VOCES8: Nightfall (CD Review)

by Karl Nehring

Jung Jae-il: Psalm 22:21; Sigur Rós: Fljótavík; Reger: Nachtlied; Taylor Scott Davis: Stardust; Ludovico Einaudi: Experience; Alfvén: Aftonen; Max Richter: On the Nature of Daylight; Caroline Shaw: and the swallow; Kim André Arnesen: Even When He Is Silent; Koji Kondo • Zelda's Lullaby; Dan Forrest: Good Night Dear Heart;  Lucy Walker: O Nata Lux; Kerensa Briggs: Media Vita; Frank Ticheli: There Will Be Rest; Jung Jae-il: Psalm 10:1. VOCES8 (Andrea Haines [1-15], Molly Noon [1, 3, 4, 6, 8, 9, 11-13, 15] Maryruth Miller [2, 5, 7, 8, 10, 14], soprano; Katie Jeffries-Harris, Barnaby Smith [artistic director], alto; Blake Morgan, Euan Williamson, tenor; Christopher Moore, baritone; Dominic Carver, bass; with Thomas Gould, violin [2, 5]; Emma Denton, cello [2, 5]; Sam Becker, double bass [2]; Lara Somogy, harp [5]; Lise Vandersmissen, harp [10]; Elsa Bradley, marimba {5]. DECCA 487 0458

 

VOCES8 is an English vocal octet that has made numerous recordings and recital appearances throughout the world. In June of 2025, they plan to mark the 20^th anniversary of their first public performance with a concert at the Barbican Center in London. They will be joined on stage by the VOCES8 Scholars, former members of the ensemble, and special guests, the BBC Singers. They have undergone numerous personnel changes over the years but have remained consistent in their overall sound. Indeed, as you can see from the personnel listing above, while recording Nightfall, there was a change in their soprano section. Unfortunately, the minimal liner sheet included by Decca with the CD provides scarcely any information about either the group or the music other than the names of the performers, the composers, and the titles and timings of the compositions. 

As its title implies, this album comprises a collection of reflective and generally soothing music inspired by the concept of night. Not, it would seem, the fearful darkness of deepest night, but the peace and calm that the night can bring. The program features a mix of choral classics and contemporary arrangements, including new choral versions of popular works by Ludovico Einaudi, the Icelandic alternative band Sigur Rós (see our review of one their albums here) Koji Kondo (composer of Nintendo video game music), Max Richter, plus world premiere works from British composer and 2024 Classic FM Rising Star Lucy Walker, as well as US composer and regular VOCES8 collaborator Taylor Scott Davis. The album opens and closes with contemplative psalm settings by South Korean composer Jung Jae-il, known for his work on Squid Game and Parasite. 

As usual with a VOCES8 recording, the sound is exquisite; almost too much so, as those soprano voices recorded in a reverberant space can become overbearingly intense over the space of an hour. Can there be such a thing as too much beauty? That judgment will lie with the individual lister. Nightfall is a beautiful release; beautifully sung and beautifully recorded. Yes, I dearly wish the producers would have seen fit to include a proper booklet with notes on the composers and their compositions; sadly, in this digital age, such niceties seem to be disappearing. Still, Nightfall is a recommendable release.

Max Richter: In a Landscape (CD Review)

by Karl Nehring

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

 

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

 

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

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

 

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

Lavinia Meijer: Winter (CD Review)

 by Karl Nehring

Richter: The Departure; Rachmaninoff: All-Night Vigil, Op. 37: V. Nunc dimittis; Reyer Zwart: Amethyst^a,b; Lambert: As Ballad; Meijer: A Winter Interlude (After Schubert); Meijer: Open Window - Part I | Part II | Part III; Satie: Pièces froides: II. Danses des travers, No. 2 Passer; Nils Frahm: Over There, It's Raining; George Gurdjieff/Thomas de Hartmann: Song of the Fisherwomen; Britten: Corpus Christi Carol; Philip Glass/Foday Musa Suso: The Orchard^c; Ölafur Arnalds: Lag fyrir Ömmu^a; Meijer: Tomorrowday; Glass: ^dFreezing (lyrics by Suzanne Vega). Lavinia Meijer, harp (all tracks); ^aAlma Quartet Amsterdam; ^bReyer Zwart, double bass; ^cNadia Sirota, viola; ^dWishful Singing. Sony Classics 19858868622

I had hoped to have this review posted while it was still officially winter on the calendar; however, I will excuse and console myself by noting that as I write the words on the second full day of spring here in rural central Ohio, the wind chill is currently 33° and the overnight low is forecasted to be 20°, so it might as well still be winter here for all intents and purposes. In that light – the light of winter! – I declare this a timely review indeed. That is certainly not to imply that either the music, the playing, or even the sound quality, for that matter, is on the cold, icy end of the spectrum. Far from it. From start to finish, Winter by the South Korean-born Dutch harpist Lavinia Meijer (b. 1983) is an album that is warmly communicative. Although its title is season-specific, its musical content has variety and depth that transcend any particular season, making it an album that could be enjoyed just as easily during the dog days of summer.

The program opens with a brief piece from the British composer Max Richter, appropriately enough titled The Departure. Richter is something of a minimalist in his approach, and this style of music works well when played on the harp. Next up is a selection from Rachmaninoff, who certainly would never be characterized as a minimalist composer. However, this reduction for harp of a selection from his All-night Vigil works well, allowing the listener to hear both the main melody line as well as the accompaniment. There does seem to be some slight electronic manipulation or enhancement going on, but the effect is subtle and positive. Meijer brings us back to the present with Amethyst by Dutch session bassist and composer Reyer Zwart (b.1971), a yearningly wistful piece in which Meijer’s harp is joined by the sound of strings. Another contemporary composition is As Ballad by the young German pianist Lambert (who always wears a Sardinian mask when playing in concert); here again we seem to have some subtle electronic effects enhancing the sound.

 

Meijer then takes her turn as composer, first on the Schubert-inspired A Winter Interlude, with its pensive melody that does seem to allude to the keyboard works of that ill-fated genius, and then her three-part Open Window, which demonstrates that Meijer has skill and imagination not only as a performer, but as a composer. Each of the three parts has a directness of expression that is appealing and effective. Then it is on to a short (1:29) piece by Satie – not the dreamy Satie of the Gymnopédies, which you might expect on a harp album – but instead, an odd little snippet of a dance. From German composer, performer, and record producer Nils Frahm (b. 1982) comes Over There, It’s Raining. Frahm is known for bridging pop and classical; this piece leans more toward the former over its two minutes. Also clocking in at just over two minutes is the Gurdjieff and de Hartmann collaboration Song of the Fisherwomen, a pleasant tune in more of a folk style. Britten’s Corpus Christi Carol reminds us quite clearly by both title and musical style that we are enjoying an album titled “Winter.” It’s a composition that works perfectly in this arrangement for harp – a highlight of the album. 

Then comes the longest single track (6:55) on the CD, The Orchard by Philip Glass and Gambian musician and composer Foday Musa Suso (b. 1953). It is played here as a quiet, reflective duet between Meijer’s harp and Sirota’s viola, the two instruments plying off against each other in a gentle dialogue. The Alma Quartet returns to join Meijer on the next track, the easygoing Lag fyrir Ömmu by the Icelandic multi-instrumentalist, producer, and compose Ölafur Arnalds (b. 1986), on which Meijer begins, the quartet joins in, and then Meijer drops out, allowing the strings to close out the final measures. Tomorrowday is another composition from Meijer herself, sounding contentedly reflective before closing her album with another piece by Philip Glass, this time with lyrics by Suzanne Vega, sung here by the female vocal quintet Wishful Singing. Oddly enough, those lyrics are not included in the CD booklet; in fact, the booklet contains very little other than basic track information, production credits, and a poem by Ms. Meijer. More information bout the music and artists, or at least a photo or two, would have been welcome. Still, Winter is a splendid release. 

Seasons (CD Review)

by Karl Nehring

Max Richter: Recomposed by Max Richter: Vivaldi: The Four Seasons; Philip Glass: Violin Concerto No. 2 “The American Four Seasons”. Delirium Musicum. Étienne Gara, violin and artistic director. Warner Classics 5054197401930

Delirium Musicum is a Los Angeles-based chamber orchestra of 21 musicians from nine countries including leader and founder Étienne Gara, a French-born violinist who says, “my aim in creating this group was to foster an artistic expression nourished by both diversity and the buzz of artists thirsting for uncompromising creativity and unbound musical interpretation.” There have been umpteen bazillion recordings of Vivaldi’s Four Seasons released over the years; it is often one of the first compositions first to capture the attention of listeners who are otherwise unfamiliar with classical music. Moreover, its melodies are familiar even to many people who are otherwise unfamiliar with classical music, so widely has it been played on various media. What Delirium Musicum have chosen to give us on their first recording are two compositions by composers of our time that build upon the foundation of Vivaldi’s composition: a “recomposition” by the German-born British composer Max Richter (b. 1966) and an “American version” by the American composer Philip Glass (b. 1937). 

 

The Richter is a work we have looked at before, when John Puccio reviewed a recording back in 2014 (you can read John's review here) and then again in 2022 when I reviewed another recording, this time featuring the Chineke! Orchestra playing on gut strings and Richter (pictured left) playing a vintage Moog synthesizer in what amounted to a different take on period instrument performance practice (you can find that review here). The Glass, on the other hand, is a work that has not yet been reviewed in Classical Candor although there have been previous recordings of the piece. Both Seasons radiate energy and enthusiasm as the musicians of Delirium Musicum play with both passion and precision. In the Richter, the synthesizer is blended in more seamlessly than in the version the composer himself recorded with Chineke!, the end result sounding more naturally flowing – Vivaldi’s Four Seasons reimagined for the 21^st century. It’s delightful! 

 

Glass’s Violin Concerto No. 2, subtitled “An American Four Seasons,” was originally composed in 2008 and dedicated to violinist Robert MacDuffie, who gave the work its premier. It’s an unusually constructed concerto, with four movements rather than the typical three. Yes, you’d expect four movement for “An American Four Seasons,” but no, Glass (pictured right) did not give them titles, instead he just numbered them I-IV. More unusual than having four movements are the four small solo pieces that Glass composed in lieu of a cadenza. There is a Prologue before Movement I, and then each of the final three movements is preceded by a solo violin piece that Glass calls a Song. These songs serve as interludes of reflection rather than frenzied virtuoso showpieces for the violin soloist. The four movements themselves vary in tempo and mood but share the Glass trademark of a repetitive pulse underlying the melody of the soloist above. The overall effect is compelling, none of the movements overstaying its welcome as Glass continually varies the line. Personally, I’ve never been convinced by his symphonies, but this concerto, perhaps because of the smaller forces involved, the number of varied smaller movements, not to mention the sheer energy and enthusiasm of these young musicians – at any rate, this concerto is remarkably entertaining (and, like the Richter piece, great music to enjoy while driving).

The liner notes by Gara are a bit over the top; it would have been good to have some more background on the music along with more information about the group beyond just a listing of their names. The engineering is clean and clear, although mixed in such a way to sound more immersive for headphone/earbud/car stereo listening rather than sound like musicians in a hall through loudspeakers in your listening room. Overall, though, Seasons is good, clean, recommendable twenty-first century musical fun for any season. 

 

Anna Lapwood: Luna (CD Review)

by Karl Nehring

James Newton Howard: Flying (from “Peter Pan”); Olivia Belli: Grain Moon; Chopin: Nocturne Op. 9, No. 2; Kristina Arakelyan: Dreamland; Dario Marianelli; Dawn (from “Pride and Prejudice”); Hans Zimmer: Stay (from “Interstellar”); Bach & Gounod: Ave Maria: Glass: Mad Rush; Ghislaine Reece-Trapp: In Paradisum; Ēriks Ešenvalds & Sara Teasdale: Stars; Kristina Arakelyan: Star Fantasy; Max Richter: On the Nature of Daylight; Florence Price: An Elf on a Moonbeam; Ludovico Einaudi: Experience; Debussy: Clair de Lune. Anna Lapwood, organ and conductor; Pembroke College Chapel Choir. Sony Classical 19658831402

I have followed the young British musician Anna Lapwood (b. 1995) on Twitter (now known as “X” since its takeover by a notorious right-wing ultrabillionaire) for quite some time. Her posts there show her to be a charming and unpretentious artist, devoted not only to her craft, but also to helping other musicians, especially young musicians, express themselves through music. She is skilled not only as an organist, but as a conductor and broadcaster. Inn 2021, for example, she appeared at the BBC Proms both as a presenter for BBC Television and as soloist in the Saint-Saens Organ Symphony. In 2016, when she was just 21, she was appointed Director of Music at Pembroke College, Cambridge University, where in 2018 she established the Pembroke College Girls’ Choir for girls aged 11 to 18. She has become quite the ambassador for classical music through her outreach on social media (she’s known worldwide as “the TikTok organist”), her midnight sessions at the Royal Albert Hall, and her numerous concerts and personal appearances. In 2021, she released an organ recording for the Signum Classics label titled Images; you can find our review here. Now it is 2023, and she has a new recording out for a new label, Sony Classical, titled Luna.

 

While Luna featured a program consisting of established classical compositions, highlighted by a couple of larger-scale works, Ravel’s Le Tombeau de Couperin arranged for organ by Erwin Wiersinga and Britten’s Four Sea Interludes from Peter Grimes in an arrangement by Lapwood herself, the program for Luna is more varied. There are some traditional “classical” pieces for piano arranged for organ, some tunes from movies soundtracks, and among other things, even a couple of compositions not for organ, but for choir. Of the inspiration for this album, Lapwood writes, “one of the highlights of my year is the time I spend teaching music in Zambia. I love it for the people, the music, and the laughter, but I also always look forward to the first time I see the Zambian night sky again… You look up and it’s just completely full of stars, more stars than you ever thought possibly existed – bright stars, dull stars; some sparkling, some static; some glowing orbs and others dots smaller than pinpricks. With this album, I’m imagining that as we stare at the sky our minds can almost take us there, travelling through the night sky and exploring individual stars with their unique personalities and characteristics.”

Although the music is indeed varied in origin, the album seems to have an overall flow and consistency of sound – there are no abrupt shifts of mood, no jarring sonorities. That said, neither are the selections similar enough that they all sound the same as Lapwood makes her way from one to another. Highlights include the Chopin Nocturne, which is the kind of music you would not think of as a candidate for being played on the organ. Lapwood recalls learning the piece as a young piano student and then later teaching her own piano students to play. Of transcribing it for organ, she observes that “as with all transcriptions, there is an interesting decision-making process, exploring whether to try to make it as close as possible to the original, or to re-conceive it as an organ piece. In this case, I decided to go with the latter, experimenting with the huge variety of solo sounds this organ has to offer to give each section of melody its own unique character.”  Whatever her method, the end result is simply beautiful. Another highlight, the longest track on the album (6:47), is much different in style and mood from the Chopin. Stay, from the Hans Zimmer’s soundtrack for the film Interstellar, is less about melody and more about raw feeling.

 

Lapwood supplies notes on each of the selections, and it is from these notes that we learn the interesting fact that the energetic Philip Glass piece Mad Rush, another highlight of the album, was not originally composed for the piano, as it has often been recorded (including by Glass himself), but for the organ. “Glass wrote the piece in 1978, on and for the organ of St. John the Divine, New York,” Lapwood explains. “It was written for the Dalai Llama’s first public address in North America in 1979. The organizers were expecting a large number of people so they asked Glass to write a piece of indeterminate length that could be played while the congregation was arriving.” If you are familiar with Mad Rushfrom one of its piano recordings, hearing the original organ version should give you an added appreciation for its simple elegance and energy.

 

The two tracks that include the voices of the Pembroke College Chapel Choir are also both quite captivating and worthy of special mention. Stars, by the Latvian composer Ēriks Ešenvalds (b. 1977) sets a poem by the late American poet Sara Teasdale (1884-1993). (Speaking of Ešenvalds, there is an absolutely gorgeous album of his choral music that was engineered by none other than John Atkinson of Stereophile magazine fame. Both musically and sonically it is simply superb; you can read our review here). The ethereal sounds of tuned wine glasses mixed with the sound or the organ and the choir give a celestial glow to the sound of this track, which is rife with otherworldly overtones. The other piece featuring the chorus, On the Nature of Daylight by the German-born British composer Max Richter (b. 1966), has no text, but combines their voices with the sound of the organ in a gently meditative blend that is at once calming and hopeful. Lapwood writes of this piece that “it feels particularly special to be including this piece on the album as it brings together the two sides of who I am as a musician: playing the organ but also working with the amazing choirs at Pembroke.”

The album closes with another piece for piano that Lapwood has transcribed for the organ, Debussy’s popular Clair de Lune. “As with the Chopin,” she explains, “I had to make choice: be as loyal as possible to the original, or reimagine it as an organ piece? Once again, I decided on the latter, using it as an opportunity to explore the huge variety of soft, delicate colours the organ has to offer.” As she did with the Chopin, in transcribing the Debussy, she has created something most lovely, certainly a fitting way to end an album titled Luna. It’s an album that is fresh, fun, and full of light and life – well worth a listen.

Recent Releases No. 56 (CD Reviews)

by Karl Nehring

Zygmunt Noskowski: Symphony No. 1 in A major; Symphony No. 2 in C minor, “Elegiac.” Deutsche Staatsphilharmonie Rheinland-Pfalz; Antoni Wit, conductor. Capriccio C5509.

Once again we have the exquisite pleasure of discovering worthwhile music by a composer whose name had been completely unknown to us (and probably many other music lovers) until now. It turns out that the relatively unknown Polish composer Zygmunt Noskowski (1846-1909) was a teacher of Szymanowski and student of Moniuszko, and for much of the 19th century was the primary exponent of contemporary symphonic music in Poland. In fact, Noskowski is considered to be one of the most significant Polish composers of the nineteenth century, one who produced successful output in nearly all musical genres: ballet, opera, sacred works, symphonies, symphonic poems, and smaller works (including works for children), especially for piano. As if that was not enough to occupy his time, he also pursued a parallel career as a music critic and journalist. 

 

As a conductor and concert organizer, Noskowski (left) championed the causes of forgotten Polish composers. Today, in a fitting turn of events, conductor Antoni Wit (with a distinguished recorded legacy of his own), who in fact  succeeded Noskowski at the helm of the Warsaw Philharmonic 94 years after Noskowski’s retirement, raises the profile of his late-Romantic colleague with this recording of his first two symphonies. So what do they sound like? Actually, they are quite enjoyable; in my own clumsy, inadequate way, I would describe them as sounding something like Schumann, but better orchestrated, richer in texture, and more satisfying both musically and emotionally.  Listening to them, I found myself surprised that I had never heard them before – and I am hardly a young man. This is music that deserves to be heard by a composer who certainly deserves to be heard. To that end, I give this new release my most enthusiastic recommendation.

 

The Blue Album. Satie: Gymnopédie No. 1; Couperin: Les baricades mistérieuses (from Pièces de clavecin II: Ordre 6ème in B flat); Glass: Orphée's Bedroom; Brouwer: Canción de Cuna; Debussy: Suite bergamasque - Clair de lune (arr. for guitar by Eduardo Sáinz de la Maza); Weiss: Passacaille; Satie: Gnossienne No. 1 (arr. for Guitar by Pedro Henriques da Silva); Scarlatti: Keyboard Sonata K32 in D minor (transcr. for guitar); Sor: Etude for guitar, Op. 6, No. 11 in E minor; Max Richter: A Catalogue of Afternoons; Debussy: La fille aux cheveux de lin (from Préludes - Book 1: No. 8); Yradier: La Paloma (arr. for guitar by Francisco Tárrega); Myers: Cavatina (from The Deerhunter, arr. for guitar by John Williams); Sakamoto: Merry Christmas, Mr. Lawrence. Pablo Sainz-Villegas, guitar. Sony Classical 19658779092

 

The Spanish classical guitarist Pablo Sainz-Villegas (b. 1977) writes in the liner notes for The Blue Album that it “brings together some of the most beautiful and most heartfelt melodies that have ever been written. All these pieces create a magical atmosphere, their colours create a mood, a mystery. The guitar whispers an invitation to the listener to explore and go to the most intimate part of your soul. It creates a moment to look inside and have a conversation with the essence of yourself.” Now, that might strike some music lovers as a bit over the top, at least in terms of the feel-good pop psychology flavor of the prose, but all I can say is that Sainz-Villegas has pulled together a remarkable program of music by composers from different eras and countries, music that is soothing but not saccharine. From music by composers you might expect to find given the guitarist’s description, such as the pieces by French composers Debussy and Satie (you can watch a video of him playing Satie here), there is also music ranging from long-ago composers such as Couperin and Scarlatti to contemporary composers such as Philp Glass and Max Richter. As Sainz-Villegas puts it, “The Blue Album is a collection of musical works from different periods, composers and aesthetics that coexist and talk to each other in a space of calm and peace.” Listening to the album does indeed bring to the listener a sense of calm and peace. But there is real musical substance here, not New Age strumming. This is serious music: seriously performed and seriously recommended.  

Richter: The New Four Seasons: Vivaldi Recomposed (CD review)

Max Richter, Moog synthesizer; Elena Urioste, solo violin; Chineke! Orchestra. Deutsche Grammophon 4862769.

By Karl W. Nehring

Vivaldi’s The Four Seasons has long been a favorite of classical music fans, often serving as the gateway drug that hooks innocent young ears on the genre. From Vivaldi to Mozart to Beethoven and before long, the unthinkable – they find themselves addicted to Mahler, or in extreme cases, they might even find themselves frantically seeking out alternative editions of Bruckner symphonies. For Vivaldi fans old and new, there are countless recordings of the piece available, including the recent version by I Musici recently reviewed by John J. Puccio: https://classicalcandor.blogspot.com/2022/05/vivaldi-le-quattro-stagioni-cd-review.html. If you take a look at John’s review, you will note that I Musici themselves have recorded the work several times over the years, but they are certainly not the only recognizable musical name to have had more than one go at recording Vivaldi’s greatest hit. Still, it was surprising to learn that composer Max Richter (b. 1966) has now released the second recording of his “recomposed” version of Vivaldi’s masterpiece. The first release, titled Recomposed by Max Richter: Vivaldi, The Four Seasons, featured Daniel Hope on solo violin with the Kammerorchester Berlin under conductor André de Ridder along with Richter on electronic synthesizers. It was initially released by Deutsche Grammophon in the summer of 2012 and then later rereleased in 2014 in an expanded version that was also reviewed in Classical Candor by John Puccio: https://classicalcandor.blogspot.com/2014/04/recomposed-by-max-richter-cd-review.html 

Now, a decade later, we have another recomposition of the score by Richter, this time around one of the main differences being that not only do we have (other than Richter) different musicians, but they are playing different sorts of instruments. According to the liner notes, both the Chineke! Orchestra (a British ensemble consisting primarily of Black, Asian, and other ethnically diverse musicians) plus violin soloist Elena Elena Urioste “are playing on gut strings and period instruments: the sort that Vivaldi would have heard, and played in his own time.” Richter says of this new version that “I don’t see this as a replacement, but it is another way of looking at the material. It’s like shining a light through something from a fresh angle. There’s a romance about that, as if a layer of dust has been blown off… I love the slight grittiness and earthy feeling that gut strings have. I wanted to match that flinty, haptic, tactile texture with the electronic elements.”

In keeping with the “early instruments” theme, it turns out this time around, Richter did not avail himself of the latest sorts of electronic instruments, but rather played his synthesizer parts on an early Moog dating from the 1970s. Moreover, the recording was mixed not digitally, as you might well take for granted these days, but rather on an analog mixer. Richter explains that “those [Moogs] are the first-generation synths…They have a certain presence and authority about them. I mean, they are crude in a way, but they are also like someone inventing the wheel. They have gravitas.” Indeed, the synthesizer does add weight and yes, gravitas to the proceedings, as Richter uses it at times to add bass underpinnings that of course Vivaldi would never have imagined but which add a foundation to the sonic structure that sounds entirely natural and appropriate. Although the idea of a synthesizer might strike fear into the minds of some potential listeners, rest assured that Richter does not use the Moog in such a way as to call attention to itself. Instead, the sound of the Moog fits right in with the rest of the ensemble. I mentioned the occasional use of the Moog to provide a bass foundation to the sound, but another welcome way that Richter employs the Moog is by making it sound like a harpsichord – an instrument that always adds charm to the sound of the Seasons. And speaking of sound, the sonics of this release are superb, with solidity and quite believable imaging. The engineering team (Rupert Coulson, recording engineer and mixing; Alice Bennett, recordist and editing; Götz-Michael Rieth, mastering) did a remarkable job on this one. Kudos to the whole team!

So… what have we here? This is certainly not just another recording of Vivaldi’s The Four Seasons. Vivaldi’s venerable compostion, so familiar and so beloved to so many, truly has been “recomposed.” However, it has not lost its essential character. Richter’s version is clearly a version that is faithful to Vivaldi’s vision. If you enjoy the energy, drive, color, and variety of Vivaldi’s original, you will very likely get quite a kick out of Richter’s 2022 recomposed version, which has energy, drive, color, and variety in abundance, and is appropriately well-performed and well-recorded to boot. What a hoot!

KWN

Recent Releases, No. 18 (CD Reviews)

By Karl W. Nehring

Sebastian Knauer: The Mozart/Nyman Concert. Includes Mozart: Sonata C Major K 545: I. Allegro. Michael Nyman: 6 Piano Pieces for Sebastian Knauer: K1; Mozart: Sonata C Major K 330: II. Andante cantabile; Nyman: 6 Piano Pieces for Sebastian Knauer: K2; Mozart: Sonata F Major K 332: III. Allegro assai; Nyman: 6 Piano Pieces for Sebastian Knauer: K3; Mozart: Sonata A Minor K 310: I. Allegro maestoso; Nyman: 6 Piano Pieces for Sebastian Knauer: K4; Mozart: Fantasy C Minor K 475; Nyman: 6 Piano Pieces for Sebastian Knauer: K5; Mozart: Sonata D Major K 311: III. Rondeau-Allegro; Nyman: 6 Piano Pieces for Sebastian Knauer: K6; Mozart: 12 Variations C Major on ?Ah, vous dirai-je Maman" K 265. Sebastian Knauer, piano. Modern Recordings 538682452.

The British composer Michael Nyman (b. 1944) is probably most widely known for his soundtrack to the award-winning film The Piano, although he has composed music in many other genres, most notably opera. He composes in a minimalist style, so when I came across this CD at my local public library, despite never having heard of the performer, I could not help but be intrigued. Mozart and Nyman? Hmmmm? As soon as I got in my car, I slid the disc into the CD player. By the time I got home, I was won over to the idea that mixing Mozart and Nyman was not a dubious idea, but an inspired one. Wondering whether the liner notes might offer any insights into how the program was chosen, I was delighted to discover a detailed explanation from the German pianist Sebastian Knauer (b. 1971). "For my project, 'The Mozart Nyman Concert,' I chose two tremendous and highly esteemed composers: Wolfgang Amadeus Mozart and Michael Nyman. It has long been my dream to connect the two composers in a special project. In 2021, for the occasion of my fiftieth birthday, I seek to fulfill this wish and have asked Michael Nyman, who is just as much an admirer of Mozart as I am, to compose six piano pieces directly related to Mozart's piano sonatas. The classical and traditional form of the piano recital, in which we are accustomed to hearing entire works of one or more composers, continues to develop, and so I have conceived of a new and modern piano recital for myself. I have put together two new, three-movement sonatas from the first, second and third movements of six different Mozart sonatas and the c Minor Fantasy, each connected by one of Michael Nyman's piano pieces. At the end, serving as an encore, are Mozart's Twelve Variations, KV 265. The soundscapes of the eighteenth and twenty-first centuries are closely interwoven, the transitions between Mozart and Nyman are fluid, and a listening experience is created which makes the connection between antiquity and modernity a thrilling and innovative concert program for me." With the opening familiar notes of Mozart's C Major Sonata, the program starts with a cheerful exuberance, and even as the mood shifts from time to time as the music varies, the overall positive feeling of musical energy and enthusiasm prevails, whether it be expressed in the lyricism of Mozart or the rhythmic pulse of Nyman, in whose music you really can come to understand his expressed esteem for the music of Mozart. The album moves along with a feeling of flow and purpose that transcends the differences in musical styles between the two composers. The liner notes include a conversation between Knauer and Nyman as well as brief biographies of both musicians. If you enjoy solo piano music, you will most likely really enjoy this album, which offers more than 79 minutes of centuries-spanning musical joy.

Richter: Exiles. Includes Flowers of Herself (from Woolf Works); On the Nature of Daylight (from The Blue Notebooks); The Haunted Ocean (from Waltz with Bashir); Infra 5 (from Infra); Sunlight (from Songs from Before); Exiles. Deutsche Grammophon 486 0445.

We have previously reviewed several recordings by Max Richter (b. 1966) in Classical Candor. This new release offers a blend of the old and the new in terms of compositions, but with a twist, as the older compositions all done in arrangements for full orchestra, whereas most of Richters previous releases featured much smaller ensembles. For example, Richter explains that the second track, On the Nature of Daylight, was originally five strings and now it's over 65 strings so it has a different texture, a different energy, a different kind of sonic fingerprint. The orchestral version is a different emotional register, it's a bigger canvas. In the quintet you really feel that someone is speaking quietly just to you, but with the orchestra it's a broader dialogue. According to the liner notes, Infra 5, also originally scored for five strings, is a mantra-like meditation on the July 2005 terrorist bombings in London, while Sunlight, originally a string quartet movement, is one of Richte's favorite works, from his 2006 album Songs from Before (one of David Bowie's favourite albums), and its yearning quality sings out in the new orchestral version. The composition that opens the album, Flowers of Herself, establishes a mood ripe with anticipation. It is an orchestration of music that Richter composed to evoke the atmosphere at the start of Virginia Woolf's novel Mrs. Dalloway, the hustle and bustle of city sidewalks. Even the briefest (2:19) composition on the album, The Haunted Ocean, a hypnotic work from the soundtrack score to Waltz with Bashir (2008), which deals with writer and director Ari Folman's traumatic recollections of his military service during the 1982 Lebanon War, makes a distinct impression despite its brevity. The new composition on this release is the title piece, Exiles, which Richter was inspired to write in response to the refugee crisis ensuing from the brutal government actions in Syria that led to many thousands of refugees fleeing for their lives under desperate circumstances. Throughout its 33 minutes, the music is a round upon a simple, compelling melody that is repeated in various guises. It's a very simple idea, explains Richter, but I wanted to put this notion of exile, of walking, of movement, into the heart of the music in a technical sense as well as metaphorical. The music grows in intensity as it progresses, then ends in an enigmatic fade. As Richter notes, Exiles ends on a question: What if? That question is far from settled. The Baltic Sea Philharmonic was founded in 2008 as the Baltic Sea Youth Philharmonic with Kristjan Jarvi (b. 1972, son of Neeme and younger brother of Paavo) as their conductor. They play this music with conviction, and their sound has been well captured by the engineers.

Sebastian Fagerlund: Nomade; Water Atlas. Nicolas Altstaedt, cello; Hannu Lintu, Finnish Radio Symphony Orchestra. BIS-2455 SACD.

We previously reviewed an earlier release by the Finnish composer Sebastian Fagerlund (b.1972), which, as it turns out, contains two works that are linked to one of the works on this new release, as explained in the liner notes: "When Sebastian Fagerlund began composing a new orchestral work in 2014, he was inspired to commence an entire trilogy, comprising Stonework (2014-15), Drifts (2016-17), and Water Atlas (2017-18). Although the works are linked by the same basic musical materials, each of them is independent and self-contained in itself. Nonetheless, Fagerlund considers it possible that they could also be presented as a unified suite. The works use a large symphony orchestra of similar proportions, differing only in the choice of percussion instruments. As well as using the same basic material, the works of the trilogy are united by the various stimuli and associations suggested by their titles. All of them are about basic elements music of stone, wind (or currents) and water in Water Atlas the eternal cycle of water is combined with the human desire and need to analyze the environment." Well, I'm not sure about the veracity of that last sentence, but I can say that Water Atlas is a powerful composition that makes a strong impression both musically and sonically. Like water, it seems to flow effortlessly and with great power, all sections of the orchestra contributing, swirling and cascading, pulling the listener along on a journey of imagination. It is preceded on this disc by Nomade, Fagerlund's atypically structured (six movements rather than the usual four, plus two brief interludes thrown in for good measure) cello concerto. The composer dedicated the piece to cellist Altstaedt, who brings a sense of longing, of searching, and dogged determination to his performance. For those classical music lovers who might be afraid that music written so recently might be harsh, dissonant, or otherwise lacking in aesthetic appeal, allow me to reassure you: no, the  music Fagerlund does not sound like the music of Mozart, but if you can enjoy the concertos of, say, Shostakovich, or the tone poems of, say, Sibelius, then there is a good chance you will find this music to be right in your wheelhouse. As a bonus, if your system can handle it (to borrow an old phrase from the automotive world, there is no replacement for displacement), you will be able to revel in some fine BIS recorded sound of a large orchestra.

Enigma: Spektral Quartet Performs Anna Thorvaldsdottir. Spektral Quartet (Maeve Feinberg, violin; Clara Lyon; violin; Doyle Armbrust, viola; Russell Rolen, cello). Sono Luminus DSL-92250.

Enigma is the first string quartet from Icelandic composer Anna Thorvaldsdottir (b. 1977). It was given its premier in 2019 by the Chicago-based Spektral Quartet, who have now recorded the work. This is an utterly fascinating piece, at once evoking feelings of immensity and intimacy, tension and calm, or, to paraphrase Kant, the starry heavens above and the moral law within. The music is strange, but compelling, and it invites repeated listening, yielding new delights each time. In the words of the composer, "the music of Enigma is inspired by the notion of the in-between, juxtaposing flow and fragmentation. Pulsating stasis - the whole, an expanding and contracting fundament - is contrasted with fragmented materials - shadows of things that live as part of the whole. Harmonies emerge and evaporate or break into pieces in various ways, leaving traces of materials that project through different kinds of textures and nuances and gradually take on their own shape. Some return to the core, some remain apart. Throughout the piece, the perspective continuously moves between the two, the fundament and the fragmented shadows, but the focus is always their relationship - the in-between. As with my music generally, the inspiration behind Enigma is not something I am trying to describe through the piece - to me, the qualities of the music are first and foremost musical. When I am inspired by a particular element or quality, it is because I perceive it as musically interesting, and the qualities I tend to be inspired by are often structural, like proportion and flow, as well as relationships of balance between details within a larger structure, and how to move in perspective between the two, the details and the unity of the whole." There is plucking, there are chords, there are brief melodic lines. There is tension and there is release. The piece comprises three movements and lasts 28:28, which I suppose will be a deal breaker for some, at least in CD format. Among those thanked in in the liner note acknowledgements are Haribo gummy treats, Science, and Dr. Anthony Fauci. I second that emotion.

KWN

Recent New Releases (CD mini-reviews)

By Karl W. Nehring

Hilary Hahn: Paris
Chausson: Poème; Prokofiev: Concerto for Violin and Orchestra No. 1; Rautavaara: Deux Sérénades. Hilary Hahn, violin; Mikko Franck, Orchestre Philharmonique de Radio France. Deutsche Grammophon  483 9847.

This new release from the talented American violinist Hilary Hahn is a delight from start to finish. Although the album title and orchestra might lead you to assume a program featuring all French composers, that is not the case here, for in addition to the French composer Ernest Chausson (1855-1899) we have also music by the Russian composer Sergei Prokofiev (1891-1953) and the Finnish composer Einojuhani Rautavaara (1928-2016). Hahn reveals her deep affection for and kinship with the City of Light in an essay in which she explains that in addition to her many other connections with Paris, her violin was made in Paris way back in 1865 by a famed luthier whose shop has in the 21st century been replaced by a convenience store. On a brighter note, she also reveals that she had long desired to record the Prokofiev, one of her favorite and most-performed pieces, but was waiting for the right combination of time, place, orchestra, and conductor, which she realized in Paris with Franck and the OPRF in June of 2019. The end result is truly lovely, well worth the wait both for her and for us. Those who might associate Prokofiev with spiky, boisterous music would do well to listen to this performance of his Violin Concerto No. 1, which is lyrical, lively, and lovely. Hahn describes the Chausson Poème with which she opens the program as “raw, lush, heartbreakingly beautiful… it takes my breath away.” Although I have in the past owned recordings of this piece, and enjoyed them, I had not heard the piece in many years until I auditioned this new recording, and yes, I found it to be much as she described. It truly is a marvelous work, well worth seeking out if you have not yet encountered it. The background story behind the Deux Sérénades by Rautavaara that complete this release is told in the liner notes, a tale that I will not relate here but will rather leave for those who might be interested to seek out for themselves. The music is quite enjoyable, but in truth, does not quite sound complete, which a reading of the liner notes will explain. All in all, Paris is a heartfelt and satisfying release from some consummate musicians.

Parallels: Shellac Reworks by Christian Löffler
Wagner: Parsifal: Closing Scene (Arr. for Orchestra). Max von Schillings, Staatskapelle Berlin (1926-27); Smetana: The Moldau (excerpt). Erich Kleiber, Staatskapelle Berlin (1928); J.S. Bach: Dir, dir Jehova, will ich singen BWV 452. Karl Straube, Thomanerchor Leipzig; Helmut Walcha, organ (1927); J.S. Bach: Gavotte from English Suite No. 6, BWV 811. Alfred Grunfeld, piano (1911); Chopin: Nocturne No. 2 in E flat Major Op. 9 No. 2 (arr. De Sarasate). Charles Cerne, piano; Vasa Prihoda, violin (1929); Bizet: Nadir’s Aria from Les pecheurs des perles. Koloman von Pataky, tenor; unknown orchestra (1928); excerpts from four works by Beethoven: Symphony No. 6. Hans Pfitzner, Staatskapelle Berlin (1930); Symphony No. 5, 2. Satz. Richard Strauss, Staatskapelle Berlin (1928); Egmont Overture. Otto Klemperer, Staatskapelle Berlin (1927); Symphony No. 3, 2. Marcia funebre. Hans Pfitzner, Berliner Philharmoniker (1929). Christian Löffler, electronics. Deutsche Grammophon 4839660.

This is a recording that truly blends the old and the new. Deutsche Grammophon has one of the oldest sound archives in the world, having taken great care to store their recorded material ever since the label’s foundation in 1898. Shellac discs (78s) that held about four minutes of music per side were the dominant recording format until the 1940s. A number of these historic recordings have now been digitized and restored, and DG recently teamed with German DJ and producer Christian Löffler, who hand-picked from this collection of digitized shellac recordings a set for modern reworking. Löffler is a self-taught musician whose productions combine elements of dancefloor techno and ambient electronica. He says that his music “is often described as nostalgic, it’s just part of my musical world. Sad music – if you want to call it that – has always been more appealing to me than happy music… I’m quite nerdy when it comes to trendy music production techniques. I’m very forward thinking and always interested in new technologies. But many of my trademark sounds come from vintage synthesizers and old effects devices. I’m just trying to catch the best of any time period to get the best possible result. My aspiration with this project was to handle the music with all due respect. That is something I always do when I work with other people’s music, be it a remix or collaboration. My aim for Parallels was to bring the soul of my own music into these original pieces. I also wanted to keep some parts of the original music almost untouched, to give the listener a better understanding of the original material in the context of its new ‘home’.” Yes, his description sounds a bit bizarre, but the end result is fascinating, hypnotic, and haunting. Electronic sounds, acoustic sounds, voices from nearly a century ago rising from the mix -- this is a recording that can be enjoyed both in casual and concentrated listening modes.

Refraction
Alexander Woods, violin; Rex Woods, piano; Aubrey Smith Woods, violin. MSR Classics MS 1689.

As you might guess from the names of the performers, this album of music for violin is a family affair, presented by violinist Alexander Woods along with his pianist father, Rex Woods, and his violinist wife, Aubrey Smith Woods. (Perhaps I am being overly sensitive, but I did find it rather odd that on both the front and back covers the three names are printed in three distinctly rank-ordered font styles: ALEXANDER WOODS, REX WOODS, Aubrey Smith Woods. Hmmmm…)  The four composers are a mix of the familiar and unfamiliar: Dvorak, Asplund, Mozart, and Thorndock. As the liner notes explain, “although the violin itself has remained virtually unchanged for centuries, music composed for the instrument has undergone numerous and vivid transformations, shaped and developed by varied circumstances, styles and innovations. Like a light beam passing through a prism. Works written for the violin have, over time, refracted into a broad stylistic array of vibrant compositional perspectives. This album mingles canonic violin works from the past with recent compositions that explore this variegated play, engaging with the rich history of violin music and performance through myriad lenses.” The album opens with Four Romantic Pieces from Dvorak for violin and piano, which are played here most romantically and enjoyably, a fine way to start the program. Unfortunately, the next composition, One Eternal Round for two violins by Canadian-American composer Christian Asplund (b. 1964), does not fall nearly as naturally on the ear as the others included in this set. Although it is not aggressively harsh or dissonant as some contemporary music can be, to these ears at least, it simply lacked any real appeal. YMMV. But then the players move back to familiar ground with Mozart’s Violin Sonata No. 26, a refreshing drink of cool, clear water after the dryness of the Asplund. The final composition, A Crust of Azure by American composer Neil Thorndock (b. 1977), is said in the liner notes to be “influenced by the impression of music coming down from the sky, ringing like reverberations from a bell tower. The evocative movement titles [I. Tremulous Whirl, II. Refraction of Sky, III. Lavender Shroud] allude to the atmospheric colors, light effects and sensations that descend from the sky’s ‘crust of azure.’”  It truly is a colorful piece, lively and imaginative, well worth an audition for fans of the violin who are seeking interesting new repertoire. With excellent engineering and helpful liner notes, MSR Classics has done a first-class job with this release.    

Max Richter: Voices 2
Max Richter, piano, keyboards, organ, synthesizer; Mari Samuelsson, solo violin; Ian Burdge, solo cello; Camilla Pay, harp; Robert Ziegler, conductor; Tenebrae Choir; various sopranos and altos plus a number of violin, viola, cello, and double bass players. Decca B00332480-02.

Although Richter’s previous release, Voices (reviewed ) spotlighted the Universal Declaration of Human Rights, including spoken recitations of the text, Voices 2 is exclusively musical, with no textual recitations. According to Richter, Voices 2 “opens up a meditative instrumental musical space to consider the ideas raised by the first record. The music is less about the world we know already and more about the hope for the future we have yet to write.” Those familiar with Richter’s music will know what to expect: music that is on the one hand relatively simple and straightforward in terms of its melodic, harmonic, and rhythmic construction, yet on the other hand, rich and evocative in terms of its instrumentation, sonority, and emotional resonance. There are some striking sounds to be heard from Richter’s various keyboard instruments both acoustic and electronic, plus some particularly notable musical contributions by Mari Samuelsson on violin and Ian Burdge on cello. And no, you need not have listened to Voices to enjoy its successor, which is quite enjoyable on its own terms. 

Lento Religioso
Berg: Piano Sonata op. 1 (arr. Wijnand van Klaveren); Korngold: Lento Religioso from Symphonic Serenade; Bruckner; Adagio from String Quintet; Bridge: Lament for string orchestra (for Catherine, aged 9, “Lusitania” 1915); Lekeu: Adagio pour quatuor d’orchestre; Wagner: Prelude from Tristan und Isolde; Strauss; Prelude from Capriccio. Candida Thompson, Amsterdam Sinfonietta. Channel Classics CCS 36620.

As a glance at the titles of the works included in this generously filled (77:41) disc should suggest, this release features music from the more serious, somber pages of the classical music catalog. That is not to say, however, that listening to it is an emotional downer, as this is music of great depth and exquisite beauty, played with sensitivity by this relatively small string orchestra. Some of the selections are scaled down (e.g., the Wagner), some are scaled up (e.g., the Berg and the Bruckner), and some were originally intended for an ensemble of about this size. The engineering is first-rate, with clean string tone and a believable soundfield. All in all, an interesting program of some works a bit off the beaten path that should be especially appealing to those who appreciate music of a serious, reflective, but nonetheless aesthetically engaging nature.

Lindberg: The Waves of Wollongong
Also, Liverpool Lullabies; 2017. The New Trombone Collective; Evelyn Glennie, percussion; Christian Lindberg, trombone and conductor, Antwerp Symphony Orchestra. BIS-2148 SACD.

If I had to come up with a one-word description of this release by the Swedish composer, trombonist, and conductor Christian Lindberg (b. 1958) it would be “robust.” Or maybe “outgoing.” Or possibly even “swaggering.” It most certainly would not be “reticent” or “tentative.” The opening piece, The Waves of Wollongong (the title refers to waves the composer had experienced in Wollongong, Australia) features the nine trombones (three each alto, tenor, and bass) of The New Trombone Collective making mighty waves of sound along with the orchestra, while the second piece, Liverpool Lullabies, seems hardly the sort of music to little ones to sleep as Lindberg on trombone and the amazing Ms. Glennie on percussion give off plenty of sparks with their energetic playing. The final piece, 2017, was composed by Lindberg during that turbulent, discouraging, frightening year as a reaction to the 2016 U.S. presidential election and its disturbing aftermath, and is dedicated to the journalist Rachel Maddow. Needless to say, it is not a cheerful piece, but it is musically engaging. As per their usual standard, the BIS engineering team has captured this robust music in robust, dynamic, swaggering sound that will tickle your tweeters and waggle your woofers.

Vaughan Williams: Symphonies Nos. 4 and 6
Sir Antonio Pappano, London Symphony Orchestra. LSO Live SACD LSO0867.

Vaughan Williams may well be the most underrated symphonic composer. For my money, his nine rank right up there with the best, and when it comes to the heart of his symphonic output, Symphonies Nos. 3, 4, 5, and 6, I can’t think of any composer whose 4-6 I would rate above RVW’s – not Mahler, not Bruckner, not Sibelius, and no, not even the immortal Beethoven. Of those four RVW symphonies, the odd-numbered are primarily lyrical and peaceful, while the two even-numbered symphonies, especially No.4, are much more brash and assertive. Pappano and the LSO hold nothing back, with the opening notes of No. 4 bursting forth with startling ferocity. This bold beginning sets the tone for the entire disc, which presents both symphonies forcefully and energetically. My only quibble is with some harshness in the upper strings; to be honest, I am not sure how much is the engineering or how much can be attributed to the vigor of the performance. My first choice in both symphonies has been the Slatkin recordings from his RCA boxed set (now distributed by Sony Music at a bargain price), but for those looking for a single disc of these two remarkable 20th century masterpieces, this new release from Pappano and the LSO is a top choice. Highly recommended.

KWN

Richter: Voices (CD review)

Max Richter, piano, organ, synthesizers; Kiki Lane, narrator; Robert Ziegler, conductor; Grace Davidson, soprano; Mari Samuelsen, violin solo; Ian Burdge, cello solo; Camilla Pay, harp; Joby Burgess, percussion; plus various other singers and instrumentalists. Decca  B0032383-02.

By Karl W. Nehring

The German-born British composer Max Richter (b. 1966) has made a name for himself by striving to bring together elements of more traditional "classical" music with more contemporary instruments and sounds. His most well-known composition is probably his reworking of Vivaldi's Four Seasons (reviewed by JJP), while perhaps his most notorious composition is his 8-hour overnight opus Sleep. His 2020 release of Voices comes at a time when not only is the world suffering from a deadly pandemic, but also from cynical and sinister political machinations that threaten democratic institutions and societal norms throughout the world. The true, the good, and the beautiful are under attack by small-minded greedy egos in leadership positions. In a small but noble way, Richter’s Voices speaks to this perilous world situation by presenting words of hope and inspiration while reassuring us with some soothing and reassuring music.

Richter is straightforward in his rationale for his unusual composition: “ I like the idea of a piece of music as a place to think, and it is clear we all have some thinking to do at the moment. We live in a hugely challenging time and, looking around at the world we have made, it’s easy to feel hopeless or angry. But, just as the problems we face are of our own making, so their solutions are within our reach, and the Universal Declaration of Human Rights is something that offers us a way forward. Although it isn’t a perfect document, the declaration does represent an inspiring vision for the possibility of better and kinder world.” You can see a brief video with Richter explaining more about the music and the recording here: https://www.youtube.com/watch?v=lF6No3T2ulY

The work had its world premiere in February 2020, with more than 60 musicians performing live on the  London stage. According to the composer, the music involves a radical reimagining of the traditional orchestra formation. “It came out of this idea of the world being turned upside down, our sense of what’s normal being subverted, so I have turned the orchestra upside down in terms of the proportion of instruments.” He has scored the work for 12 double basses, 24 cellos, 6 violas, 8 violins, and a harp. They are joined by a wordless 12-piece choir as well as Richter on keyboards, violin soloist Mari Samuelsen, cello soloist Ian Burdge, percussionist Joby Burgess, soprano Grace Davidson and conductor Robert Ziegler.

The CD recording of Voices comprises two discs. The first highlights, as you might guess, voices, starting with a recording of Eleanor Roosevelt introducing the Universal Declaration of Human Rights. The recitation of this document is then conducted by various voices in various languages, with Richter’s music laying down a musical foundation. The second disc consists of the ten musical tracks mixed without the voices. The first disc is interesting to hear, with its blending of voices in many different languages, accents, and timbres along with musical interludes of great beauty. To be honest, though, it is not the kind of CD most listeners would want to play over and over again, making the inclusion of the second disc a welcome addition, for it is a substantial and satisfying collection of well-recorded music that is conducive to thought, relaxation, and straightforward musical enjoyment. Highlights include Richter’s meditative piano complementing Burdge’s earnest cello on track 2 (“Origins), the skillful blending of chorus and orchestra on track 3 (“Journey”), the artful blending of acoustic and electronic sounds on track 7 (“Murmuration”), and the soulful playing of Mari Samuelsen on track 10 (“Mercy”).

The engineering is truly top-notch. Blending orchestra, voices, recordings, electronic effects, and so forth could easily have ended up sounding gimmicky, but the recording comes across as quite natural and easy to enjoy. There is no harshness on top, but plenty of power on the bottom when needed. All in all, Voices is an unusual composition, but a stimulating and satisfying intellectual, emotional, and musical achievement.

Bonus Recommendation: Finnish composer Aulis Sallinen (b. 1935) is hardly a household name, but this BIS recording of three of his works for orchestra by the Malmö Symphony Orchestra conducted by Okko Kamu is well worth an audition. The program opens with Sunrise Serenade, which features trumpeters Kjell-Âke Pettersson and Per Falck. In under eight minutes, this piece creates an atmospheric mood of mystery and anticipation within a spacious sonic setting. Next up is the relatively brief (15:35) Symphony No. 2 (Symphonic Dialogue for Solo Percussion Player and Orchestra), a one-movement composition that highlights the energetic and versatile playing of percussionist Gert Mortensen. But no, the piece is much more than just banging around, it creates a musical world of wonder and mystery. The disc closes with Sallinen’s substantial Symphony No. 6 “From a New Zealand Diary,” which was commissioned by the New Zealand Symphony Orchestra. The composer vacationed in New Zealand in early 1989 to help prepare himself for composing the work, which he completed in 1990. Its four movements are rich and atmospheric. None of the music on this disc is harsh, dissonant, or random-sounding. Indeed, it is inviting and rewarding, and recorded in excellent BIS sound by engineer Robert von Bahr.

KWN