca team has surpassed it. The sound is smooth, clear, and natural. No, I’ve not heard every Sibelius set out there, but I’ve heard a number of them, and a whole bunch of individual releases – this set has the best overall sound I’ve yet encountered. With excellent performances, superb engineering, and some truly rare music, this is a set worthy of consideration by Sibelius fans. Review here: https://classicalcandor.blogspot.com/2022/10/new-releases-no-37.html

The following releases are not recordings that I reviewed in 2022. In fact, none is a recording that was released in 2022. No, these are recordings that have really made an impression on me in 2022, recordings that I am still trying to take in. Perhaps you too will find them of interest.

Per Nørgård: 8 Symphonies. CD 1) Symphonies Nos. 3 & 7. Danish National Symphony Orchestra, Danish National Vocal Ensemble, Danish National Concert Choir, conducted by Thomas Dausgaard. CD 2) Symphony No. 1 “Sinfonia austera” op. 13; Symphony No. 8. Vienna Philharmonic, conducted by Sakari Oramu. CD 3) Symphony No. 6 “At the End of the Day”; Symphony No. 2 – In One Movement. Oslo Philharmonic, conducted by John Storgårds. CD 4) Symphonies Nos. 4 & 5. Oslo Philharmonic, conducted by John Storgårds. Dacapo 8.204002

This compilation was released as a boxed set in 2016. What we have here are eight different symphonies conducted by three different conductors and three different orchestras. The time period covered stretches from 1953 (when work on Symphony No. 1 was begun) through 2011 (when Symphony No. 8 was completed). This is complex music, but not forbidding. As I began listening to it, I found myself bccoming excited – Nørgård was inviting me to enter a new musical realm, much like Mahler had invited me 50 years before. I am going to need to spend much more time with this set to even begin to feel as though I can confidently navigate my way around Nørgård’s sound world, but I am looking forward to continuing the journey that I have started. What a fascinating composer!

Martinû: Symphonies. CD 1) Symphonies Nos.1 & 5. CD 2) Symphonies Nos. 2 & 6 (Fantasies symphoniques). CD 3) Symohonies 3 & 4. Bryden Thompson, Royal Scottish National Orchestra. CHANDOS Classics CHAN 10316(3)

When classical music fans talk about composers of symphonies, the name Martinû is not likely to pop up right away, if at all. That is a shame, for the man wrote some marvelous music, with his six symphonies standing as prime examples. This set led by the late Scottish conductor Bryden Thomson (1928-1991) is well performed and well recorded. Originally released in 1991 and then digitally remastered in 2005, it is now available at a fairly low price. If you have never heard this  music, this set would be a great way to introduce yourself to something different and delightful.

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And now for something completely different. The final recording I am going to mention is not a classical release. Although I have reviewed jazz recordings in the past, arguing that some jazz is akin to chamber music, this CD is not a jazz recording either. No, it is a (brace yourself) rock recording. What’s worse, it’s from a band that a lot of folks have not heard of, and whose recordings are not always easy to track down.

That band is Low, and the specific recording is titled Things We Lost in the Fire, which was released in 2001. The nucleus of the band was a married couple, Alan Sparhawk and Mimi Parker; sadly, Mimi was diagnosed with ovarian cancer in 2020 from which she passed away at age 55 on November 5, 2022. I had barely started listening to Low when I learned of her death, which came as a total shock. A friend of mine who had played in a band that had toured briefly with Low some years back recommended this album as a good place to start to seriously delve into their sound.

From the first time I heard it, I was transfixed. They sing and play straight to the heart. I became obsessed with them, listening to their music via streaming and searching out videos of their live performances on YouTube, which of course you could do should you be so inclined. Over and over again over the past couple of months I have found myself returning to this album, which somehow speaks directly to me. Should you ever actually give this album a listen, or watch one of their performances on YouTube, perhaps you’ll be as entranced as I am. Perhaps you’ll think I’m nuts. In any event, enjoy this holiday season, and be grateful for the gift of music. You can hear a podcast about the making of the album here: https://www.youtube.com/watch?v=e4EtEA-v4bU

KWN

JJP’s Favorite Classical Recordings of 2022

By John J. Puccio

You may remember that I don’t do “best-of” lists. “Best” suggests that I’ve sampled everything available, and even though I review a lot of music every year, I have not heard but a fraction of what’s out there. So I prefer to do a simple “favorites” list. Here are a few of the discs (listed alphabetically, to be fair) I heard in 2022 that I enjoyed for their performance and sound.

Anne Akiko Meyers: Shining Night
Music of Corelli, Bach, Paganini, and more. Anne Akiko Meyers, violin; Jason Vieaux, guitar; Fabio Bidini, piano. Avie AV2455.
To read the review, click here:
https://classicalcandor.blogspot.com/2022/06/anne-akiko-meyers-shining-night-cd.html

Beethoven: Complete String Quartets, Volume 2
The Middle Quartets: Nos. 7, 8, 9, 10, and 11. Dover Quartet. Cedille CDA 90000 206 (3-disc set).
To read the review, click here:
https://classicalcandor.blogspot.com/2022/01/beethoven-complete-string-quartets.html

Beethoven: Piano Concertos Nos. 1 & 3
Kristian Bezuidenhout, fortepiano; Pablo Heras-Casado, Freiburg Baroque Orchestra. Harmonia Mundi HMM902412.
To read the review, click here:
https://classicalcandor.blogspot.com/2022/05/beethoven-piano-concertos-nos-1-3-cd.html

Beethoven Revolution: Symphonies Nos. 6-9
Jordi Savall, Le Concert des Nations. Alia Vox AVSA9946 (3-disc set).
To read the review, click here:
https://classicalcandor.blogspot.com/2022/04/beethoven-revolution-symphonies-nos-6-9.html

Concerti All’Arrabbiata
Music of Telemann, Platti, Vivaldi, and Geminiani. Gottfried von der Goltz, Freiburger Barockorchester. Aparte Music AP262.
To read the review, click here:
https://classicalcandor.blogspot.com/2022/01/concerti-allarrabbiata-cd-review.html

Jesus Rodolfo: Remembering Russia
Music of Prokofiev, Rachmaninov, and Stravinsky. Jesus Rodolfo, viola; Min Young Kang, piano. Pentatone PTC-5186 287.
To read the review, click here:
https://classicalcandor.blogspot.com/2022/02/jesus-rodolfo-remembering-russia-cd.html

La Barre: Pièces pour la Flûte Traversière avec la Basse Continue
The Opus Project. Navona Records NV6414.
To read the review, click here:
https://classicalcandor.blogspot.com/2022/10/la-barre-pieces-pour-la-flute.html

Mahler: Symphony No. 4
Sabine Devielhe, soprano; Francois-Xavier Roth, Les Siecles. Harmonia Mundi HMM 905 905357.
To read the review, click here:
https://classicalcandor.blogspot.com/2022/09/mahler-symphony-no-4-cd-review.html

Mahler: Symphony No. 5
David Bernard, Park Avenue Chamber Symphony. Recursive Classics RC5956731.
To read the review, click here:
https://classicalcandor.blogspot.com/2022/11/mahler-symphony-no-5-cd-review.html

Mozart: Piano Concertos Nos. 9 & 18
Kristian Bezuidenhout, fortepiano; Gottfried von der Goltz, Freiburger Barockorchester. Harmonia Mundi HMM 902332.
To read the review, click here:
https://classicalcandor.blogspot.com/2022/10/mozart-piano-concertos-nos-9-18-cd.html

Reflections: Scott Joplin Reconsidered
Lara Downes, piano, with guests. Rising Sun Music 616908742333.
To read the review, click here:
https://classicalcandor.blogspot.com/2022/03/reflections-scott-joplin-reconsidered.html

Schubert Transfiguration: Symphonies Nos. 8 & 9
Symphony No. 8 “Unfinished”; Symphony No. 9 “The Great.” Jordi Savall, Le Concert des Nations. AliaVox.

To read the review, click here:

https://classicalcandor.blogspot.com/2023/01/schubert-transfiguration-symphonies-nos.html

Still: Summerland
Also, Violin Suite, Pastorela, American Suite. Zina Schiff, violin; Avlana Eisenberg, Royal Scottish National Orchestra. Naxos 8.559867.
To read the review, click here:
https://classicalcandor.blogspot.com/2022/08/still-summerland-cd-review.html

Strauss, R.: The Happy Workshop
Also, Serenade, Op. 7. George Vosburgh, Carnegie Mellon Wind Ensemble. Reference Recordings FR-745.
To read the review, click here:
https://classicalcandor.blogspot.com/2022/03/strauss-r-happy-workshop-cd-review.html

Telemann: Viola Concertos
Overtures-Fantasias. Antoine Tamestit, viola; Sabine Fehlandt, viola; Bernhard Forck, Akademie fur Alte Musik Berlin. Harmonia Mundi HMM 902342.
To read the review, click here:
https://classicalcandor.blogspot.com/2022/07/telemann-viola-concertos-cd-review.html

Violin Sonatas
Music by Freitas Branco, Ravel, Villa-Lobos. Bruno Monteiro, violin; Joao Paulo Santos, Piano. Et’cetera Records KTC 1750.
To read the review, click here:
https://classicalcandor.blogspot.com/2022/04/violin-sonatas-cd-review.html

JJP

KWN’s Favorite Releases of 2022

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

KWN

Favorite Classical Recordings of 2021

By John J. Puccio

As you may remember, I don’t do “best-of” lists. “Best” suggests that I’ve sampled everything available, and even though I review a lot of music every year, I have not heard but a fraction of what’s out there. So I prefer to do a simple “favorites” list. Here are just a few of the discs (listed alphabetically, to be fair) I heard last year that I enjoyed for their performance and sound. I know I’ve forgotten some; forgive me.

Beethoven: Complete String Quartets, Volume 1
The Opus 18 quartets, Nos. 1-6. Dover Quartet. Cedille.
To read the review, click here:

https://classicalcandor.blogspot.com/2021/02/beethoven-complete-string-quartets.html

Beethoven: Symphonies Nos. 5 & 7
Carlos Kleiber, Vienna Philharmonic. K2HD Mastering.
To read the review, click here:
https://classicalcandor.blogspot.com/2021/11/beethoven-symphonies-nos-5-7-k2hd-review.html

Beethoven: Symphony No. 7
Also, Creatures of Prometheus, complete ballet. Gottfried von der Goltz, Freiburg Baroque Orchestra. Harmonia Mundi.
To read the review, click here:
https://classicalcandor.blogspot.com/2021/05/beethoven-symphony-no-7-cd-review.html

Beethoven: Violin Concerto in D major
Also, Brahms: Violin Concerto in D major. Gil Shaham, violin; Eric Jacobsen, The Knights. Canary Classics.
To read the review, click here:
https://classicalcandor.blogspot.com/2021/04/beethoven-violin-concerto-in-d-major-cd.html

Brahms: Piano Concertos
Piano Concertos Nos. 1 & 2. Andras Schiff, piano; Orchestra of the Age of Enlightenment. ECM New Series.
To read the review, click here:
https://classicalcandor.blogspot.com/2021/07/brahms-piano-concertos-cd-review.html

Gershwin: Rhapsody in Blue
Jeffrey Biegel, piano; Bruce Anthony Kiesling, Adrian Symphony Orchestra. Naturally Sharp Records.
To read the review, click here:
https://classicalcandor.blogspot.com/2021/10/gershwin-rhapsody-in-blue-cd-review.html

Juilliard String Quartet: Beethoven, Bartok, Dvorak
Juilliard String Quartet. Sony.
To read the review, click here:
https://classicalcandor.blogspot.com/2021/05/juilliard-string-quartet-beethoven.html

Massenet: Ballet Music
Louis Fremaux, City of Birmingham Symphony Orchestra. Klavier/JVC.
To read the review, click here:
https://classicalcandor.blogspot.com/2021/09/massenet-ballet-music-xrcd24k2-review.html

Sowerby: The Paul Whiteman Commissions
Andy Baker Orchestra; Avalon String Quartet. Cedille.
To read the review, click here:
https://classicalcandor.blogspot.com/2021/09/leo-sowerby-paul-whiteman-commissions.html

Telemann: Polonoise
Aisslinn Nosky, violin; Holland Baroque. Pentatone.
To read the review, click here:
https://classicalcandor.blogspot.com/2021/03/telemann-polonoise-sacd-review.html

Vivaldi: The Four Seasons
Also, La Folia. Francisco Fullana and Alan Choo, violins; Jeannette Sorrell, Apollo’s Fire. Avie.
To read the review, click here:
https://classicalcandor.blogspot.com/2021/11/vivaldi-four-seasons-cd-review.html

JJP

KWN’s Delightful Dozen of 2021

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