Shostakovich: Symphonies Nos. 2 and 5 (CD Review)

by Ryan Ross

John Storgårds, conductor; CBSO Chorus; BBC Philharmonic Orchestra. Chandos CHSA 5378

Do you want the “good” news first? Here it is: this is the best Shostakovich 2 I have ever heard. It rewards exactly the kind of bloodless conducting that John Storgårds has adopted for this cycle so far. All of this symphony’s little stunts and gestures that don’t add up to anything, not to mention the clunky choral send-off, get about as sympathetic a treatment in his hands as you’re going to find. By Shostakovich’s virtual admission (he disavowed this work and its successor later in life) his Second Symphony is a 20-minute self-own, and Storgårds rises to the occasion splendidly. I’m not really sure who the joke is on – the composer, the conductor, Alexander Bezymensky (the lyricist), or any fan of this music who happens to exist. Slow-clap for all involved, I guess. 

 

Things don’t get better, but they do get stranger. To say that the best recording of Shostakovich’s worst symphony is paired here with the worst recording of his best is barely an exaggeration. Certainly, this is the dullest Fifth I’ve ever heard. The music calls for the opposite. Shostakovich wrote it at his time of greatest fear and desperation. It might have been this work or the gulag; he certainly watched plenty of his compatriots pave the way for him. At his lowest he produced arguably his finest, most distilled symphony, giving it the subtitle “A Soviet Artist’s Creative Reply to Just and Deserved Criticism.” But if you think that what he somehow meant was instead “A Soviet Artist’s Creative Cure for Insomnia,” boy does Storgårds deliver those goods. 

 

This performance of the Fifth has little excitement and next to no character. For a fleeting moment, a sharp opening creates a sense of anticipation. But after the first few bars it’s all downhill. Storgårds seems allergic to lush lyricism, because he underplays all the beautiful tunes and their supporting textures. The more agitated moments are no better. When the opening-theme variation returns in a quasi-development section with brass and piano, it should sound menacing. Instead it’s limp. The climactic march with snare drum has no panache. The loud tutti right before the creepy closing measures is sluggish and emotionally under-committed. When the flute theme over strings arrives directly afterward, the relief it imparts must be earned. But given what it follows, this effect is muted. A spirit of dramatic reluctance hangs over this first movement and sets the tone for the entire interpretation. 

 

The second movement is somehow even blander. The main problem is a pervasive mechanical manner. It sounds like someone directing his musicians to be as emotionally divested as possible. The biting wit that comes through in the best performances (such as those by Mravinsky, Bernstein, and Petrenko) is missing. With the Largo we rise to a respectable level. Storgårds’s obsession with unassuming clarity here pays some dividends. For once nothing gets bogged down, the balance is excellent, and the climactic points are full if still somewhat sterile. It doesn’t save the whole interpretation, but it’s the most defensible stretch here. 

For the second time in this performance, a decent start fizzles quickly in the finale. The opening march theme is just not forceful enough. Storgårds seems to be doing all he can here to resist the music’s innate personality. The many calmer sections following louder surges are again listless when they should provide purposeful respite. The sendoff at the end is like someone making a feeble impression of a rousing finish. But one part is particularly instructive: the tutti Romantic theme with lush strings above brass interjections. Storgårds overemphasizes these bursts in a way that distracts from this main theme. It reminds me of Ralph Vaughan Williams’s quip that the purpose of the conductor is to find out where the melody lies. One doesn’t fully appreciate such wisdom until encountering a leader whose fetish for clarity actually interferes with the music.

 

Of course we know what the problem is: there are already numerous recordings of Shostakovich 5. The pressure to be distinctive too often licenses stubborn preoccupations. I certainly don’t want this music to be unclear. But Shostakovich wasn’t a chilly neoclassicist. He was the Mahlerian heir, whose predisposition was for song, dance, irony, and the theatrical. If a conductor is not prepared to begin from such premises, he should perform something else. Label management and other gatekeepers should better recognize these mismatches and refuse to cynically countenance them. Because as it stands now, they’re cranking out too many detached or mannered performances that compare poorly with solid accounts. Yes, yes: this is a good Shostakovich 2, but who cares? It’s one of two throwaway works in his symphonic cycle, included only because it’s part of the group. There’s no reason to buy this No. 5, and hence no reason to buy the disc.

Shostakovich: Piano Concertos Nos. 1 & 2 (CD Review)

by Ryan Ross

Yuja Wang, pianist; Andris Nelsons, conductor; Boston Symphony Orchestra. Deutsche Grammophon 486 6956

When last I reviewed Yuja Wang here, it was essentially to bemoan a mismatch between the works she had chosen to perform (Rachmaninoff’s piano-orchestral music) and her own temperament. Happily, this latest release of Shostakovich piano concertos and selected preludes/fugues steers her back to more predispositional pastures. Shostakovich is a much better fit for the kind of artistry she represents, where the jaunty, grotesque, and cinematic all play out in an inimitable and highly accessible mixture. Yes, this is a good pairing. But even here I can only offer one-and-a-half thumbs up and confess that not even ideal repertoire overcomes some nagging misgivings.

 

While the concerto performances offer plenty of needed excitement, I’m left with a slight sense of inconsistency. This manifests in multiple ways. First, there are a few balance problems. Sometimes it’s the orchestra slightly obscuring the piano where both are heard, as at Rehearsal 20 in the opening movement of Op. 35. We need to hear those pianistic arpeggios just a bit more clearly. But sometimes it’s the other way around, as when Wang’s blaring octaves overpower almost all else in the opening movement of Op. 102. More seriously, important melodic lines are at times underplayed, as with moments during the subordinate theme in the same stretch. Indicated soft dynamics shouldn’t be exaggerated here. Moreover, Wang occasionally over-pedals. She gets away with this more in the slower movements, where the consequences of doing so are blunted. But in the quicker spans her sound can dip into sogginess. And speaking of sound, Andris Nelsons and the Boston Symphony Orchestra aren’t entirely off the hook either. Some of the louder orchestral tuttis come off as coarse.

 

Second, I’m not always convinced by Wang’s expressive liberties. I realize that previously I criticized her “Sonic the Hedgehog” pianism as lacking in depth. I wonder if someone she trusts told her as much. Because here she clearly tries to incorporate rubato in solo/cadenza passages, but with mixed success. It’s a bit like someone being coached on humor who doesn’t naturally understand humor: when the jokes issue forth, they get mis-delivered. Some good examples come in quick succession during Op. 35’s finale. The solo passage at Rehearsal 60 features “oom-pah” textures that get obscured with too much tempo fluctuation at the onset; likewise, rubato saps desired momentum at Rehearsal 63. At the Allegro con brio right before the end we get a sudden burst of energy. This can be good, but here it’s just a little too protuberant.

 

For me the most successful performances on this recording are actually the small helping of preludes and fugues from Shostakovich’s Op. 34 and 87 cycles for solo piano. Here Wang is highly effective, bringing to life the various textures and moods in each of her chosen pieces. I’d definitely be interested in hearing her do the complete sets on recording. But for the concerti, my top choices easily remain Bronfman, Salonen and the LA Philharmonic on Sony (60667), and especially Hamelin, Litton, and the BBC Scottish Symphony Orchestra on Hyperion (CDA67425). Wang and Company rate a couple of notches below these more polished options.

Keith Jarrett: A Tribute

by Karl Nehring

Earlier this month, American pianist and composer Keith Jarrett celebrated his 80^th birthday. Although best known as a jazz pianist, his body of work extends far beyond jazz – and beyond the piano. We have reviewed a few of his recordings in the past; you can find those reviews here (Budapest Concert), here, (Bourdeaux Concert), and here (C.P.E. Bach Sonatas). Like many people, my first encounter with his playing was from listening to Forest Flower, on which Jarrett played piano as a member of the Charles Lloyd Quartet in a live set at the 1966 Monterey Jazz Festival that was released on Atlantic Records in 1967. In 1971, Jarrett, who was then touring with Miles Davis, had a fateful meeting with producer Manfred Eicher that resulted in Jarrett recording a solo piano album, Facing You, which was released in 1972 on Eicher’s ECM label. In 1973, had released Solo Concerts: Bremen/Lausanne, the first of what would become a series of concert recordings during which Jarrett played improvised music. Popular music critic Rick Beato has posted a YouTube video (which you can see here) describing a segment of this recording as “two of the most beautiful minutes in music.” 

While in the Army in 1974, I picked up both of his “American” quartet albums – Fort Yawuh and Treasure Island – on the Impulse! label, the latter of which featured Jarrett picking up the soprano saxophone on one of the cuts. As a side note, his “American” quartet included the late Dewey Redman, father of Joshua Redman (whose recent performance we mentioned here), on tenor saxophone, along with Charlie Haden on bass and Paul Motian on drums). 1974 also saw the release of the album Belonging on the ECM label, this by Jarrett’s “European” quartet, with Jan Garbarek on tenor saxophone, Palle Danielsson on bass, and Jon Christensen on drums. It’s a beautiful recording, highlighting Jarrett’s skill as a composer as well as a pianist. Then in 1975, ECM released what would become the best-selling piano recording in history, Jarrett’s The Köln Concert. It’s a spellbinding album that still sounds fresh and new 50 years after its initial release.

In 1976, Jarrett received a commission from the Deutsche Grammophon to compose a piece for the Boston Symphony Orchestra. It was to be conducted by Seiji Ozawa and feature Jarrett on piano. Jarrett completed his 200-page, 40-minute score for The Celestial Hawk in 1978. The BSO had been expecting a jazzy piece with Jarrett doing a lot of improvising, apparently thinking that would guarantee box-office success; when they saw it was a serious classical composition, they lost interest, and the project was dropped. Instead, Eicher decided to record the work for his ECM label, with Jarrett on piano accompanied by the Syracuse Symphony Orchestra conducted by Christopher Keene. It was released in 1980.

 

In 1984, Eicher decided to expand ECM into the classical realm and brought a new sound into the musical world with the release of Arvo Pärt’s Tabula rasa, the first album on the label’s New Series imprint. This recording also marked the intersection of some of the most longstanding, significant musical collaborators in the label’s history: Arvo Pärt, Gidon Kremer, and Keith Jarrett. I was quite familiar with Jarrett, somewhat familiar with Kremer, but my familiarity with Pärt extended only as far as having heard his name but not his music when, late at night in 1984 while sitting in my car having just finished a shift as a security guard while I was still in grad school, over the radio came music that immediately held me under its spell. The late-night host on WOSU-FM announced that he was playing some tracks from a new album of music by the Estonian composer Arvo Pärt, and that we had just heard his composition Fratres, performed by violinist Gidon Kremer and pianist Keith Jarrett. Keith Jarrett?! Although the music sold itself, Jarrett’s endorsement made me even more eager to run out and purchase the CD just as soon as I could find it; I have been an enthusiastic Arvo Pärt fan ever since.

Jarrett went on to release many, many recordings over the ensuing decades, both as a soloist and as part of an ensemble. Many of these were jazz, of course, but there were also many classical efforts, in music of Bach Handel, Mozart, Shostakovich, Bartók, Barber, Harrison, and Hovhaness. (If I may be permitted another personal aside, it was Jarrett who introduced me to the 24 Preludes and Fugues for Piano by Shostakovich – I had many recordings of DSCH’s symphonies and was somewhat familiar with his concertos and chamber music but had no idea this marvelous piano music even existed until ECM released Jarrett’s recording in 1992. I now own several versions and continue to delight in this music that Jarrett first revealed to me.) 

 

In 1994, Jarrett’s Bridge of Light album appeared on the ECM New Series label, containing four classical compositions by Jarrett: Elegy for Violin and String Orchestra, Adagio for Oboe and String Orchestra, Sonata for Violin and Piano, and Bridge of Light for Viola and Orchestra. Jarrett said of these works, “Actually, all of these pieces are born of a desire to praise and contemplate rather than a desire to "make" or "show" or "demonstrate" something unique. They are, in a certain way, prayers that beauty may remain perceptible despite fashions, intellect, analysis, progress, technology, distractions, "burning issues" of the day, the un-hipness of belief or faith, concert programming, and the unnatural "scene" of "art", the market, lifestyles, etc., etc., etc. I am not attempting to be "clever" in these pieces (or in these notes), I am not attempting to be a composer. I am trying to reveal a state I think is missing in today's world (except, perhaps, in private): a certain state of surrender: surrender to an ongoing harmony in the universe that exists with or without us. Let us let it in.” It is a charming album, pastoral and serene. If you were to listen to it today without being told who the composer is, your guess might well be a British composer such as, say. Butterworth. 

Tragically enough, in 2018 Jarrett suffered the first of several strokes that robbed him of the use of his left hand, thus leaving him unable to continue his career at the piano. However, ECM has since released several albums of past concert performances; in fact, there is a release of a recording he made in Vienna that we will be reviewing in a forthcoming post. For more insight into this fascinating musician, whose music blurred the boundaries between classical and jazz, between composed and improvised, there is a an in-depth interview that the notoriously press-shy Jarrett granted to Rick Beato; that fascinating video can be seen here.

Two Box Sets and Two Sets in a Box (CD & Live Concert Reviews)

by Karl Nehring

Shostakovich: Symphonies-Concertos-Lady Macbeth. (CDs1-12) Symphonies 1-15; (CD 13) Incidental Music and Chamber Symphony; (CD 14) Piano Concertos Nos. 1 & 2; (CD 15) Violin Concertos Nos. 1 & 2; (CD 16) Cello Concertos Nos. 1 & 2; (CDs 17-19) Lady Macbeth of the Mtsensk District. Yuja Wang, piano; Baiba Skride, violin; Yo-Yo Ma, cello; Kristīne Opolais, soprano; Boston Symphony Orchestra; Andris Nelsons, conductor. Deutsche Grammophon 486 6849 

 

Back in 2015 the Boston Symphony Orchestra and its then newly appointed Music Director Andris Nelsons teamed up with Deutsche Grammophon and embarked on a project to record all 15 Shostakovich symphonies, starting with No. 10, which was reviewed soon after it release by our own John Puccio (you can find that review here). As the project continued, we reviewed a couple of the subsequent releases, including Nos. 4 & 11 in 2019 (review located here) and Nos. 1, 14. & 15 in 2021 (found here). Fast forward to 2025, which coincides with the 50^th anniversary oh Shostakovich’s death, and DG has decided to gather all 15 symphony recordings into a box set – but wait, there’s more. In addition to the symphonies, we get the two piano concertos, two violin concerto, two cello concertos, a concert version of his opera Lady Macbeth of the Mtsensk District, and more. Nineteen discs in all, and no, we have not carefully auditioned them all. Too many discs, too little time. 

From our previous reviews, you will see that we were quite favorably impressed by their versions of Symphonies 10, 4, and 11, but less so by Nos. 1, 14, and 15. From this new set, our time spent listening to Wang’s performances of the piano concertos proved quite delightful (those performances have been released in a separate CD that Ryan Ross will be reviewing soon). We also gave a quick listen to Skride’s performances of the violin concertos and found them to be tenderly expressive but on the slow side – which may have added to the feeling of emotional resonance. Surely many listeners will already own favorite versions of several of these DSCH compositions; however, the outstanding playing of the BSO, the excellent sound quality, and the convenience of having all these works gathered into one collection combine to make this set an attractive collection for serious Shostakovich fans.

 

Lorin Maazel Conducts the Cleveland Orchestra: The Complete CBS Masterworks. (CD 1) Berlioz: Le carnaval romain, H 95: Overture; Brahms: Academic Festival Overture, Op. 80; Barber: The School For Scandal, Op. 5: Overture; Brahms: Symphony No. 1 in C Minor, Op. 68; (CD 2) R. Strauss: Ein Heldenleben, Op. 40; (CD 3) Beethoven: Symphony No. 1 in C Major, Op. 21; Symphony No. 2 in D Major, Op. 36; (CD 4) Beethoven:Symphony No. 3 in E-Flat Major, Op. 55 "Eroica"; (CD 5) Beethoven: Symphony No. 4 in B-Flat Major, Op. 60; Symphony No. 8 in F Major, Op. 93; (CD 6) Beethoven: Symphony No. 5 in C Minor, Op. 67; Egmont Overture, Op. 84; Leonore Overture No. 3, Op. 72; (CD 7) Beethoven: Symphony No. 6 in F Major, Op. 68 "Pastoral"; (CD 8) Beethoven: Symphony No. 7 in A Major, Op. 92; Fidelio Overture, Op. 72; (CD 9) Beethoven: Symphony No. 9 in D Minor, Op. 125 "Choral"; (CD 10) Strauss: Don Juan, Op. 20; Till Eulenspiegel's Merry Pranks, Op. 28; Death and Transfiguration; (CD 11) Berlioz: Symphonie Fantastique, Op. 14; (CD 12) Serge Lama: Les P'tites Femmes de Pigalle; Chez Moi; Je t'aime à la folie; Je suis malade; L'esclave; La Chanteuse a vingt ans; La Salle de Bains; Ah!; L'enfant au piano; Femmes, Femmes, Femmes; L'enfant d'un autre; An old-fashioned Waltz; (CD 13) Tchaikovsky: Symphony No. 5 in E Minor, Op. 64; (CD 14) Tchaikovsky: Symphony No. 6 in B Minor, Op. 74 "Pathétique"; (CD 15) Tchaikovsky: Symphony No. 4 in F Minor, Op. 36. Cleveland Orchestra; Lorin Maazel, conductor. Sony Classical 19802819982

 

When music lovers talk of remarkable musical prodigies or notable conductors of the 20^th century, how likely is Lorin Maazel (1930-2014) likely to be put forward as a candidate for consideration? Based on my experience at least, not very often, if at all. But Maazel’s story is a remarkable one: the man was a marvel. Maazel was born in Paris, but in 1932 his family moved to Los Angeles, where soon after they enrolled the youngster first in violin lessons and while still a young child, conducting lessons with the associate conductor of the Los Angeles Philharmonic. He was not yet 10 when he mounted the Pittsburgh Symphony’s podium and only 11 when he was invited by none other than Toscanini himself to conduct the NBC Symphony nationally broadcast concert.  By the time he reached 15, he was determined to get a university education and withdrew from conducting engagements to study languages and philosophy at the University of Pittsburgh – meanwhile also giving violin recitals and playing in the Pittsburgh SO and the Fine Arts Quartet. After graduation, a Fulbright Scholarship took him to Rome, and in 1953 he made his European debut, standing in for an indisposed conductor in Catania. By 1960 he had conducted some 300 concerts with more than 20 European orchestras and, aged 30, became the youngest conductor, the first American, and the first Jew since the fall of the Third Reich to appear at the Bayreuth Festival.

When music lovers talk of the Cleveland Orchestra, the conductor’s name that immediately pops up is that of George Szell (1897-1970), who led the orchestra from 1946 until his death in 1970. His name is still nearly synonymous with the orchestra; for example, Christoph von Dohnányi, who succeeded Maazel as Music Director in Cleveland, once quipped, “we give a great concert, and George Szell gets a great review.” But it was Maazel who faced the unenviable task of succeeding becoming Szell’s immediate successor, taking over as Music Director in 1972. Interestingly, although Maazel is sometimes thought of today as a bit stiff and literal in style, when he took over in Cleveland, there was grousing that his style was “too emotional” when compared to that of his legendary predecessor. For Maazel and/or Clevland Orchestra fans, this åcompetitive Beethoven symphony cycle and some fine Strauss. It also contains one of the stranger things I have heard in quite some time, Maazel’s own “symphonic realizations” of åviolin on a French TV show, Maazel hatched the idea of “lending Lama’s poetry a new, larger dimension.” Let’s just say it was not one of Maazel’s finest moments.

 

The booklet included in the box contains some background information on Maazel, some photographs, and reproductions of the original LP covers. For devoted Maazel fans, this box may well be an attractive package. 

 

Joel Ross’s Good Vibes (Joel Ross, vibraphone; Jeremy Corren, piano; Kanoa Mendenhall, bass; Maria Grand, tenor saxophone; Josh Johnson, alto saxophone; ​Jeremy Dutton, drums). Live set at the Performance Space in the Wexner Center for the Performing Arts at The Ohio State University, Columbus, OH. March 6, 2025.

 

The Performance Space at the Wexner Center at OSU offers a comfortable setting in which to enjoy a musical performance. In early March, the stage was occupied by the Chicago-born vibraphonist Joel Ross (b. 1995), who now operates out of Brooklyn, and his band, Good Vibes. Unlike many jazz vibes players, who use four mallets, two in each hand, Ross prefers to play with only one in each hand, because he says he does not want to dictate harmony. This manner of playing also lends clarity to his sound, putting the emphasis on melody and rhythm. This was evident as he began the set on his vibraphone, hammering out a solo. Ross had offered no spoken no introduction – neither of the band members, nor of the music; instead, the band walked on stage and Ross just started tapping on his vibes, playing for several minutes, establishing a pulse and a melody that was picked up by the rest of the group as they began to join in. 

 

What followed was an hour-long continuous stream of music. The music seemed to slowly mutate as it went along, with subtle shifts in tempo, melody, rhythm, and harmony. Phrases would appear, get passed around among the group, disappear, sometimes to reappear 10 or 15 minutes later in a subtly different form and tempo. From time to time there were solos; special mention must be made of the contributions of Maria Grand on tenor saxophone, who dazzled the crowd with a couple of incredible solos, especially when she explored the extreme treble range of which the instrument is capable. Overall, though, the most impressive thing about the show was seeing how these musicians could interact with each other over the span of an hour, delighting in the subtleties of musical creation and interaction. Although it features more structured tunes in a studio setting, Ross’s most recent album, nublues (Blue Note), is well worth a listen.

 

Joshua Redman Group (Joshua Redman, tenor saxophone; Gabrielle Cavassa, vocals; Paul Cornish, piano; Philip Norris, bass; Nazir Ebo, drums). Live set at the Performance Space in the Wexner Center for the Performing Arts at The Ohio State University, Columbus, OH. April 3, 2025.

 

In contrast to Joel Ross, who had barely interacted with the audience, saxophonist Joshua Redman (b. 1969) greeted the audience with enthusiasm and established an immediate rapport as he recalled previous shows in Columbus. Also in contrast to the Ross concert, which had been one continuous stream of music, Redman’s show was a set of tunes, many of them featuring vocals by the remarkable Gabrielle Cavassa, who offered powerful interpretations of such familiar standards such as By the Time I Get to Phoenix, I Left My Heart in San Francisco, and Do You Know What It Means to Miss New Orleans?. Of course, there were also plenty of instrumental highlights along the way, with not only some blazing saxophone solos by Redman, of course, but also an energetic bass solo by Philip Norris that earned a rousing round of applause from the audience.

 

The group was on a tour showcasing their Blue Note album, Where Are We, which includes the tunes mentioned above. To close their live set, Cavassa sang another song from the album, Stars Fell on Alabama, after which Redman played an extended, impassioned solo on his saxophone that was simply heart-rending before the whole band joined in on John Coltrane's Alabama, capping off a night to remember. Redman has a new album coming out in June, Words Fall Short (Blue Note), that will include these musicians plus some guests, including the exciting young tenor saxophonist Melissa Aldana.

Phantasy in Blue (CD Review)

by Karl Nehring

Tchaikovsky (arr. Stefan Malzew): Variations on a Rococo Theme, Op. 33; Vivaldi (arr. Itai Sobol): Cello Concerto in A minor, RV418;  de Falla (arr, Sebastian Gottschick): Siete canciones populares españolas ("Seven Spanish Folksongs"); Shostakovich (arr. Levon Atovmian): Prelude from the Gadfly, Op. 97; Elegy from The Human Comedy, Op. 37; Shostakovich (arr.  Louis-Noël Fontaine): Waltz No. 2 from Suite for Variety Orchestra; Gershwin (arr. Malzew): Phantasy in Blue (after Rhapsody in Blue). Alban Gerhardt, cello; Alliage Quintett (Daniel Gauthier, soprano saxophone; Miguel Vallés Mateu, alto saxophone; Simon Hanrath, tenor saxophone; Sebastian Pottmeier, baritone saxophone; Jang Eun Bae, piano). Hyperion CDA68419

 

Having been quite favorably impressed by a recording of the two Shostakovich cello concertos that the German cellist Alban Gerhardt (b. 1969) recorded for Hyperion three years ago (you can see that review here), plus being intrigued by the both the eclectic program and the unusual combination of instruments Gerhardt had assembled (cello and saxophone quartet plus piano playing music ranging from Vivaldi through Shostakovich to Rhapsody in Blue – what the heck?!), this was a CD to which I simply had to give a listen. It looked as though it would be a memorable listening experience one way or the other – either a dud or a delight. As Gerhardt and the Alliage Quintett began their musical journey through Tchaikovsky’s sprightly Variations on a Rococo Theme, it soon became clear that this CD would indeed prove to be a delightful musical listening experience, and so it came to pass. 

 

Gerhardt has cast a wide net across both time and space for his selections, the prize catch being the Gershwin. It is worth the price of admission for this recording just to hear him emulate the opening clarinet smear of Rhapsody in Blue on his cello. Whoa! Now, that’s a sound guaranteed to bring a smile to the sound of even the most jaded music lover, and the rest of the arrangement works surprisingly well, bringing this release to a rousing, triumphant conclusion.

 

Dependent Arising (CD Review)

 by Karl Nehring

Shostakovich: Violin Concerto No. 1 in A minor, Op. 77; Earl Maneein: Dependent Arising – Concerto for Violin and Orchestra. Rachel Barton Pine, violin; Royal Scottish National Orchestra conducted by Tito Muñoz. Cedille CDR 90000 223

 

Well, you can always learn something new, even about things – or music – or performers – with whom you thought you were already fairly knowledgeable. I was excited to receive this new release from Cedille, for the Shostakovich is one of my favorite violin concertos, Rachel Barton Pine is a fabulous violinist, and Cedille always does a great job in the engineering department. In addition, I was intrigued to hear the piece that Pine had chosen to include with the Shostakovich, Dependent Arising by Earl Maneein (b. 1976), a composer whose name was new to me. When the CD arrived, I immediately started listening to it; saturation mode, actually, playing the CD on my big system but also listening to it via streaming in my car, on my headphones while working at my computer, and even in the shower through my Bluetooth speaker. Unusually enough, throughout this time, even though I knew nothing about Earl Maneein, I did not so much as glance at either the CD booklet nor any of the promotional material that I had been sent. You can imagine my surprise, them, when I finally opened the CD booklet and discovered Pine’s dedication: “To my brothers in Earthen Grave and our loyal Gravedwellers family, this one’s for you.🤘”  Then I began to read her personal note about the recording, which begins: “I discovered heavy metal music at the age of ten…” 

 

Turning to the promotional material, I read that “while Rachel Barton Pine is widely known for her virtuosic and expressive performances of works from the Western classical music canon, she is also a heavy metal enthusiast and performer of the genre. Pine discovered her love for heavy metal as a teenager, and later performed at rock radio stations where she would intersperse her own arrangements of her favorite metal songs by Black Sabbath, AC/DC, and Metallica with works by Paganini and Ysaÿe in order to introduce new listeners to classical music. From 2009–2014 she was a member of the acclaimed doom/thrash metal band Earthen Grave, playing 6-string electric violin. With Dependent Arising, Pine explores connections between modern classical music and heavy metal and showcases her own unique journey within these two seemingly disparate genres.”

Later in her CD booklet material, Pine writes that “there is perhaps no classical composer who is more beloved to metalheads than Shostakovich… As a metalhead, the build-ups to the most aggressive moments of the cadenza are particularly satisfying, and the final ‘mosh section’ of the concerto never fails to conjure up memories of my mosh pit days.” Although I doubt most listeners will associate Shostakovich with heavy metal or mosh pits, I am confident they will respond to the intensity and virtuosity that Pine brings to her performance, which is just what this concerto needs. This is truly one of the great recordings of this masterpiece.

 

From Pine’s notes, we learn that she had once reached out to Maneein, who was the songwriter and lead violinist of the guitar-less metalcore band Resolution15, to write her a “metal-inspired piece for solo violin.” (Those who are interested might enjoy this fascinating YouTube video in which Maneein demonstrates  how he can produce heavy-metal sounds from his violin by means of his sophisticated electronics setup.) Maneein accepted the challenge and produced a work titled Metal Organic Framework. When Pine debuted the work in New York in 2014, Tito Muñoz was in the audience. I should point out here that Maneein is a classically trained violinist; moreover, he contributes liner notes for this release that discuss the Shostakovich as well as his own concerto. We learn that Muñoz originally asked Maneein to compose a short symphonic work, but according to Maneein, “ that was beyond my capabilities as a violinist who should have paid better attention to symphonic theory instruction at the conservatory. I preferred to use my comfort zone of violin composition as a point of departure… How do you express pain and violence musically? How do you create catharsis for these negative states? The possible ways to express these feelings in music, as in any language, are limited and therefore are bound to have independently evolved similarities… These commonalities make it clear to me why Rachel chose to pair her excellent performance of the Shostakovich First Violin Concerto with my piece. I use the language of extreme music to fuel my work. I draw on my Buddhist practice of dealing with pain, violence, suffering, and death as inspiration. Both of these violin concertos share expressions of terror, hatred, fear, horror, and sorrow as their primary mover.”  

The end result is a concerto that is relentless in its energetic expressiveness. That is at once its strength and its weakness. The energy is exciting; however, there are times when the listener – at least the listener not from a heavy metal background – might wish for some lyrical contrast, some quieter interludes. Still, it is an interesting composition, certainly worth a listen, and it will be interesting to see what Maneein might be able to do as he gains more experience and confidence in the classical idiom.

 

To sum up, then, what we have here is an album containing two stimulating violin concertos performed by one of the world’s premier violinists, ably accompanied by a thoroughly professional orchestra and conductor, captured in state-of the-art sound. The CD booklet contains fascinating insights into the music by both violinist Pine and composer Maneein – both of whom turn out to have deep roots in heavy metal rock music. Pine’s performance of the Shostakovich is one of the finest ever recorded, while her performance of the Maneein is relentlessly energetic, just the way the music is written. It’s a fascinating album, the Shostakovich alone sufficient to earn it an enthusiastic recommendation, the Maneein a bonus for the adventurous – and for the metalheads (you know who you are). 

Recent Releases, No. 29 (CD Reviews)

By Karl W. Nehring

Bach | Sei Solo | Kavakos. Bach: Sonatas & Partitas for Solo Violin Nos. 1-3. Leonidas Kavakos, violin. Sony Classics 19439983132.

This is one of those recordings that is pretty much self-recommending. When you have one of the premier violin virtuosos of our time playing the timeless music of Johann Sebastian Bach, you expect excellence, and excellence is what this recording delivers. From his remarks on the back cover of the CD case, it is apparent that the Greek violinist Leonidas Kavakos (b. 1967) believes that there is a deeply spiritual dimension to this composition: “Harmony’s rhythm and rhythms’s harmony are decisive assistants in each incarnation’s personal journey towards achieving catharsis through the expression of life and thus opening the gate to theosis, the divine aspect of existence. Wir danken dir, Gott (We thank you, God) is the title of Bach’s Cantata No. 29, the opening Sinfonia of which is a transcription for organ and orchestra of the Preludio from Partita No. 3. It could equally well serve as the title or all six sonatas and partitas, an opus consisting of two triads which, through the peerless swirling of the great Thomascantor’s compositions, enlighten the individual responsibility of existence (“Sei Solo”), a vital component of collective space-time!” Kavakos plays with a nimble touch, never seeming to be trying to flaunt his virtuosity or add any heavy-handed dramatic exaggerations to the music. Everything just seems to flow naturally along from one phrase to the next; indeed, you find yourself admiring the music, not just marveling at the playing, which is as it should be. Perhaps in light of his comments as quoted above, Kavakos leads off not with Sonata No. 1, as you might expect, but rather with Partita No. 3, followed by Sonata No. 3. Sonata No. 2 then closes CD1; however, CD2 does not start with Partita No. 2, as you might expect, but rather with Sonata No. 1, followed by Partita No. 1, and then the program comes to a close with Partita No. 2. Apparently, Kavakos intended to underline his idea that the theme of the entire composition centers on the Preludio from Partita No. 3. As to the sonics, the violin is recorded a bit close, with sounds occasionally jumping from speaker to speaker, but to be fair, this is not an uncommon problem with two-channel stereo. Still, the sound is quite clean, there is some sense of the space in which the violin was recorded, and overall, I have no real complaints. Long-time Bach fans may already own several favorite recordings of this music; however, they still might want to give this new version a hearing. Those music lovers new to the piece would certainly find this Sony release an excellent introduction to this magical music, for Kavakos’s version is without eccentricity and is a more than worthy addition to the Bach catalog.

Beethoven for Three. Beethoven: Symphony No 2 in D major, op. 36 (arrangement for piano trio attributed to Ferdinand Ries, under the supervision of the composer); Symphony No. 5 in C minor, op. 67 (arrangement for piano trio by Colin Matthews). Emanuel Ax, piano; Leonidas Kavakos, violin; Yo-Yo Ma, cello. Sony Classical 19439940142.

Yes, you read that correctly. What we have here are two Beethoven symphonies arranged for piano trio and performed by an all-star lineup of Ax, Kavakos, and Ma. I feel obliged to point out at the outset that I find it disappointing – pretty much inexcusable, really – that Sony did not go to the bother to provide any sort of liner notes that might have provided some insights about the motivation for these arrangements, about the arrangers, how these performers came together to do this, why it was recorded at Tanglewood, etc. Alas, there are no real liner notes, just a brief note dedicating the release to conductor Michael Tilson Thomas, which in light of his recent public disclosure of his struggle with brain cancer is certainly a kind gesture. But my goodness, it certainly would have been nice to have some more background information. For what it’s worth, Ferdinand Ries, given credit for this arrangement of the Symphony No. 2, was one of Beethoven’s students, while Colin Matthews (b.1946), who arranged the Symphony No. 5,  is a contemporary English composer. Although each listener will of course have his or her own personal reactions to and opinions about hearing these symphonies performed as piano trios, I believe that my general observations about this recording would strike a resonant chord with the majority of music lovers who might venture to give it a listen. First of all, it is well worth an audition. This is great music played by great musicians. It is well played and well recorded. Reducing symphonies to trios was one practiced so that people could hear the music in their homes or other small settings. Today, we have stereos, headphones, earbuds, etc. But hey, we can now listen to recordings of a Beetthoven symphony played by a large orchestra on modern instruments, a small orchestra on period instruments, or a piano trio. What goes around comes around. But for many of us today, hearing the Symphony No. 2 played by Ax, Kavakos, and Ma will strike us as though we are hearing a pleasant piano trio in the style of Beethoven. Some nice melody, some good drama, excellent chamber music that makes us glad that we decided to listen to this recording. But when we suddenly hear then opening notes of the Symphony No. 5 played by these same three musicians, we suddenly find ourselves jolted into wondering what in the heck is going on – why is there a piano? Where is the rest of the orchestra? It takes a while to adjust to the fact that this is music with which we are so familiar being played in such an unfamiliar way. I’ve now listened many times, and am still not quite fully adjusted. Their performance of Symphony No. 2 still strikes me as a really pleasant piano trio (and I do like the symphony itself, especially as conducted by Jordi Savall), but although I am not quite as jolted by the opening of Symphony No. 5 as I was the first several times I heard them play it, I still can’t quite simply relax and enjoy their pr[performance simply as chamber music. Still, though, I find this an intriguing release that I do not hesitate to recommend to Beethoven fans, although I do want to close with  parting shot at Sony Classical for their pathetically uninformative (nonexistent) liner notes. They can and should do better.

Weinberg: Sonatas for Violin Solo. Gidon Kremer, violin. ECM New Series 2705. 

Mieczysław Weinberg (1919-1996) was a Jewish composer from Poland who resided in the USSR and became a close musical associate of Shostakovich. A bit more about the composer can be found in a previous review of his music, which can be found here: https://classicalcandor.blogspot.com/2020/10/weinberg-clarinet-music-cd-review.html. Unlike the music on that Naxos disc, however, the music on this ECM New Series release is not as immediately appealing to the ear. Unlike the 19th-century violin music of Beethoven, this is 20th-century music that does not have a primary aim of delighting  listeners with memorable melodies. This is more complex music, more challenging music, as listening to the first few bars of the Sonata No. 3 that opens the disc will quickly make evident. However, as you listen more closely, you can hear that a lot of thought went into the composition of this sonata, which is quite expressive, Weinberg dedicated to the memory of his father, himself a violinist, who was killed in a Nazi concentration camp. Although there are some moments of great lyrical tenderness, there are also passages of almost savage fury and occasional dissonance. The sonata is in one movement, clocking in at more than 22 minutes. No, it is not a piece for the faint of heart, but for those who appreciate the expressive power of the violin, to hear Gidon Kremer put his all into this remarkable work will be a truly rewarding experience. For whatever reason, the program is presented in reverse chronological order,  so next up is Sonata No. 2, which stands in contrast to Sonata No. 3 by comprising seven brief movements rather than a single long one. The liner note offers this concise description: “With ts reduced sonority and quasi-independent movements (headed ‘Monody,’ ‘Rests,’ ‘Intervals,’ Replicas,’ ‘Accompaniment,’ ‘Invocation,’ and ‘Syncopations), it almost seems like a set of late-romantic character pieces coarsened by modern modes of execution, but also imbued with a distinct sense of resignation.” Once again, Kremer displays both his technical skill and his artistic touch as he brings out the varying moods portrayed in these brief musical sketches, some of which last under two minutes. Sonata No. 1, which closes the CD, is the closest of the three to traditional violin sonata form, consisting of five movements: I. Adagio – Allegro, II Andante, III. Allegretto, IV. Lento, V. Presto. The outer movements are the most virtuosic, with Kremer providing some really dazzling playing, while the second movement shows great tenderness and the third, a playful spirit. I’m hard-pressed to come up with the right adjective for the fourth movement; I guess I’ll just write that it is intense and leave it at that. As for the sound quality, there is a good amount of reverb, as we have come to expect from ECM, but not so much as to be a distraction. Although this may not be music that will appeal to a wide audience, for those with a serious interest in 20th-century violin music, this is certainly a milestone release.

Shostakovich: Symphony No. 7. Gianandrea Noseda, London Symphony Orchestra. LSO Live LSO0859.

This new SACD release on the LSO Live label (note, however, that I auditioned the CD layer for this review) is the latest in an ongoing Shostakovich cycle from Italian conductor Gianandrea Noseda (b. 1964) and the London Symphony Orchestra. We reviewed an earlier release in this series here: https://classicalcandor.blogspot.com/2021/08/recent-releases-no-15-cd-reviews.html. Most music lovers are probably familiar with the story of the Symphony No. 7, popularly known as the “Leningrad,” written by the young composer as the city was under siege by Russian and Finnish forces in WWII, a copy of the completed score smuggled out of Russia that made its way to New York, where it was played by the NY Philharmonic under Toscanini in 1942 in a broadcast performance and even played in Leningrad itself while the city was still under siege. For a time, the work was quite the rage, but is not so well-regarded today. Still, it is a powerful piece of music, as this new recording amply demonstrates. Both the recording quality and the performance itself come across as committed and straightforward, without unnecessary embellishment or exaggeration. This is probably as fine a one-disc account of this work as you are likely to encounter. My personal favorite version remains the Bernstein/Chicago on DG (also a live recording), which is coupled with an unusually slow version of Shostakovich’s Symphony No. 1; however, this Noseda 7th is truly excellent and I can recommend it without reservation.

KWN

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