Four Views of the Holy (CD Reviews)

by Karl Nehring

Each of the four recordings reviewed below is of music expressing religious faith. Although the music on all four recordings seeks to express religious faith rooted in the Judeo-Christian tradition, the means of musical expression take decidedly different forms, from quiet contemplation to joyous jubilation. 

 

Arvo Pärt: And I Heard a Voice... Pärt: Nunc dimittis; O Holy Father Nicholas; Sieben Magnificat-Antiphonen; *Für Jan van Eyck; Kleine Litanei; And I heard a voice… Vox Clamantis; Jaan-Eik Tulve, conductor; *Ene Salumäe, organ. ECM New Series 2780 

 

Those readers who follow Classical Candor on a regular basis (thank you!) may recall that we recently reviewed a DG release from the young Latvian pianist Georgjis Osokins of piano music by the Estonian composer Arvo Pärt, who celebrated his 90^th birthday on September 11, 2025 (you can find that review here). But Pärt is more celebrated for his choral compositions, the majority of which center on religious themes and have a sound which evokes feelings of reverence and spirituality. We have also reviewed several choral recordings of Pärt’s music in the past, including a Harmonia Mundi release from 2020 (you can find that review here), a BR Klassik release from 2021 (you can find that review here), and a 2023 ECM release that also includes some works for orchestra (which you can find here). As you can no doubt infer from the titles listed above, this latest release on ECM is suffused with a sense of the holy from start to finish. Founded by conductor Jaan-Eik Tulve in 1996, the Estonian vocal ensemble Vox Clamantis is composed of twelve singers who share a passion for early polyphony and contemporary music, and here they sound just right giving voice to Pärt’s compositions – small enough to bring clarity, but large enough to bring weight. Recorded in Haapsula Cathedral in Estonia, the transparent sound quality allows the listener to get lost in the music. The liner notes discuss the works and include the texts, plus several photographs. It’s a beautiful release.

Radiant Dawn. Alec Roth (b. 1948): *Night Prayer; Thomas Tallis (c1505-1585): O nata lux de lumine; Eleanor Daley (b. 1955): Grandmother Moon; Deborah Pritchard (b. 1977): *The Light Thereof; Sir James MacMillan (b.1959): O Radiant Dawn; Tallis: *Dum transisset Sabbatum; Saint Hildegard of Bingen (1098-1179): O gloriosissimi; Roxanna Panufnik: (b.1968): Hearken; Robert White (1538-1574): *Christe, qui lux es dies II; Richard Barnard (b.1977): *Aura; Judith Bingham (b. 1952): Enter Ghost; Owain Park (b.1993): Sommernacht; Joseph Rheinberger 1839-1901): Abenlied; MacMillan: *In splendoribus sanctorum; Geoffrey Burgon (1931-2010): *Nunc dimittis. The Gesualdo Six (Guy James, Alasdair Austin, countertenor; Joseph Wicks, Josh Cooter, tenor; Michael Craddock, baritone; Owain Park, bass); Owain Park, conductor; with *Matilda Lloyd, trumpet. Hyperion CDA68665

 

When I received this album for review, my immediate assumption was that it was a 21^st-century version of an ECM release titled Officium (ECM 1525) from 1994 that featured the vocal quartet The Hilliard Ensemble (David James, countertenor; Rogers Covey-Crump, tenor; John Potter, tenor; Gordon Jones, baritone) accompanied by famed jazz saxophonist Jan Garbarek improvising on his horn as the ensemble sang sacred texts in a monastery, a recording that caught the attention of the general public through radio play and went on to become an unlikely best seller. However, beyond the obvious difference of trumpet rather than saxophone, Radiant Dawn also differs from Officium in that Matilda Lloyd plays a less prominent role than did Jan Garbarek, appearing as she does on fewer than half the tracks; moreover, when she does appear, her trumpet is sometimes not as prominent a part of the musical tapestry as was Garbarek’s saxophone. On the tracks Enter Ghost by Judith Bingham and In splendoribus sanctorum by James MacMillan, however, her trumpet stands front and center. The variety of composers included means that there is no single musical style or textual message to be found here; however, the majority of the tracks are rooted in religion and ritual, and as the liner notes proclaim, “plainchant threads this programme together – sometimes finely woven into the structural framework, and at other times as a fragment of the composer’s imagination.” As usual with with Hyperion, the liner notes are excellent and include texts. Warmly recommended for fans of vocal music.

Joel Ross: Gospel Music. Ross: Wisdom Is Eternal (For Barry Harris); Trinity (Father, Son, and Holy Spirit); Protoevangelium (The First Gospel); Hostile; The Shadowlands; Nevertheless; Word for Word; Repentance; The Sacred Place; A Little Love Goes a Long Way; Frank Schoen: *Praise to You, Lord Jesus Christ; Betty King Jackson: **Calvary; Ross: ***The Giver; To the Throne (The Mercy Seat); Be Patient; The New Man; ****Now and Forevermore.  Joel Ross, vibraphone, celeste, glockenspiel, drums; mellotron; Josh Johnson, alto saxophone; Maria Grand, tenor saxophone; Jeremy Corren, piano; Kanoa Mendenhall, bass; Jeremy Dutton, bass; with *Laura Bibbs, vocals; *Geoff Gallante, piano; **Ehep Nkwelle, vocals; ***Andy Lewis, vocals, guitar; ****Brandee Younger, Harp; ****Laura Bibbs, flugelhorn; ****Austin White, synthesizers. Blue Note 006022488058292

 

This past spring I was fortunate enough to catch Joel Ross’s Good Vibes in concert. The band – the same sextet that form the nucleus here – played nonstop for more than an hour in one continuous stream, musical phrases appearing, getting passed around among the group, disappearing, perhaps to reappear later in a subtly different form or tempo (you can read more about their performance here). The title of the album and the titles of its tracks might well lead many potential listeners to expect Gospel Music to be a collection of church music – hymns, spirituals, and such. Rest assured, friends, this album is a jazz album, not a collection of jazzified instrumental covers of hymn tunes. But that’s not to say it’s not spiritually oriented. According to Ross in the March 2026 issue of the jazz magazine Downbeat, “the album represents nothing less than a musical trip through the Holy Bible.” Ross’s liner notes present a spiritual thought for each of the 17 tracks, along with references to specific Bible verses. But the spirit I hear in the opening track, Wisdom Is Eternal (For Barry Harris), is the spirit of Johann Sebastian Bach, who seems to be hovering invisibly over Ross’s shoulder as he plays (you can watch a video of the group performing "Wisdom Is Eternal” here). While Wisdom has a fairly measured, Bach-like feel, Ross and his fellow players are also capable of a more frenetic – although still disciplined – groove, as on the energetic track Hostile (you can watch the band perform "Hostile" here). There are a few tracks with vocals that lean more toward a genuine gospel music feeling, but the underlying jazz element is still there. All in all, Gospel Music is a compelling witness to the power of music to express human striving for something beyond human imperfection. 

Ron Carter and Ricky Dillard: Sweet, Sweet Spirit. Clara H. Scott: Open My Eyes (1895); F.M. Bartlett: Everybody Will Be Happy (1921); Francis Jane Crosby: Pass Me Not (1868); W.R. Stevens: Farther Along (1927); Traditional: Just a Closer Walk with Thee; Charles Austin Miles; In the Garden (1912); Cleavant Derricks: Just a Litte Talk with Jesus (1937); Will I. Thompson: Softly and Tenderly (1880); Robert S. Arnold: No Tears in Heaven (1935); Doris Akers: Sweet, Sweet Spirit (1962) [all songs arranged by Ronald L. Carter, Sr., and Ricky Dillard]. Motown Gospel/Capitol/Blue Note 603488384759

 

Ron Carter (b. 1937) is a legend in the world of jazz. Perhaps best known for being the anchor of the legendary Miles Davis Quintet (Miles Davis, trumpet; Wayne Shorter, tenor saxophone; Herbie Hancock, piano; Ron Carter, double bass; Tony Wiiliams, drums), he has appeared on more than 2,200(!) recordings throughout his career – jazz, folk, rock, R&B, hip-hop, big band, soundtracks, crooners, poets – and is still actively touring today with his Foursight jazz quartet at the age of 88. Ricky Dillard (b. 1965) is an American gospel songwriter, singer, and choir director. The album is intended as a tribute to Ron Carter’s mother, the late Mrs. Willie O. Carter. Her favorite hymns were often sung in the Carter household, and late in her life, when she was in an assisted living facility, Ron recorded arrangements of ten of her favorite hymns he had made for his upright bass so that she could enjoy them during her final days. To give those beloved hymns a new dimension and share them with a wider audience, Carter turned to Dillard; together, the pair crafted arrangements combining the voices of the choir with Carter’s bass lines. The end result is highly energetic praise music sung with sincerity and devotion. You can see a video of Carter, Dillard, and choir performing the hymn Pass Me Not (by following this link). If you’ve never encountered gospel music before, you’re in for quite a treat. My only quibble about this release is the way the liner notes are printed – teeny-tiny font, low-contrast, virtually unreadable. Other than that, Sweet, Sweet Spirit is sweet indeed.

KN's Favorite Recordings of 2023

by Karl Nehring

In looking back over the releases that I reviewed during this past year, it strikes me that there were fewer of the symphonic works that I usually enjoy. I’m not sure whether that is the result of fewer symphony recordings being released or my lack of enthusiasm for reviewing yet another recording of Mahler or Bruckner (I dread 2024, Bruckner’s bicentennial year, which will no doubt herald no end of both rereleases and new recordings of his symphonies – of every edition and her sister by all manner of conductors and orchestras). Whatever the reason, my list of favorites strikes me as a bit unusual this year; however, there’s some darn good music to be found in this list of a dozen of my favorite recordings from 2023, which I present to you just in time for your last-minute holiday shopping. 

Beethoven: The Late Quartets. Calidore String Quartet. Signum Classics SIGCD733. It is certainly natural to be skeptical when encountering yet another boxed set of the late Beethoven quartets; however, this is a fine set indeed, one worthy in both musical and sonic terms to be a first choice for someone looking to acquire a set of these incomparable string quartets. Sonically, in fact, this may well be the finest set of all the many I have ever heard. The natural warmth of the recorded string tone combined with the realistic sense of space makes it especially easy to be drawn into the fascinating music. To be skeptical means to be inclined to look -- or in this case, listen -- quite closely. Those who listen closely to this set will be well rewarded both musically and sonically. 

 

Yussef Dayes: Black Classical Music.  Ravenswood Recordings (UK) – Nonesuch (USA). As evidenced by the title of his new album, London-born drummer and composer Yussef Dayes (b. 1993) has a high regard for the history and heritage of jazz. "What is jazz?” asks the young drummer. “Birthed in New Orleans, born in the belly of the Mississippi River, rooted in the gumbo pot of the Caribbean, South American culture, and African rituals. Continuing a lineage of Miles Davis, Rahsaan Roland Kirk, Nina Simone, John Coltrane, Louis Armstrong -- music that is forever evolving limitless in its potential… Chasing the rhythm of drums that imitated one's heartbeat, the melodies for the mind and spirit, the bass for the core. A regal sound for this body of music." And that is what you hear throughout the 74 minutes of this eclectic, energetic, enthusiastic album. This is optimistic music that can’t help but lift your spirits. Even if you don’t consider yourself a jazz fan, you just might want to give Black Classical Music a listen.

Fauré: Nocturnes and Barcarolles. Marc-Andre Hamelin, piano. Hyperion CDA 68331/2. The French composer Gabriel Fauré (1845-1924) is a composer who, although relatively well known to most classical music lovers, nevertheless seems to be under-appreciated. Perhaps he needed to write some symphonies; whatever the reason, he certainly was a marvelous composer who created music of great beauty and refinement. The piano music of Fauré is certainly far less frequently recorded than that of Beethoven, Chopin, or some of the other usual suspects, so I think we can applaud Hamelin and Hyperion for bringing us such a fine collection. As we have come to expect from Hyperion, everything about this release is first class. The cover features some beautiful art by Monet, the booklet presents useful information about every individual track on the two CDs as well as some biographical information about the artists, and the engineering is excellent. For those who enjoy piano music, this new release is one that you really ought to hear, especially if you have not yet experienced the magical music of that underappreciated master, Gabriel Fauré.   

 

Nitai Hershkovits: Call on the Old Wise. Nitai Hershkovits, piano. ECM 2779 551 5448. 

The music on Call on the Old Wise has for the most part a low-key, almost conversational feel to it. There is no banging on the keys, no breakneck tempi, no dissonant tone clusters. That said, the improvisatory nature of much of the music is always evident, but comes across to the listener more as directed and creative, a balanced combination of preparation and inspiration. Hershkovits draws from influences, ranging from his work in jazz contexts to his background in classical music. From track to track, the music varies, but never loses its listenable, playful, charming, quality. Hershkovits credits inspirations as seemingly disparate as the late jazz piano jazz legend Chick Corea and Russian composers Rachmaninoff and Scriabin as prominent influences. With no liner notes but beautiful ECM sound, Call on the Old Wise is an unexpected jewel of a piano recording.

 

Stephan Micus: Thunder. ECM 2757. German-born Stephan Micus (b. 1953) is a unique musician and composer who has recorded nearly 30 albums, and on all but one of those recordings he played every instrument. He collects and studies instruments from all around the world. On Thunder, the sound is dominated by the four-meter-long Tibetan dung chen trumpet, an instrument he has recently learned and is using for the first time. It was the thunderous sound of this instrument that led to the album’s name and its nine tracks celebrating deities around the globe. The opening cut, A Song for Thor, evokes the thunderous power of a Norse god. As the album proceeds, it is fascinating to hear the sounds of the instruments – all played by Micus, through the miracle of overdubbing – instruments from Tibet, India, Burma, Borneo, Siberia, Japan, South America, Gambia, Namibia, Sweden, and Bavaria. Thunder sounds like powerful chamber music with a world music twist. Engineered to ECM’s usual high standard, it’s quite an impressive show as well.

 

Federico Mompou: Música callada (“Silent Music”): Book One [1959]; Book Two [1962]; Book Three [1962]; Book Four [1967]. Stephen Hough, piano. Hyperion CDA68362. In his fascinating collection of essays titled Rough Ideas (reviewed here), the British pianist Sir Stephen Hough wrote of the Spanish composer Federico Mompou (1893-1967): “The music of Federico Mompou is the music of evaporation. The printed page seems to have faded, as if the bar lines, time signatures, key signatures, and even the notes themselves have disappeared over a timeless number of years. There is no development of material, little counterpoint, no drama nor climaxes to speak of; and this simplicity of expression – elusive, evasive and shy – is strangely disarming. There is nowhere for the sophisticate to hide with Mompou. We are in a glasshouse, and the resulting transparency is unnerving, for it creates a reflection in which our face and soul can be seen.” Hough also observed that of his musical education, “I knew Mompou before I knew Mozart,” which perhaps give him something of a different perspective on the composer’s output. Some listeners will find the lack of hummable melodies a minus, while, others will find themselves entranced by the unique musical atmosphere evoked by Mompou’s writing and Hough’s performance, which has been captured in full, rich sound by the Hyperion engineering team. The customary top-quality liner notes and cover art that we have come to expect from Hyperion are the frosting on the cake.

 

Mozart: Piano Concerto No. 9 in E-flat major, “Jeunehomme,” K. 271; Piano Concerto No. 24 in C minor K. 491. Lars Vogt, piano and conductor; Orchestre de Chambre de Paris. Ondine  ODE 1414-2. This is one of the final recordings made by the late German pianist Lars Vogt (1970-2022). The CD booklet includes an interview with the recording producer Christophe Franke, a good friend of Vogt’s who points out that at the time Vogt recorded this album, he was already undergoing chemotherapy. “He came to Paris with noticeably less hair, with grey skin, a pale complexion. And yet, or precisely for this reason, Lars absolutely wanted to record this album. For all the unshakable optimism that Lars radiated at all times, he knew that he probably had no chance. But he believed that a miracle perhaps would occur. This ambivalence was in the air the whole time: the hope in the impossible and at the same time the knowledge that it probably would be futile.” Is there any better capsule description of the music on this program? These two concertos manage to intermingle feelings of hope and hopelessness while expressing both with deft artistry, both in their composition (thanks to Mozart) and their performance (thanks to Vogt and the Chamber Orchestra of Paris). The engineers and producers also deserve special mention for the pleasing sound quality and touching liner notes, which combine to make this a remarkable release in every way. 

 

Arvo Pärt: Tractus.  Maria Listra, soprano; Estonian Philharmonic Chamber Choir; Tallinn Chamber Orchestra; Tönu Kaljuste, conductor. ECM New Series 2800 485 9166. Recorded in Tallinn’s Methodist Church last year, Tractus extends the line of Arvo Pärt albums on the ECM label that began with Tabula rasa in 1984, the recording which first brought Pärt’s music to widespread awareness.. This latest Pärt album features an emphasis on works for choir and chamber orchestra, although there are also compositions for the orchestra alone as well as one for soprano and orchestra. The texts are all based on scriptural, liturgical, or other traditional Christian texts. Although there are passages where the music exhibits some drama, it is for the most part reflective and inward-looking, very much in keeping with the spiritual focus of the texts. The sound quality is warm, spacious, and inviting. This is an album to treasure.

Bobo Stenson Trio: Sphere. ECM 2775 487 3808. The Swedish pianist Bobo Stenson (b. 1944) is probably unfamiliar to most classical music fans, but perhaps this latest album, which features a generous dollop of music by classical composers, will pique some interest, at least among classical fans who also have an interest in other forms of music – as I hope most who follow this blog do. On this new release, his trio open and close the album with a piece by the Swedish composer Per Nørgård (b. 1932) titled You Shall Plant a Tree. The trio’s bassist, Anders Jormin, contributes a couple of pieces, one of them (Unquestioned Answer – Charles Ives in Memoriam) inspired by Charles Ives, with a similar feeling of ambiguity; the other (Kingdom of Coldness) tending toward a more familiar jazz sound. Even more of a familiar type of jazz tune is Jung-Hee Woo’s The Red Flower, which swings gently along. Sven-Erik Bäck (1919-1994) was a Swedish classical composer. His Communion Psalm is an expressive piece that communicates a sense of reverence and ritual. From the late Norwegian pianist and composer Alfred Janson (1937-2019) comes Ky and Beautiful Madame Ky, restless and percussive. And then there is the Sibelius Valsette, his brief original piece for solo piano here stretched out by the trio more than five times its original length, improvised, given a whole new meaning and feeling. Beautiful recorded sound making this a highly recommendable release for both jazz and classical fans.

Veljo Tormis: Reminiscentiae.  Estonian Philharmonic Chamber Choir; Tallinn Chamber Orchestra; Tõnu Kaljuste, conductor. ECM New Series ECM 2783. Partly because the album covers such a long period of time, partly because Kaljuste has taken some music originally written for choir and arranged it for orchestra, and partly because Tormis wrote music of varying styles and moods, there is an impressive variety of music to be found in this collection. Kaljuste and his players have an intimate connection with Tormis’s sound world; in fact, the oldest composition on the album, the opening The Tower Bell in My Village, resulted from a 1978 commission from Kaljuste. “I went to his door holding in my hands the text by Fernando Pessoa and asked him to create a piece for a concert tour with my choir,” Kaljuste writes. “This album reflects upon our collaboration over the years. It is the first album that I have recorded since Veljo Tormis passed away.” This album is a labor of love, a lovingly performed and beautifully recorded labor of love.

Whitacre: Home. Voces8; Emma Denton, cello; Christopher Glenn, piano; Eric Whitacre, conductor. Decca 483 3970. The album begins with four brief pieces, beginning with Go, Lovely Rose, Whitacre’s first composition, followed by one of his most frequently performed pieces, The Seal Lullaby. The next song, Sing Gently, was composed during COVID-19 lockdown specially for Whitacre’s Virtual Choir, made up of more than 17,500 singers from 124 different countries. The fourth work on the album is Whitacre’s most recent composition, All Seems Beautiful to Me, based on a poem by Walt Whitman (from Song of the Open Road) celebrating the human spirit’s capacity for generosity and growth. It was commissioned by the United States Air Force Band and here receives its world premiere recording. We then arrive at the album’s main attraction, The Sacred Veil, which Whitacre composed along with his friend and frequent collaborator Charles Anthony Silvestri, who wrote most of the lyrics, which revolve around the death from cancer of his late wife, Julia Lawrence Silvestri (the remainder of the lyrics were written by Whitacre and Ms. Silvestri before her passing). As you might surmise from those circumstances, The Sacred Veil is an intensely personal, deeply moving composition. The Sacred Veil was originally conceived for a larger choir. In fact, the first recording of it, which Whitacre himself conducted (reviewed here), featured the larger forces of the Los Angeles Master Chorale. So what we have here in this Decca release is in essence a chamber version of the work. That is not to diminish its value, for VOCES8 does a beautiful job. In all honesty, I find The Sacred Veil to be one of the most moving musical works of the 21^st century, and I highly recommend this new recording. 

Vaughan Williams: Symphony No. 7 (“Sinfonia Antartica”); Symphony No. 9 in E minor. Elizabeth Watts, soprano, BBC Symphony Chorus; BBC Symphony Orchestra, Martyn Brabbins, conductor. Hyperion CDA68405. Many classical music fans, or at least those conversant with the music of the composer Ralph Vaughan Williams, know that his Symphony No. 7 (“Sinfonia Antartica”) grew out of music that he had composed for the film Scott of the Antarctic, which portrayed the ill-fated South Pole expedition of Royal Navy officer Captain Robert Scott. Intrigued by the story, RVW decided to write a symphony based upon some of the themes from the music he had composed for the film. It is a grand and stirring composition full of spectacular sounds, featuring a large orchestra augmented by an organ, a wordless choir, a wordless soprano, gong, bells, glockenspiel, xylophone, piano, celesta, and if that’s not enough to test your stereo system, a wind machine (which on this recording is replaced by the recorded sounds of actual wind – a first in my experience). The engineering team on  this Hyperion release has met the challenge of capturing the power of the assembled forces. RVW’s Symphony No. 9 seems to be greatly underappreciated, which is a shame, for it is a marvelous work. Brabbins and his BBC forces make a strong case for this final symphony, in a performance that stands right up there with previous favorites such as Manze and Slatkin. If you are one of those casual RVW fans who might have overlooked his Symphony No. 9, this new Hyperion recording would be an excellent opportunity for you to make your acquaintance with something quite special indeed.

Recent Releases No. 67 (CD Reviews)

by Karl Nehring

Tractus. Arvo Pärt: Littlemore Tractus; Greater Antiphons I-VII; Cantique des degrés; Sequentia; L’abbé Agathon;These Words…; Veni creator; Vater unser. Maria Listra, soprano; Estonian Philharmonic Chamber Choir; Tallinn Chamber Orchestra; Tönu Kaljuste, conductor. ECM New Series 2800 485 9166

Recorded in Tallinn’s Methodist Church last year, Tractus extends the line of Arvo Pärt albums on the ECM label that began with Tabula rasa in 1984, the recording which first brought Pärt’s music to widespread awareness. I was in graduate school back then, working weekends as a security guard at a factory. Late one night as I drove from the main plant to check on an off-site location while listening to classical music on WOSU-FM, they played music from that album, which featured not only classical violinist Gidon Kremer but also jazz pianist Keith Jarrett. I was transfixed by Pårt’s music, becoming an immediate fan. I purchased the CD that very week and went on to acquire dozens more over the next four decades – and have never been disappointed. This latest Pärt album, Tractus, features an emphasis on works for choir and chamber orchestra, although there are also compositions for the orchestra alone as well as one for soprano and orchestra. The texts (all of which are included in the CD booklet) are all based on scriptural, liturgical, or other traditional Christian texts. Although there are passages where the music exhibits some drama, it is for the most part reflective and inward-looking, very much in keeping with the spiritual focus of the texts. The sound quality is warm, spacious, and inviting. This is an album to treasure.

Lise Davidsen: Christmas from Norway. Adolphe Adam: O Helge natt (O Holy Night in Swedish); Humperdinck: Weihnachten; Franz Xaver Gruber/Josef Mohr: Silent Night; Gustaf Nordqvist/Edvard Evers: Jul, jul, strålande jul; Deilig er Jorden (trad. folk tune, lyrics by Bernhard Severin Ingemann); Mitt Herte Alltid Vanker (trad. folk tune, lyrics by Hans Adolph Brorson); Julvisa (No. 4 from Viisi joululaulua Op. 1 by Sibelius, lyrics by Zachris Topelius); Bach: Jesu Joy of Man’s Desiring (lyrics by Martin Janus); Reger: Maria Wiegenlied (lyrics by Martin Boelitz); Bach/Gounod: Ave Maria; Hugo Wolf: Schlafendes Jesuskind (lyrics by Eduard Mörike); The First Noël(trad.); John Francis Wade: O Come All Ye Faithful; Adam: O Holy Night. Lise Davidsen, soprano; Norwegian Soloists’ Choir (conductor, Simon Arlasjö); Norwegian National Opera Children’s Choir (conductor, Edle Stray-Pedersen); Norwegian Radio Orchestra; Christian Eggen, conductor. Decca 485 4358

 

“Christmas is how I got into music,” explains the Norwegian soprano Lise Davidsen (b. 1987), one of the foremost opera stars of our day, “we listened to all kinds of music: choral music, popular music, and the Norwegian songs I sing on this album.” She remembers Christmas services at her hometown church in Stokke: “I remember getting my first solo there, and when I was older, singing O Holy Night for the first time. I was still singing it there on Christmas Eve in my late twenties, well into my career. They were happy I kept going back but for me it was an essential part of the spirit of Christmas.” She concludes her liner booklet note by remarking, “For Scandinavians, Christmas is the white light we need in the middle of a long winter. Perhaps that’s why we embrace it. And we really do embrace it.” She opens and closes the album with O Holy Night, first in Swedish and then in English – reflecting the special place that song holds in her memory of Christmas. What sets this album apart from many other Christmas albums  -- beyond just the wondrous quality of Davidsen’s voice, that is – is the variety of music. This is not just your typical collection of popular carols. Moreover, the musical settings vary; some with orchestra, some with choir, some with children’s choir. Even if, like me, you already have a number of Christmas albums in your collection, you really ought to give this one serious consideration.

Miracle of Miracles: Music for Hanukkah. Trad., arr. Robert Applebaum: Oh Chanukah/Y'Mei Hachanukah; Trad., arr. Steve Barnett: S’vivon; Trad., arr. Mark Zuckerman: O, ir kleyne likhtelekh; Gerald Cohen: Chanukah Lights: Applebaum: Haneirot Halalu; Trad., arr.  Elliott Z. Levine): Al HaNisim; Trad., arr. Applebaum): Al Hanisim; Joshua Fishbein: Al Hanisim (For the Miracles); Daniel Tunkel: from Hallel Cantata - I. Hal’luyah! (Psalm 113); II. B’tzeit Yisrael (Psalm 114); III. Adonai Z’charanu (Psalm 115, vv. 12-18); VI. Hodu (Psalm 118, vv. 1-4); Trad., arr. Applebaum): Maoz Tzur; Levine: Lo V’Chayil; Vladimir Heyfetz (Arr. Zuckerman): Fayer, fayer; Samuel E. Goldfarb (arr. Applebaum): Funky Dreidl (I Had a Little Dreidl); Mikhl Gelbart (Arr. Zuckerman): I am a Little Dreydl (Ikh bin a kleyner Dreydl); Jonathan M. Miller: Biy’mey Mattityahu; Chaim Parchi (arr. Joshua Jacobson): Aleih Neiri; Stacy Garrop: Lo Yisa Goy. Chicago a cappella. Cedille CDR 9000022

 

Over the years I have accumulated a number of Christmas recordings – so many, in fact, that a few years ago I felt compelled to cull through them, decide which one I really wanted to keep, and take the rest in for trade. I took quite a few in go the store for trade, but still have more left than I will ever play over the holidays. Some of those Christmas CDs were sent to me for review over the years – but in all my years of being a reviewer (roughly 35, counting my time at both The $ensible Sound and now at Classical Candor), I was never sent one single Hanukkah CD for review until this one recently arrived in my mailbox. Miracle of miracles indeed! But receiving this disc after all that time made me stop and wonder why I had never been sent – or even really noticed, to be honest (of course, the fact that I am not Jewish is obviously a factor) any Hanukkah CDs before. Fortunately, in the liner booklet, Jonathan Miller, Chicago a cappella artistic director emeritus, at least partially answered my question: “Why, you might ask, aren’t there more albums of Hanukkah music like this? Finding the music is a big part of the challenge. It’s hard to locate works that meet all of our criteria: superb musical craftsmanship, a Hanukkah text, and a setting for a cappella mixed choir… Jewish choral music is a recent phenomenon, begun in earnest only about 200 years ago in Berlin, so there’s a simple quantity issue: we have much less repertoire to peruse than in other choral traditions. Given all of this, we are especially grateful for the composers and arrangers whose persistence and skill have given us the works found here.”

So what do we have here? Chicago a cappella is an ensemble of ten singers from among the Chicago area’s most accomplished classically trained choral singers and soloists. The group was originally founded in 1993 and has performed a wide variety of music, ranging from the Renaissance to the 21^st century. Miracle of Miracles features a collection of songs from more than 25 years of the ensemble’s performances, arranged into a single program that replays the story of Hanukkah, from celebrations of the holiday itself through to its candles, miracles, religious observances, and traditional food and games. The music and the texts include a mix of both biblical and modern Hebrew, as well as Yiddish elements (and English) intertwined with American jazz and popular styles. The vocal styles and expressions represented on this album aim to capture fully the traditions of Hanukkah across the Diaspora and Jewish history. It’s a fascinating collection. One need not be Jewish to enjoy the skill and enthusiasm that these singers bring to these remarkable songs, such as the three versions of Al Hanisim or the energetic dreydl songs, perhaps the kinds of songs that might be most likely to strike a note of familiarity with some non-Jewish listeners. The liner notes include notes and texts for all of the compositions, and the engineering by Cedille’s audio wizard Bill Maylone is excellent as always, making this a fine production in every aspect, well worth a listen regardless of your faith or lack thereof.

Hope (CD review)

Works by Ramirez, Dowland, Schubert, Giazotto, El-Hkoury, Part, Elgar, Foster, Andre, and traditional selections. Daniel Hope, violin; Zurcher Kammerorchester; Ensemble Amarcord, Katta; Patrick Messina; Jacques Ammon; Thomas Hampson; Julia Okruashvili; Marie-Pierre Langlamet; Colin Rich; and the Palau de la Musica Vocal Quartet. DG 486 0541.

By John J. Puccio

“Hope is being able to see that there is light despite all of the darkness.” --Desmond Tutu

“Music has a tremendous power. This album is my attempt to send out a ray of hope and to provide people, myself included, with a sense of support and perhaps even consolation.” --Daniel Hope

For those few who may not, perhaps, be completely familiar with Daniel Hope, he is a South African-born classical violinist (b. 1973) of world renown who is also the Music Director of the Zurich Chamber Orchestra and the New Century Chamber Orchestra. He plays the 1742 "ex-Lipinski" violin by Giuseppe Guarneri del Gesu.

Hope conceived and recorded the present album during lockdown, 2020, and in it he attempts to produce “a highly personal, yet distinctive collection of timeless classics by Schubert, Elgar, Part,” (and others). A booklet note continues, saying “Music was one of the first things to which people turned impulsively during the first coronavirus lockdowns in the spring of 2020.... Making music and in particular singing brought the world closer together after social distancing had created greater barriers than ever before.”

So, it’s music of hope. Music of trust. Music of promise. Music of expectation for all of us to come together. To that end, it includes works by Ariel Ramirez, John Dowland, Franz Schubert, Remo Giazotto, Bechara El-Hkoury, Arvo Part, Edward Elgar, Stephen Foster, and Fabian Andre, as well as traditional selections like “Danny Boy” and “Amazing Grace.”

Although it may seem like a kind of eclectic approach for a theme album, incorporating as it does a number of short, sometimes seemingly disparate works, it amply displays Mr. Hope’s expressive violin playing and his sincere intent. Accompanying Mr. Hope in the various pieces are the Zurich Chamber Orchestra; Ensemble Amarcord; organist Katta; clarinetist Patrick Messina; pianist Jacques Ammon; baritone Thomas Hampson; pianist Julia Okruashvili; harpist Marie-Pierre Langlamet; vocalist Colin Rich; and the Palau de la Musica Vocal Quartet.

The album begins with Misa Criolla (“Creole Mass” or “Native Mass”) by Argentine composer Ariel Ramirez (1921-2010), here arranged for solo violin, vocal quartet, charango (a ten-stringed mandolin), guitar, percussion, and string orchestra. The Paulau de la Musica Vocal Quartet, various instrumentalists, and the Zurich Chamber Orchestra accompany Mr. Hope. Appropriate to the album’s theme, Ramirez said he wrote the Mass as a “spiritual” piece designed to express humanity’s hopes of a better world. At a little over twenty minutes in length, it is also the longest selection on the program. Hope’s violin tone is plaintive yet uplifting from the outset. The quicker-paced succeeding movements are more spirited affairs with more-obvious Hispanic influences. It’s a splendid piece, well played, and well recorded.

The next selections are short songs arranged for violin and vocal ensemble. The first of these is Time Stands Still by English composer John Dowland (1563-1626), and the second is Die Nacht by Franz Schubert (1797-1828). In both, the Ensemble Amacord accompanies Mr. Hope. Although these works can be a bit mournful, they convey a lovely sentiment, with Mr. Hope’s violin adding a heartwarming quality to the proceedings. The Schubert is downright tear-jerking.

Then we get a longer, instrumental work, the famous Adagio in G minor by Remo Giazotto (1910-1998), with Mr. Hope, organist Katta, and the Zurich Chamber Orchestra. Giazotto always contended he transcribed the Adagio from a long-lost manuscript by the Italian Baroque composer Tomaso Albinoni (1671-1751), but that claim remains in doubt. Whatever, we get a terrific account of it here, neither too sentimental nor too matter-of-fact. It glides smoothly along on the back of Katta’s organ passages, with a rather forward part for the soloist.

Mr. Hope rounds out the album with over half a dozen shorter works: Byblos, the Old City by Bechara El-Khoury; Spiegel im Spiegel by Arvo Part; Nimrod from the Enigma Variations by Edward Elgar; “Dream a Little Dream” by Fabian Andre and Wilbur Schwandt; “Ah! May the Red Rose Live Alway” by Stephen Foster; and two traditional songs, “Danny Boy” and “Amazing Grace.”

In short, it’s an endearing album, if perhaps more than a tad on the solemn side. Still, the music is so beautiful and so beautifully performed, one cannot help going away impressed and, yes, hopeful.

Producers Christoph Classen and Tobias Lehmann and engineer Rene Moller recorded the music at XKO-Haus, Zurich and Teldex Studio, Berlin in July, September, and December 2020. The sound exhibits excellent transient response and dynamics, with clear percussion and strong bass. The engineers ensure the violin is well integrated with the rest of the instruments and voices, not too  recessed nor too far out front. The overall tone is a trifle soft, which is better than its being too bright or edgy, yet it maintains good, lifelike definition. It’s a pleasantly listenable disc, as are most of the DG recordings I’ve heard lately.

JJP

To listen to a brief excerpt from this album, click below:

Recent Releases, No. 22 (CD reviews)

By Karl W. Nehring

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. I was going to say that I first became acquainted with his music thanks to a recommendation by the late Harry Pearson of The Absolute Sound, who wrote with enthusiasm of an EMI LP featuring Arnold conducting the City of Birmingham Symphony Orchestra in Arnold’s Symphony No. 5 and Peterloo Overture, the first LP I ever ordered from England. But that was not, as I now recall, my first exposure to the music of Arnold; instead, my first exposure had actually come many years before, when my father took me to see the film The Bridge on the River Kwai, for which Arnold had composed the memorable score. (The film featured a young Alec Guinness, who many years later I would take my own kids to see play the role of Obi-Wan Kenobi, and would some years after that delight me with his portrayal of George Smiley.) 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.

Arnold had played trumpet in the London Symphony Orchestra; he knew orchestras and loved writing music for them. His symphonies contain melodies and tunes that musicians enjoy playing and listeners enjoy hearing. But no, his music is not simple. It is varied and complex, shifting from mood to mood, sometimes turning on a dime, but never leaving the listener behind. It can go from a tickle to a tear within a matter of measures. But it is always listenable, always colorful, ever imaginative. In a nutshell, the first couple of symphonies are on the bold and brash side, yet not without their moments of reflection. Nos. 3 and 4 are a bit more exotic sounding, especially No. 4., which makes lively use of percussion in places.

Symphony No. 5, the work that Harry Pearson raved about, is often considered Arnold’s masterwork; indeed, it is a symphony that cannot help but make an indelible impression. Its sound is rich and varied, with memorable contributions especially from the brass section, with some trombone parts that will haunt your memory. It is the quintessential Arnold symphony, packed with gorgeous melodies but still managing to be tense, restless, and disturbing under the surface. It is a great work, one that deserves a place in the concert hall. Its discmate, No. 6., is a shorter work (24:41) in three movements, said to be inspired by jazz but communicating a more serious, focused tone than his previous symphonies.

Nos. 7 and 8 are even more serious in tone, but still display that same Arnold sound, that ability to weave phrases and melodies that linger in the memory and tug at the heartstrings of the listeners without ever sounding cloying or sentimental, punctuated with bursts of energy, especially from the bass drum. The opening measures of No. 8 will definitely give both your speakers and your emotions a workout! But then the second movement Andantino will ply on your emotions in a quieter but no less powerful way, setting the stage for the final movement, and energetic romp that by now you will recognize sounds like pure Malcolm Arnold as it shifts gears and moves merrily along. Then we come to Symphony No. 9, Arnold’s most enigmatic symphony. The April 2021 issue of BBC Music Magazine featured an article on Arnold, and displayed his portrait on the cover, alongside which was a teaser that read, “Malcolm Arnold: Was the talented but troubled composer England’s Shostakovich?” That’s the kind of thing you expect to see while standing in the checkout line at the grocery store, and a bit of baloney overall, but listening to the 9th does admittedly invite the comparison to the great Russian composer. Its structure is unusual and yes, Shostakovich-like: three relatively short movements followed by a long (23:10) Lento finale that is serious and brooding. But still, as much as it might remind one of Shostakovich, it remains clearly a work by Arnold. A welcome bonus is the appended interview, in which conductor and composer discuss the work. Much different in mood and most rousingly Arnold-like are the sets of Dances gather together on the final disc in this set. These works are an unabashed delight, tuneful and tasty. It was certainly generous of Naxos to include them here along with the symphonies.

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. I will confess to being a huge fan of Arnold’s music; I have previously purchased recordings of all of his symphonies (and numerous other works) by several orchestras on several labels, including the individual Naxos discs as they were released during the 1990s. To have this set together in one box, along with the complete Dances (the first time all of his Dances have been recorded together), so well done and at a reasonably low price, makes this set a must-have. 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!

Of All Joys. Arvo Pärt (b. 1935): Summa; Luca Marenzio (c. 1535-1599): Solo e pensoso; John Dowland (1565-1626): Flow My Tears (Lachrimae); Orlando Gibbons (1583-1625) Fantasia a 6 in d minor; Philip Glass (b. 1937): String Quartet No. 3 “Mishima”; John Bennet (c. 1575 - c. 1615): Weep, O Mine Eyes; Jacobus Clemens non Papa (c.1510 - c. 1555): Ego Flos Campi a 7; Pärt: Fratres. Attacca Quartet (Amy Schroeder and Domenic Salerni, violins; Nathan Schram, viola; Andrew Yee, cello). Sony Classical 19439936062.

The Attacca Quartet have assembled a musical program of works from the 16th and 20th centuries that flows seamlessly from one musical delight into another, truly testifying to the listener of all joys indeed: the joys of life, the universe, and everything. The disc begins and ends with string quartet arrangements of familiar works by the beloved Estonian composer Arvo Pärt, Summa and Fratres. As with much of Pärt’s music, both pieces have a spiritual dimension to them. That feeling of calm and inwardness carries throughout the program, which is not always quiet and soporific, but in general has a feeling of grace about it. It is revealing to hear how naturally the music of Philip Glass blends so seamlessly into the program. Yes, listeners familiar with his compositional style will recognize that pulsing undercurrent, but they will also come to hear that over 500 years, music still remains music, the tones and the rhythms and the attendant emotions are still there, still flowing, still touching our hearts and minds. The Attacca Quartet’s violinist Domenic Salerni remarks of Glass’s music that “using an extreme economy of means, he creates moments and momentums out of simple whole-number harmonic ansd rhythmic ratios that can leave one feeling resigned and despairing, uplifted and filled with joy, or simply at peace and transported to a place of beauty.” The liner notes go on to assert that “this album seeks to replicate such emotional breadth. And while the textures and harmonies of Glass were a natural and obvious fit, the record is a project that began with the quartet listing off their favorite minimalist and Renaissance pieces, and considering how modern works resonate with what came before.” The end result is an album that should resonate with listeners seeking to engage with the beauty that can be found in simple music with surprising depth.    

Vince Mendoza: Freedom Over Everything. Concerto for Orchestra: American Noise; Concerto For Orchestra: Consolation; Concerto For Orchestra: Hit The Streets; Concerto For Orchestra: Meditation; Concerto for Orchestra: Justice And The Blues; Freedom Over Everything; Concerto For Orchestra: Finale; To The Edge Of Longing; New York Stories (Concertino for Trumpet and Orchestra). Antonio Sanchez, drums; Joshua Redman, tenor saxophone; Derrick Hodge, bass; Jan Hasenohrl, trumpet; Tariq Trotter (a.k.a. Black Thought), vocals; Julia Bullock, vocals; Alexej Rosik, violin; Vince Mendoza, Czech National Symphony Orchestra. Modern Recordings 538668092.

This recent release from the Grammy award-winning American composer, arranger, and conductor Vince Mendoza (b. 1961) features music that hovers in a space that is not quite classical, not quite jazz, not quite film music, not quite protest music, but which blends elements of all those genres and more into a program of energetic and entertaining orchestral music mingled with other styles and voices. The featured work is his Concerto for Orchestra, about which he explains, “My approach is a departure from the traditions of an orchestra concerto. For me, it was more about having an arc that tells a particular story, but also incorporates rhythmic and melodic aspects of African American music and improvisation… Coinciding with the composition of the concerto was the 2016 saga of the election of ‘45’ and the resulting tremendous discord in the U.S. during that time. While writing this piece, the events happening in our country invaded my artistic space. For the first time I felt I couldn’t really write music and be removed from what was going on in our environment.  I started seriously considering the importance of an artist to reflect the times and how I could make my music a reflection not only of what I was witnessing but what I hoped would occur. So that’s when the arc of this concerto started to take shape. I sought to design the structure of the concerto to be inspired by M.L. King’s remarks on the moral universe, that the arc is long, but it bends toward justice. The beginning of the concerto (the first movement is called ‘American Noise’) reflects the discord that began leading up to the 2016 election. Of course, it pales in comparison to what we dealt with in 2020 and now 2021, but the arc of the composition goes through that process of pure noise, much needed consolation and the need for ‘hitting the streets’. The end of the concerto seeks to reflect justice and the hope for a peaceful resolution to what we were only entering in 2016. Arguably in 2021 we still haven’t quite gotten there.”

The Concerto is in six relatively short movements, the longest being the opening American Noise at 9:47, all the way down to the Finale at only 2:17. Between the fifth movement (Justice and the Blues) and Finale, there is a brief (1:27) interlude (Freedom over Everything) featuring rapper Black Thought. Drummer Antonio Sanchez, who has played with guitarist Pat Metheny and other jazz notables as well as leading ensembles of his own, adds a complex texture to the music as he comes in to join the orchestra along with electric guitar and later, the saxophone of veteran reedman Joshua Redman. The music has plenty of drive and energy, even in its less boisterous moments, with a kinetic feeling of motion to that suggests it would serve well as the score for a modern dance presentation.

Following the turmoil of his Concerto, Mendoza then presents music meant to calm, a setting of verse from the German poet Rilke titled To the Edge of Longing, featuring the rich soprano voice of Julia Bullock accompanied by the solo violin of Alexej Rosik and the orchestra. It truly is a beautiful work, flowing and melodic. The program concludes with New York Stories, a brief concertino for trumpet and orchestra that finds Mendoza returning to the jazz-tinged sound of the Concerto. The drums return, and on the whole, there is something of a film score vibe to this music, especially the sound of the orchestral strings. The end result is pleasant, but at least to these ears, not as striking as the other two works on the program. As far as the engineering goes, frequency balance and imaging are fine; however, be forewarned that this CD is mastered at a level that is clearly several dB higher than the norm for classical recordings, so you will want to back off a few notches on your volume control when auditioning it for the first time. You can always turn it up later, and well you might want to for such exuberant music, but better safe than sorry at the start…

Bach: The Art of Fugue. Les InAttendus (Vincent Lhermet, accordion; Marianne Muller, 7-string bass viol; Alice Piérot, violin). Harmonia Mundi HMM 905313.

Although modern scholarly consensus is that Bach’s The Art of Fugue was originally intended by the composer to be played at the keyboard, as with many other of Bach’s compositions, there have been many other transcriptions and arrangements performed and recorded over the years. Although my favorite is the organ and piano version by Glenn Gould, I have also enjoyed a string quartet version by the Emerson String Quartet, and have at times enjoyed and at other times loathed that infamous Bach/Malloch Sheffield production titled The Art of Fuguing. This new release for the unusual combination of violin, accordion, and bass viol gives the music a baroque sonority, yet because of the unfamiliar element of the accordion blending with the strings, there is a freshness to the sound that makes it piece seem new again. No, this is not a CD for everyone, but for devoted fans of J.S. Bach, it is well worth an audition.

Bonus Recommendation:

How Shostakovich Changed My Mind. Johnson, Stephen. Notting Hill Editions Ltd (2018).

Especially for – but certainly not only for – fans of the music of the great Russian composer Dmitri Shostakovich, this brief book of just over 150 pages offers some fascinating insights into his music. It does so not by presenting dry academic musicological analyses, but rather by offering penetrating personal insights into not only the composer and his music, but also into the effects his music can have upon those who listen with real purpose. As the note on the back cover explains, “music broadcaster and composer Stephen Johnson explores how Shostakovich’s music took shape under Stalin’s reign of terror, and how it gave form to the fears and hopes of an oppressed people. Johnson writes of the healing effect of music on sufferers of mental illness and tells of how Shostakovich’s music lent him unexpected strength in his struggle with bipolar disorder. Through interviews conducted with surviving members of Soviet orchestras, through his reading of philosophers, psychoanalysts, and neurologists, Johnson paints a compelling picture of one man’s music and its power to validate and sustain another man’s life.”

Now, that talk of philosophers and neurologists and psychoanalysts might make it sound as if this book might be a dense, heavy read, quite the opposite is true. Instead, Johnson is a skilled storyteller, and he weaves together a number of different threads – his own story, accounts of his interviews, his accounts of some of Shostakovichs’s compositions (including the Cello Concerto No. 1, String Quartet No. 8, Symphonies Nos. 4, 8, and 11) and how they affected his mental health and overall well-being – into a compelling story that is not just about Shostakovich, or music, but about the human condition and the challenges we all face as we make our way through life. Especially fascinating – offering insights both musical and psychological – are some interviews and analyses that reveal some of the hidden messages that Shostakovich wrote into his music, his way of taunting his tormentors without exposing himself openly to further persecution. This is a little volume that can easily be read in a day or two, but with a message that will resonate in readers’ hearts and minds for far longer.

KWN

Recent New Releases, No. 9 (CD Mini-Reviews)

By Karl W. Nehring

Albores: Dino Saluzzi, bandoneon. ECM 2638 774 7754.

Dino Saluzzi (b. 1935) is a master of the bandoneon, an accordion-like instrument most often associated with the tango. However, the music on Albores, consisting of nine compositions by Saluzzi, is not tango music, as we can infer from a glance at the back cover. The title of the first track, Adiós Maestro Kancheli, is a reference to Georgian composer Giya Kancheli (1935-2019), whose music was sprawling, eruptive, disruptive, and highly charged. Saluzzi’s dedication reads: “Dear Maestro and friend, your wonderful music will always remain with me. It was a great honor to get to know you.” This and the other eight compositions on Albores are in a serious, probing, deeply reflective vein, drawing the listener in as if listening to an intense movement from a late Beethoven string quartet or Schubert piano sonata. Saluzzi is not dashing off tunes for mere entertainment, but making music for contemplation and aesthetic uplift. Beautiful, inspiring music; however, every rose has its thorn – the sound of the bandoneon, while rich and complex in its own way, also includes clicking and popping from the keys and buttons that may cause you to think your CD player is mistracking at times. If you can get past that, you will be richly rewarded.

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.

One of the consolations of having to spend so much time at home because of the pandemic has been the opportunity to have more time to enjoy beautiful recordings such as this. 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 new collection featuring the Bavarian Radio Chorus. And speaking of the pandemic, the liner notes explain the ‘Happy Birthday, Arvo Pärt!’ was the title of the first choir subscription concert of the 2020/21 season, at which Pärt’s 85^th birthday was to have been celebrated – with the composer himself actually present. Indeed, it could have been a double birthday, since the Bavarian Radio Chorus is also celebrating its 75^th anniversary. But everything turned out differently. Arvo Pärt stayed at home, as did the concert audience. The singers and their artistic director Howard Arman remained at their posts, albeit with the respectful social distancing required by the coronavirus. Also on hand behind their glass screens, were the sound engineer and his team, who recorded a significant part of the present CD edition.” Although it may have been a big disappointment not to have a live concert, in the end we music lovers at home have ended up being the beneficiaries, as the resultant recording, with all but the performance of Miserere being captured in studio settings rather than live concert performances, are extremely well recorded, making this release a sonic as well as musical delight. The excellent liner booklet that includes texts makes this a first-class release in every respect.

Glass: Les Enfants Terribles; Etudes Nos. 17 and 20. Katia and Marielle LaBéque, piano. Deutsche Grammophon 4855097.

Katia (b. 1950) and Marielle (b. 1952) Labèque are French sisters who have been making recordings and performing for more than five decades across a variety of genres, even including a stint with jazz guitarist John McLaughlin, with whom Katia was romantically linked for several years in the 1980s. The sisters  have played jazz, baroque, ragtime, and both mainstream and contemporary classical music. In 2005, they performed the world premiere of Philip Glass’s Double Concerto for two pianos, which the composer dedicated to the sisters. More recently, Glass requested that his longtime collaborator and arranger Michael Riesman put together a two-piano suite based on Glass’s opera Les Enfants Terribles. Those familiar with the music of Philip Glass know that he falls into the “minimalist” camp; however, this suite for two pianos is in places boisterous, dramatic, and exciting, played with flair and power, while at other times reflective and brooding, played with sensitivity and finesse. For a video glimpse of the sisters playing this music, you can catch a glimpse here. The program is rounded out with solo performances by Marielle of Glass’s Etude No. 17 and Katia of his Etude No. 20. The former is charming, expressive – Glass’s piano music shows him at his best – while the latter seems to reveal another dimension of expression that transcends minimalism, Glass’s music extending into another dimension and bringing the listener along for the ride.  

Songs from Home: Fred Hersch, piano. Palmetto PM2197.

This is another of those musical efforts that in some respects we owe to the COVID-19 pandemic. Jazz pianist Fred Hersch recorded this solo piano album in his own home on his own piano and is now sharing it with us for our enjoyment while we are still trying to get the upper hand in our ongoing battle with the coronavirus. This truly is an entertaining collection of music both familiar, with renditions of tunes including but not limited to  “Wouldn’t It Be Loverly,” “Wichita Lineman,” Joni Mitchell’s “All I Want,” and an original by Hersch. The piano he uses is not perfect, but the resultant sound just adds to the personal feel. The music is familiar, although played with a personal flair, and the overall feeling is one of great intimacy and direct communication. I played it one evening when my wife was at home, and from the other room she commented, “that CD you’re playing makes me feel like we are having a nice dinner at a fancy restaurant with a really good piano player taking requests and making sure everybody is having a memorable evening. That’s really nice – who is it?” Yes, Songs from Home truly is a feel-good CD, and by the time you get to the final cut, “When I’m Sixty-four,” you will have had a memorable listening experience thanks to the musical mastery and communicative spirit of Maestro Hersch.

Vida Breve: Bach/Busoni: Chaconne from Partita No 2 in D minor BWV 1004; Chopin: Piano Sonata No. 2 in B flat minor; Liszt: Funérailles from Harmonies poétiques et religieuses; Bagatelle sans tonalite; Busoni: Kammer-Fantasie über Carmen; Hough: Piano Sonata No. 4 ‘Vida Breve’: Traditional/Hough: Arirang. Steven Hough. Piano. Hyperion CDA68260.

As you might be led to infer by the titles of the CD itself and some of the selections, and the inclusion of the Chopin funeral march, this program by British pianist Stephen Hough is not all sweetness and light. That said, there is beauty to be found here, in the music, the playing, and in the recorded sound, which is a bit on the distant but warm side, which seems just right for the reflective mood that Hough seems to be inviting us to enter as we contemplate one of the bedrock certainties of life, as he explains: “People are often reluctant to talk about death… but in the world of the arts – in painting, literature, and music – death has always been a central subject resulting in the most exalted and inexhaustible expression, the image of a dead man hanging on a cross arguably the fundamental icon of Western culture… On this recording I wanted to explore some pieces that have this theme as part of their identity or inspiration.” But no, you do not have to ponder your mortality as you listen to this recording, for this is beautiful music that can be enjoyed for what it is, beautiful music, beautifully performed and recorded, bringing joy to your life for 78 beautiful minutes.   

Villa-Lobos: Choral Transcriptions. Mendelssohn: Lieder ohne Worte, Book 2-No.9 in E major; Bach: Prelude and Fugue No. 8 in E flat minor/D sharp minor BWV 853; Schumann: Traumerei; Bach: Fugue No. 1 in C major, BWV 846; Schubert: Ständchen; Bach: Fugue No. 21 in B flat major, BWV 866; Chopin: Waltz No. 7 in C sharp minor; Bach: Prelude No. 22 in B flat minor, BWV 867; Rachmaninov: Prelude in C sharp minor; Bach: Prelude no. 14 in F sharp minor, BWV 883; Massenet: Élégie; Bach: Fugue No. 5 in D major, BWV 874; Beethoven: Piano Sonata No. 8 ‘Pathétique’ – II. Adagio cantabile; Villa-Lobos: Bachianas Brasileiras No. 9 (version for choir). Valentina Peleggi, São Paulo Symphony Choir. NAXOS 8.574286.

From 1933 to 1935, Brazilian composer Heitor Villa-Lobos (1887-1959) created a number of transcriptions of classical music compositions by other composers in arrangements for a cappella choir, especially of the Preludes and Fugues from Bach’s The Well-Tempered Clavier. As you can see from the selections listed above, this recording by the São Paulo Symphony Choir under the direction of Italian conductor Valentina Peleggi places an emphasis on the latter, with a number of Bach selections seasoned with some selections by other familiar figures, and ending with a choral version of one of Villa-Lobos’s own Bach-inspired compositions, his Bachianas Brasileiras No. 9, which the composer dedicated to American composer Aaron Copland. Most of the arrangements are for wordless choir; only the Schubert and the Massenet selection feature lyrics, which are presented in the liner booklet. Although some readers might be led to think of something like the old Swingle Singers recordings of Bach, this is something much different, as the choir is much larger and the arrangements are much more complex and nuanced than those of the Swingles (not to knock them, they were great fun). Having the Bach arrangements run as a thread throughout the program gives it weight and body, while having the other arrangements provides variety and color. Hearing a melody with which you are familiar from having heard on the piano (for me, it was the Rachmaninov Prelude in C sharp minor) sung by this large choir is a transcendent moment, sure to bring a shiver and a smile. This is a truly delightful recording that should appeal to a wide variety of music lovers. The recording quality is just fine, offering a sense of space without the overly resonant muddiness that mars some choral releases.  

KWN