KWN’s Delightful Dozen of 2021

By Karl W. Nehring
 
As I write these words, the Omicron variant of the COVID-19 virus is wreaking havoc around the globe; I urge all readers of Classical Candor to become fully vaccinated (and boosted) and to practice masking and social distancing. The safest thing might be to stay at home as much as possible, where the most pleasant thing might be to enjoy some fine music. To that end, and to follow that venerable end of the year tradition, I have compiled a list of a dozen delightful recordings that it was my pleasure to review over this past year. Let us all hope that 2022 proves healthier and safer for us all while bringing us even more musical delights. Happy New Year! 
 
Americascapes: Loeffler: La Mort de Tintagiles, Op. 6; Ruggles: Evocations (Orchestral version, 1943); Hanson: Before the Dawn, Op. 17; Cowell: Variations for Orchestra. Delphine Dupuy, viola d’amore; Robert Trevino, Basque National Orchestra. Ondine ODE 1396-2.
 
It is always exciting to come across a new release that features a program of unfamiliar music by composers you have heard of although you have heard very little of their music. It is even more exciting when it turns out to be as delightful a disc as this new Ondine release of American music played by a Spanish orchestra led by American conductor Robert Trevino (b. 1984). The engineering is first-class, the orchestra plays with finesse, the program is imaginative and rewarding – what’s not to like? Hats off to a Finnish label for recording a Mexican-American conductor leading a Spanish orchestra in a revealing program of rarely-heard American music deserving much wider recognition. Bravo!
 
Arnold: Complete Symphonies and Dances. (CD1) Symphonies Nos. 1 & 2; (CD2) Symphonies Nos. 3 & 4; (CD3) Symphonies Nos. 5 & 6; (CD4) Symphonies 7 & 8; (CD5) Symphony No. 9; Sir Malcolm Arnold in Conversation with Andrew Penny; (CD6) English Dances, Set 1; English Dances, Set 2; Four Scottish Dances, Op. 59; Four Scottish Dances, Op. 91; Four Irish Dances; Four Welsh Dances. Andrew Penny, National Symphony Orchestra of Ireland (Symphonies), Queensland Symphony Orchestra (Dances). Naxos 8.506041.
 
October 21, 2021, marked the 100th birthday of the late British composer Sir Malcolm Arnold, one of the greatest yet most overlooked composers of the 20th century. Even in the UK, his music is seldom performed in concert, which is a shame. Thanks to Naxos, though, who have decided to mark the occasion of this centennial year with a budget-priced boxed set of his complete symphonies and dances, music lovers now have the chance to immerse themselves in the symphonic music of this most remarkable composer for a most reasonable price. Please rest assured that although this is a budget release, the playing and the engineering are all first-rate. The booklet included in the box gives some background on the symphonies and is prefaced with a reflection about the music and the composer by conductor Andrew Penny. Arnold’s music is a musical universe begging to be explored by those who have not yet entered it, and now Naxos has provided the portal key. Enter and enjoy!
 
Chopin: Nocturnes. (CD 1) Nocturne in B Flat minor Op. 9 No.1; Nocturne in E Flat Major Op. 9 No. 2; Nocturne in B Major Op. 9 No. 3; Nocturne in F Major Op. 15 No. 1; Nocturne in F Sharp Major Op. 15 No. 2; Nocturne in G minor Op. 15 No. 3; Nocturne in C Sharp minor Op. 27 No. 1; Nocturne in D Flat Major Op. 27 No. 2; Nocturne in B Major Op. 32 No. 1; Nocturne in a Flat Major Op. 32 No. 2; Nocturne in G minor Op. 37 No.1; Nocturne in G Major Op. 37 No. 2; (CD 2) Nocturne in C minor Op. 48 No. 1; Nocturne in F Sharp minor Op. 48 No. 2; Nocturne in F minor Op. 55 No. 1; Nocturne in E Flat Major Op. 55 No. 2; Nocturne in B Major Op. 62 No. 1; Nocturne in E Major Op. 62 No. 2; Lento Con Gran Espressione in C Sharp minor 'Nocturne', Kkiva/16; Nocturne in E minor Op. 72 No. 1: Nocturne in C minor Kkivb/8; Anonymous: Larghetto in C Sharp minor 'Nocturne Oublié', Kkanh. Ia/6; Nocturne in E Flat Major Op. 9 No. 2B. Stephen Hough, piano. Hyperion CDA86351/2.
 
British pianist Stephen Hough (b.1961) introduces this recording by noting that, “Chopin wrote no operas, even though that art form was his favorite and singers, not pianists, were his musical heroes… Enter the nocturnes – a corpus of some of the finest operatic arias ever written. Here bel canto melodies abound, dramatic, tender and tragic, with virtuoso decoration reminiscent of a coloratura diva.” Hough has a touch at the keyboard that seems to bring out the beauty of these pieces by truly making them sing. The engineering helps, too, as Hough’s piano seems to be recorded just a bit distantly, giving it a slightly warmer, enveloping sound. A wonderful release!
 
Echoes of Life. IN THE BEGINNING WAS | Francesco Tristano: In the Beginning Was; Chopin: Preludes op. 28: Nos. 1-4: INFANT REBELLION | Ligeti: Musica ricercata I; Chopin: Preludes op. 28. Nos. 5-9; WHEN THE GRASS WAS GREENER | Nino Rota: Valzer; Chopin: Preludes op. 28: Nos. 10-15; NO ROADMAP TO ADULTHOOD | Chilly Gonzales: Prelude in C sharp major; Chopin: Preludes op. 28: Nos. 16-18; IDENTITY | Takemitsu; Litany I; Chopin: Preludes op. 28: Nos. 19-20; A PATH TO WHERE | Arvo Pärt: Für Alina; Chopin: Preludes op. 28: Nos. 21-24; LULLABY TO ETERNITY | Alice Sara Ott: Lullaby to Eternity. Alice Sara Ott. Piano. Deutsche Grammophon 486 0474.
 
As the German pianist Alice Sara Ott (b. 1988) explains it, “Echoes of Life is a personal reflection on the thoughts and moments that influence and change our lives. With his Preludes op. 28, Frédéric Chopin composed a collection of individual character pieces – very different from each other and yet all connected in some way. They remind me of life. I have chosen seven contemporary works to intersperse the Preludes and, while they echo some of my most personal and vulnerable experiences, they also conform how modern, provocative, and timeless Chopin’s music is.”  The end result is a musical delight, as Ott mingles stimulating newer music together with the music of Chopin to create a program that flows smoothly and draws the listener in. You really don’t get the sense that you are jumping back and forth in time or making abrupt shifts in style. Yes, the Ligeti piece has a fierceness about it, but not overwhelmingly so, and yes, when you think about it, Chopin’s music has energy in abundance also. And so it goes with Takemitsu and Chopin, and Pärt and Chopin; in the hands of Alice Sara Ott, this music all makes sense together. The engineering is also first-rate, with a coherent piano sound. This truly is a splendid release.
 
Ramon Humet: Llum (Light). Tanca els ulls (Close Your Eyes); Camina endins (Walk Inside); Baixa al cim de l’Anima (Descent to the Summit of the Soul); Pedra nua (Naked Stone); Pau al Cor (The Peaceful Heart); Engrunes de Llum (Luminous Crumbs); Al•leluia (Alleluia). Sigvards Klava, Latvian Radio Choir. Ondine ODE 1389-2.
 
In his brief liner notes, Spanish composer Ramon Humet (b. 1968) invites his listeners to “take a journey inward, to travel to the immense space which is, precisely, what makes us human, to that silent place which exists within us, to the deep wellspring that is the birthplace of everything, to the bright sapling of Peace; to the infinite, which announces the Mystery; to the gift of Life, Peace and Love.” For many potential listeners, that might sound like pretentious twaddle; however, I hope it does not dissuade you from giving this release an audition, for I have found it to be one of the most beautiful recordings I have heard in quite some time.
 
Images: Anna Lapwood, Organ of Ely Cathedral. Ravel: Le Tombeau de Couperin (arr. Erwin Wiersinga); Patrick Gowers: An Occasional Trumpet Voluntary; Debussy: Andante from String Quartet in G Minor (arr. Alexandre Guilmant); Kerensa Briggs: Light in Darkness; Nadia Boulanger: III. Improvisation from Trois Improvisations; Owain Park: Images; Britten: Four Sea Interludes from Peter Grimes (arr.Lapwood); Messiaen: Vocalise-Étude (arr. Lapwood); Cheryl Frances-Hoad: Taking Your Leave. Signum Classics SIGCD688.
 
The centerpiece of the album is Ms. Lapwood’s arrangement and performance of Britten’s Four Sea Interludes from his opera Peter Grimes. This is music that in its orchestral guise is doubtless familiar to many readers of Classical Candor, two of the finest recordings being those of Andre Previn and the London Symphony Orchestra on EMI and Michael Stern and the Kansas City Symphony on Reference Recordings, but it is remarkable to hear how effective these transcriptions for organ turn out to be  You quickly find yourself forgetting that this is not an orchestra -– you just let yourself be drawn into and swept away by the music. Images was recorded by the veteran engineer Mike Hatch, who has done his usual fine job of capturing a convincing sonic portrait. Ms. Lapwood offers informative and charming notes on all of the selections included on the album. In every way, this is truly a first-class production for which I offer a highly enthusiastic recommendation.
 
Last Song. Louis Couperin (1626-1661): Unmeasured Prelude (arr. Una Sveinbjarnardóttir & Tinna Þorsteinsdóttir);Atli Heimir Sveinsson (1938-2019): Three Marian Prayers (arr. Fritz Kreisler); Christoph Willibald Gluck (1714-1787): Melodie (arr. Fritz Kreisler); Jórunn Viðar (1918-2017): Icelandic Suite; Ole Bull (1810-1880) Ensomme Stunde (arr. Una Sveinbjarnardóttir);  Jules Massenet (1842-1912): Meditation; Karólína Eiríksdóttir (b. 1951): Winter; Magnús Blöndal Jóhannsson (1925-2005): In a Dream; Lullaby; Couperin: Aubade Provencale (arr. Fritz Kreisler);  Claudio Monteverdi (1567-1643): Ave Maria; Hildegard von Bingen (1098-1179): Anima Processional; Una Sveinbjarnardóttir (b. 1975): Last Song before the News. Una Sveinbjarnardóttir, violin; Tinna Þorsteinsdóttir, piano, prepared piano, toy piano. Sono Luminus DSL-92248.
 
Well, I see no need to beat around the bush on this one. Last Song is the finest, most entertaining, thoughtfully assembled, artfully performed, and skillfully engineered recording of music for violin and piano that I have heard in many years.
 
Mozart Momentum 1785. CD1: Piano Concerto No. 20 in D minor K 466; Piano Concerto No. 21 in C Major K 467. CD2: Fantasia in C minor K 475; Quartet for Piano, Violin, Viola, and Cello No. 1 in G minor K 478; Masonic Funeral Music in C minor K477; Piano Concerto No 22 in E-Flat Major K 482. Leif Ove Andsnes, piano and direction (concertos); Matthew Truscott, violin and direction (Masonic Funeral Music); Joel Hunter, viola; Frank Michael Guthmann, Cello; Mahler Chamber Orchestra. Sony Classical 194397462.
 
Norwegian pianist Leif Ove Andsnes brings us a two-CD set of music composed by Mozart in the year 1785. Certainly the two concertos found on CD1 are probably the best-known of all the Mozart concertos, having been paired together on LP and CD countless times by countless musicians, and for good reason – they are both amazing works. This is a splendid collection of some of Mozart’s most inspired music.
 
Arvo Pärt: Miserere. Which Was the Son of…; Festina lente; Tribute to Caesar; Sequentia; The Deer’s Cry; Miserere; And I Heard a Voice…. Howard Arman, Chor des Bayerischen Rundfunks; Münchner Rundfunkorchester; oestereichisches ensemble fuer neue music. BR Klassik 900527.
 
The choral music of Estonian composer Arvo Pärt (b. 1935) is always a joy to hear, and especially so when it is so expertly performed and recorded as it is on this collection featuring the Bavarian Radio Chorus. The excellent liner booklet that includes texts makes this a first-class release in every respect.
 
The See Within. Echo Collective. 7K! 7K024CD.
 
The music is scored for violin, viola, cello, harp and, in its first appearance on a commercially released album recording, the magnetic resonator piano (MRP). The See Within is a musical breath of fresh air blowing in from Brussels. Give this remarkable album an audition and be amazed, as was I, that all the sounds you hear are produced by acoustic instruments. I
 
Songs of Solitude: Hiyoli Togawa, viola. Toshio Hosokawa: Sakura/Solitude; Bach: Cello Suite No. 4 in E flat major, BWV 1010 – Sarabande; Johanna Doderer: Shadows; José Serebrier: Nostalgia; Bach: Cello Suite No. 1 in G major, BWV 1007 – Sarabande; Tigran Mansurian: Ode an die Stille; Michiru Oshima: Silence; Bach: Cello Suite No. 3 in C major, BWV 1009 - Sarabande; Kalevi Aho: Am Horizont; John Powell: Perfect Time for a Spring Cleaning; Bach: Cello Suite No. 5 in C minor, BWV 1011 – Sarabande; Cristina Spinei: Keep Moving; Rhian Samuel: Salve Nos; Bach: Cello Suite No. 2 in D minor, BWV 1008 – Sarabande; Gabriel Prokofiev: Five Impressions of Self-Isolation (Calling Out/Wine for One/Only Birds in the Sky/How Many Weeks...?/Back to the English Garden); Bach: Cello Suite No. 6 in D major, BWV 1012 – Sarabande; Federico Gardella: Consolation. BIS 2533 SACD.
 
This gorgeous production is generously filled along several dimensions. At nearly 79 minutes in duration, you certainly get your money’s worth in that respect; moreover, the booklet included with the disc contains not only an introductory note from violist Togawa about how the recording came about (yes, this is another of those pandemic-inspired projects) but also notes about the composers, complete with photos. A glance through the program reveals not just works by contemporary composers, but several Bach Sarabandes originally composed for solo cello but played here on the viola. The end result is an album of energy and grace, appropriate listening during a pandemic that is, alas, still ongoing.
 
Igor Levit: On DSCH. Shostakovich: 24 Preludes and Fugues Op. 87; Stevenson: Passacaglia on DSCH. Igor Levit, piano. Sony Classical 19439809212.
 
Levit brings a warmth and depth of expression to the Shostakovich that draws the listener in. Part of this impression may be attributable to the recorded sound of the piano, which is on the warm and full side, yet very clear and detailed. The Stevenson is a complex piece, expressing a multitude of styles and emotions, something like a symphony for the piano. The net result is a first-class release that I highly recommend to DSCH fans, even those who already have a favorite recording of his marvelous 24 Preludes and Fugues.
 
KWN

Beethoven: Piano Concertos 1-5 (CD review)

Rudolf Buchbinder, piano; various orchestras and conductors. DG 486-0494 (3-disc set).

By John J. Puccio

When I saw the name “Rudolf Buchbinder” on the cover of this set, I recognized one thing immediately and another thing a moment later. I realized I was familiar with the name, probably because this Czechoslovakian-born, Austrian classical pianist (b. 1946) has been around for almost as long as I have; has played in most of the world’s top concert halls and with most of the world’s top orchestras; and has made dozens of recordings spanning over sixty years in the business of making music. But then I also realized that I hadn’t heard a single thing the man had ever played, whether on record or in person. How could this be? Maybe he’s more popular in Europe than in America? I dunno.

In any case, the present album is, according to Amazon, Buchbinder’s third recording of the complete Beethoven piano concertos, these present ones made live in 2019 and 2020, just before the onset of the pandemic. And the names involved are all the best in the business: the Gewandhaus Orchestra under Nelsons; the Bavarian Radio Symphony Orchestra under Jansons; the Munich Philharmonic under Gergiev; the Staatskapelle Dresden under Thielemann; and the Vienna Philharmonic under Muti. The names don’t get much bigger than that. So, yes, Buchbinder is a world-class pianist. Does he deserve the adulation and honors he has received over the decades? Judging by the current album, certainly; although I would by no means declare any of these performances definitive or surpassing the dozens of fine recordings already available, separately or in complete sets. For that honor he would have had to impress me more than Kovacevich, Perahia, Richter, Ashkenazy, Brendel, Gilels, Kempff, Arrau, and others, which he didn’t do. So, no, I wouldn’t classify the present set as the final word on the subject, even though it has its merits.

The program opens on disc one with the Piano Concerto Nos. 1 in C major, op. 15, with Andris Nelsons leading the Gewandhaus Orchestra accompanying Buchbinder. Beethoven wrote the Concerto No. 1 in 1795, premiered it with himself as soloist, and then revised it slightly in 1800. Like Concerto No. 2, the first concerto is sort of Beethoven light, still showing the earmarks of Mozart and Haydn in its style and execution. It sounds more blithe, more carefree, than the composer’s later concertos. The Gewandhaus Orchestra was already an established ensemble by the time Beethoven arrived on the scene, so we would expect them to know the music inside out. Maestro Nelsons leads a fairly spirited orchestral accompaniment, while Buchbinder maintains a clear, classical line. Although his playing may not be so playful or youthful-sounding as some other performers, it is certainly smooth and accomplished. Every phrase is tenderly served, the slow movement particularly sweet, resulting in a carefully structured, easy, and charming interpretation.

Coupled with No. 1 on disc one is the Piano Concerto No. 2 in B-flat major, Op. 19, which Beethoven published in 1795 but had been working on since around 1787. Here, Mariss Jansons and the Bavarian Radio Symphony Orchestra accompany the soloist. Buchbinder appears a bit more relaxed and free this time around, and his playing technique is really a marvel of dexterity and drive. Yet while he can be quite forceful, he is also quite warm and delicate when need arises. Still, he doesn’t strike me as being as flowing or affectionate in his reading as Kovacevich. While both he and Jansons seem to miss some of the mischievousness of the final movement, they give it their professional best and still produce an accomplished reading.

Disc two opens with the Piano Concerto No. 3 in C minor, Op. 37, Buchbinder accompanied by Valery Gergiev and the Munich Philharmonic. No. 3 is a kind of transitional concerto for Beethoven, not quite in the league with Nos. 4 and 5 but clearly on a road away from Mozart and Haydn. Beethoven premiered it in 1803 along with his Second Symphony, with himself again as the concerto’s soloist. Here, we get into the more dramatic, more Romantic Beethoven that we all know and love. The piano enters after a rather long-winded introduction, so it needs to be strong and energetic. That introduction, incidentally, is handled perhaps a little more solemnly by Gergiev than I would have liked, but the extra gravitas is probably a good thing. When Buchbinder does finally enter, it is with a grandeur and eloquence fully appropriate to the music. And so it goes. Buchbinder is a mite too reserved and formal for my taste, but he has an appealingly old-fashioned style to his playing that should offend no one.

The second disc concludes with the Piano Concerto Nos. 4 in G major, Op. 58, with Christian Thielemann and the Dresden Staatskapelle. The Fourth Concerto is among the most mature of Beethoven’s piano concertos, as well as one of his most popular. He finished it in 1806 and premiered it in 1807 during a private concert along with his Fourth Symphony. Its first public concert came the next year in a monumental outing along with the Fifth and Sixth Symphonies and the Choral Fantasy. It would also be Beethoven’s last public appearance as a soloist, so he went out swinging. The piano enters immediately, and Buchbinder makes the most of it, establishing an imposing command of the score. He pretty much tells you “this is my music, and I don’t care if you like what I’m doing or not.” Again, I found his manner a touch too distant for my liking, but there is no denying his supreme mastery of the piano, and there is an especially deep-felt understanding of the music of the final movement.

The Piano Concerto No. 5 in E-flat major, Op. 73, “Emperor” gets the entire third disc to itself, which only seems apropos given the majesty and scope of its music, with Buchbinder accompanied by Riccardo Muti and the Vienna Philharmonic. Beethoven wrote the “Emperor” Concerto between 1809-1810 and published it in 1811. The extended solo and orchestral introduction should have a grand and imposing presence, which Buchbinder, Muti, and the magnificent Vienna Phil accomplish with ease. It’s a big, warmhearted performance that should please most classical listeners, although it adds little to what has already been done successfully many times. I enjoyed and admired the reading while not really feeling a need to revisit it. In other words, even though it’s competent, well thought out, and well played, it seemed a trifle too mechanical to me, too perfect, not daring enough. Even the slow middle movement seemed too reserved and aloof to me, never quite reaching the expressive depths I had hoped for. Nevertheless, these are mere quibbles compared to Buchbinder and company’s unwavering sincerity and flawless execution of the score.

Producers Philipp Nedel and Florian Rosensteiner and engineers Christian Gorz and Matthias Erb recorded the concertos live at the Musikverein, Vienna and the Kulturepalast Dresden in October, November, and December 2019 and October 2020. Considering the different venues involved, the sound is pretty consistent thanks, I suppose, to the same two producers and engineers involved. It sounds particularly good for live recordings, the First Concerto appearing quite lifelike, without being too close up, one-dimensional, or overly bright. The Second Concerto sounds a tad more steely in the upper midrange and treble, but it’s still more than acceptable. The Third Concerto seems a bit warmer and softer than the preceding two, which works in its favor as a more-mature piece of music. By the Fourth Concerto, I was either getting used to the sound or it was improving dramatically. This one sounds almost exactly like a good studio recording. Finally, we come to the Fifth Piano Concerto, the “Emperor,” where the sound is a little less natural than in the Fourth, slightly harder through the midrange and a mite softer in the bass. Still and all, the sound of all five concertos is, as I say, quite good for live recordings and better than most.

JJP

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

Infinity (CD review)

By Karl W. Nehring

Sophie Hutchings: By Night; Slow Meadow: Helium Life Jacket; Jon Hopkins: Scene Suspended; Þorkell Sigurbjörnsson; Heyr himna smiður; Jóhann Jóhannsson: A Pile of Dust; Kelly Lee Owens & Sebastian Plano: Find Our Way; Ólafur Arnalds: momentary; Anne Lovett: Infinity; Benjamin Rimmer: In the Shining Blackness; Ola Gjeilo: Still; Stephen Barton: The Universe Within You; Nainita Desai: My Mind is Still; Hildur Guðnadóttir: Ascent; A Winged Victory for the Sullen: Atomos XI; Luke Howard: There is a Solitude. Voces8 (Andrea Haines, Eleonore Cockerham, soprano; Katie Jeffries Harris, Barnaby Smith, alto; Blake Morgan, Euan Williamson, tenor; Christopher Moore, Jonathan Pacey, bass). Decca B0034074-02,

Voces8 is an English vocal octet originally founded in 2003. They have had numerous personnel changes over the years, but have remained consistent in their overall sound. As you can see from a glance through the listing of selections on their latest offering, they have decided this time around to focus primarily on music of the current century. Unfortunately, the minimal liner sheet included by Decca with the CD provides scarcely any information other than the bare minimum beyond what we are told on the back cover, which gives us the names of the songs and composers along with the following brief statement: “Escape to another world with the soothing voices of VOCES8 in this space-inspired collection of meditative and transcendental works. Featuring six new commissions alongside brand-new choral versions of calming instrumental pieces, this album showcases the transportive power of the human voice, interwoven with soft instrumental sounds.” Well, were I not (a) already familiar with Voces8 from a couple of their earlier albums and (b) already familiar with the music of several of the composers, then I most likely would have (c) put this CD right back into the library rack. But I persisted.

But first, a quick overview of the composers, with a tip of the cap (and yes, I have donated) to Wikipedia. Sophi Hutchings (b. 1978) is an Australian pianist/composer. “Slow Meadow” is a name used for ambient compositions by Texas-born multi-instrumentalist Matt Kidd. Jon Hopkins (b. 1979) is an English musician and producer who writes and performs electronic music. He has produced but also contributed to albums by Brian Eno, Coldplay, and others.

"Heyr himna smiður" (literally "Hear, smith of the heavens") is a medieval Icelandic hymn written by chieftain and poet Kolbeinn Tumason in the 13th-century. The music that accompanies the text was composed by Þorkell Sigurbjörnsson (1938–2013), more than 700 years later. Jóhann Jóhannsson (1969-2018) was an Icelandic composer who wrote music for a wide array of media including theatre, dance, television, and films. Kelly Lee Owens (b. 1988) is a Welsh electronic musician and producer. Sebastian Plano (b. 1985) is an Argentinian composer, producer and multi-instrumentalist based in Berlin, Germany. His 2019 album Verve was nominated for Best New Age Album at the 62nd Annual Grammy Awards. Ólafur Arnalds (b. 1986) is an Icelandic multi-instrumentalist and producer who mixes strings and piano with loops and beats, a sound ranging from ambient/electronic to atmospheric pop. Benjamin Rimmer (b. 1993) is a composer based in London. Ola Gjeilo (b.1978) is a Norwegian composer and pianist living in the United States. Stephen Barton (b.1982) is a British composer who has lived and worked in Los Angeles since 2001. He has composed the music for dozens of major film, television, and video game projects. Nainita Desai is a British-Indian composer of film, television and video game music. Hildur Guðnadóttir (b. 1982) is an Icelandic musician and composer. A Winged Victory for the Sullen is an ambient music duo composed of Dustin O'Halloran (b. 1971), an American composer and pianist, and Adam Wiltzie (b. 1969), an American composer and sound engineer currently based in Brussels, Belgium. Luke Howard (b. 1978) is an Australian composer and pianist.

Although the backgrounds of the composers are quite varied, the overall sound and mood of the compositions on Infinity are fairly consistent. Depending upon the mood of the listener, this can be either a plus or a minus. There are times when it is nice to put on this CD and just relax to the beautiful sounds; however, there are times when more contrast will begin to seem desirable. In my experience with Infinity, it is an album that I enjoyed more the more intently I listened to it. When I listened more casually, the sameness of the sound began to bother me; however, when I sat down and really LISTENED, I found much to admire in the individual compositions. Other than the woefully inadequate liner insert, this is an excellent release both musically and sonically, well worth an audition.

By the way, I read recently that Eric Whitacre is planning to record his composition The Sacred Veil (a previous recording is reviewed here: https://classicalcandor.blogspot.com/2020/10/eric-whitacre-sacred-veil-cd-review.html) with Voces8 in 2022. That should be something well worth watching out for.

KWN