Miklos Rozsa: Sinfonia Concertante

Miklos Rozsa is one of the great film composers of Hollywood's Golden Age. He scored over 100 films.

Rozsa was nominated 17 times for an Oscar and won three times. But that was only half of what he called his "double life."

Rozsa left Nazi Germany in 1931, then moved to France and England, always one step ahead of the invaders. At that time, he was a renowned composer of classical music. When he came to the United States in 1940, he became a rising star in the film industry.

But Rozsa continues to compose "serious" music for the concert hall. This release features three works written while Rosza lived his double life. It also includes the 1929 Rhapsody for Cello and Orchestra, Op. 3, when he was known only as a classical composer.

This early work is very much a post-Romantic showpiece. Gestures are large and dramatic, with a Brahmsian influence. Cellist Harriet Krijgh really sells the work. Her playing is expressive and emotive, but never over the top.

Rozsa completed his Sinfonia concertante for violin, cello, and orchestra, Op. 29, in 1958. This is a much more complex work, with a relaxed tonal structure. Rozsa's use of violin and cello presents both instruments at their best. Their interchanges sometimes take unexpected turns.

Sometimes film composers (even those who started in the concert hall) can only write Hollywood-style works. Rozsa is different. He successfully pulled off his double life. He created concert works that don't sound like soundtrack cues stitched together.

Gregor Buhl directs the Deutsche Staatsphilharmoni Rheinland-Pfalz. Their playing is disciplined with a concentrated power that matches the soloists.

Sure, I love the scores to "El Cid" and "Ben Hur." But I also like these works -- for different reasons. Recommended.

Miklos Rozsa: Sinfonia Concertante for violin, cello and orchestra, Op. 29
Notturno ungherese, Op. 28; Rhapsody for cello and orchestra, Op. 3
Harriet Krijgh, cello; Nikita Boriso-Glebsky, violin
Deutsche Staatsphilharmonie Rheinland-Pfalz; Gregor Buhl, conductor
Capriccio C5535

Alan Hovhaness: Concerto No. 2, Works for Violin and Piano

 I admit I'm a big Hovhaness fan. And I know that's not necessarily a popular opinion. Detractors complain that the music of this amazingly prolific composer all sounds the same. My response? It's a sound I like. 

And it's also a misperception. Hovhaness' unique style combined modal harmonies and Eastern scales with Western forms. And while his works are tonal, it's a very loose tonality. There's never a feeling that we're marching inevitably to a final cadence. We simply... arrive.

This album presents several works by Hovhaness. They're for violin, both with orchestra and just piano. Zina Schiff is an excellent interpreter. Hovhaness was proud of his Armenian heritage. In his 1951 Concerto No. 2 for Violin and Strings, those roots lie close to the surface. Schiff's playing makes the violin sound like a folk instrument -- perfect for the music. 

Oror (Lullaby), Op. 1 is a different matter. This 1922 work has a strong Eastern European influence. But the violin here is strictly a classical instrument. Schiff is wonderfully expressive in this short work. 

The Violin Sonata, Op. 11 from 1937 is a purely classical work. True, the free-spinning melodies could only come from  Hovhaness. But the structure and interplay is in line with the violin sonatas of the Romantic composers. 

The works on this album span 51 years, from 1921 to 1973. Listen carefully. You'll hear Hovhaness defining and refining his style over time. Highly recommended for those ready to move beyond "Mysterious Mountain." 

Alan Hovhaness: Concerto No. 2 for Violin and Strings; Works for Violin and Piano
Zina Schiff, violin; Valerie Stark piano
Salzburg Chamber Soloists; Avlana Eisenberg, conductor
Naxos 8.559957

Album Marks Philippe Quint's Career Milestones

Violinist Philippe Quint presents a program of four violin works. All four were written by women, and three were composed especially for Quint. Quint's personal relationship to these composers (and their works) informs his performance. And those performances are superb.

As Quint explains in the liner notes, the three commissioned works each mark an important milestone in his career. 

Lero Auerbach composed her Violin Concerto No. 1, Op. 56 in 2000-2003. This was a milestone for Auerbach, too. It was her first large symphonic work to be recorded. The concerto is a fascinating blend of styles. The violin provides continuity as the work moves from one section to the next. 

The Violin Concerto of Errollyn Wallen is the newest work on the album. It was completed in 2024. It's also the first violin concerto by the composer (another milestone). Wallen's concerto is tonal and written with Quint in mind. Several themes are quotes from tunes Quint heard growing up. 

Lara Kwint composed her Rhapsody for Violin and Piano in close collaboration with her son. The violin part is full of technical challenges. But this is not a showpiece. Rather, it's a true conversation between violin and piano. And one of exceptional beauty. 

 Adoration by Florence Price concludes the album. This short, sentimental tune is charming in its simplicity. And that's how Quint performs it. He lets the music speak for itself. 

This is an album of extraordinary performances. The release is available in Dolby Atmos format. If possible, listen to it through an Atmos system. The concertos really come alive in the immersive soundfield. 

Philippe Quint, violin: Milestones
Lero Auerbach, Errollyn Wallen, Lara Kwint, Florence Price
Scottish National Orchestra; Andrew Litton, conductor
Pentatone PTC5187408

Arnold Rosner's Music for Wind Band: Bold and Unfiltered

This release was a real surprise for me. Long-time readers know I love Arnold Rosner's music. He combined Renaissance and Medieval harmonies and voice-leading. And he eschewed the major/minor structure of the Baroque (and later) periods. His use of tonality makes his music accessible to modern audiences. And yet there's a sense of timelessness to it.

What surprised me is that this release features works for symphonic wind band. Without strings, Rosner's music has an immediacy to it, bristling with raw power. 

Rosner's masterful orchestrations are idiomatic to the ensemble. None of this business of just substituting clarinets for strings! That gives Rosner's wind band music a distinctive sound. 

Any instrument (or combination of instruments) can have the melody. Any instrument (or group of instruments) can provide supporting harmony. These combinations shift throughout the work, providing fresh insights into the material. 

All these works are world premiere recordings. I hope we'll start seeing them show up on concert programs. Every piece is a gem. Eclipse, Op. 100 is a tone poem depicting the celestial event. Rosner wrote it for a high school ensemble, creating an engaging work using simple materials. 

Wind band arrangements of folk music are fairly common. Rosner's are uncommon. RAGA!, Op. 104 uses an Indian raga. But he doesn't just set the raga in a Western tonal framework. Rather, he closely follows the Indian traditional form. He uses a shifting combination of instruments to develop the material. 

"Lovely Joan", Op. 88 is a setting of an English folksong. But Rosner does more than simply present the tune a few times. His work explores the underlying harmonies of the piece. Each part of the melody is examined in detail. The work ranges far and wide, held together by the source material. 

Density512 is a first-rate ensemble, dedicated to contemporary music. They play with commitment, expression, and enthusiasm. Arnold Rosner was truly a unique composer with a voice all his own. And it's a voice that is accessible to modern audiences. If you'd not heard Rosner before, this is the album to start with. This is Rosner unfiltered. 

Arnold Rosner: Music for Symphonic Wind Band
Density512; Jacob Aaron Schnitzer, Nicholas Perry Clark, conductors
Toccata Classics

The Last Rose: Mysterious Music on Silent Instruments Reborn

 

This album has a truly remarkable origin. Early music specialists Mathilde Vialle and Thibaut Roussel received a unique opportunity. The Paris Museum of Music was loaning them two instruments from its collections. Instruments that had not been played for centuries. 

Vialle received the basse de viole of John Pitts, London 1679. It's the only known surviving instrument from this luthier. Iit was restored to playing condition in the 20th Century. But this release will most likely be the only opportunity to most of us to hear it. 

Roussel was entrusted with the archlute of Cristoph Koch, Venice, 1654. It was restored to playing condition in the 1990s.

What to perform? In the Bibliothèque nationale de France, they found a mysterious manuscript. It was a collection in two bound volumes -- one for the viol parts, the other for the bass. The first page was torn out, so there is no title, author, composer, or patron to attach to the work. 

But inside were 200 pages of music, both familiar and obscure. This album is the result. As the artists wrote in the liner notes, "To hear the music that had been long forgotten but is now played on instruments that remained silent for centuries is to embark on a journey through time."

And it's a convincing journey. Vialle and Roussel are top-notch players. While their playing is stylistically correct, it's full of expression and emotion. Ronan Khalil plays the virginal, filling out the basso continuo. And tenor Zachary Wilder sings some of the selections. 

This is a beautifully realized release. The instruments have an extraordinary sound, enhanced by the masterful recording. The clean, detailed sound showcases the rich voices of these instruments.

Even if you have a large collection of early music, you should add "The Last Rose" to your collection. And if you're starting your exploration of this genre, "The Last Rose" is a great choice as well.

The Last Rose: Songs, tunes, and dances from a mysterious manuscript
Mathilde Vialle, bass viol; Thibaut Roussel, archlute; Ronan Khalil, virginals; Zachery Wilder, tenor
Harmonia Mundi HMM 902505

Glass, Undistorted: Di Lallo’s Faithful Performances

 

Giusto Di Lallo created this recording with some very specific objectives. The first was to mark the tenth anniversary of Philip Glass' Piano Etudes. The 20 etudes were first published -- and recorded -- in 2014. 

Since that time, several pianists have recorded these works. When he studied the scores, Di Lallo realized that many performers took liberties with the music. Philip Glass recognized that players tend to make pieces their own through interpretation. 

But as Di Lallo noted in the liner notes, "As I delved deeper into studying these pieces, I realized that, besides the tempos, pianists

often altered the dynamics and phrasing as well. As a composer myself this left me with a certain sense of frustration."

Di Lallo's goal was to be as faithful as possible to the printed music. So the tempos, dynamics, and phrasing are true to Glass' vision. Does it make a difference? 

Oh yes. 

These are not mechanical performances. Di Lallo brings all his musicianship to making these pieces come alive. It's just that he's aligned his own expressive nature with Glass' ideas. 

Di Lallo wisely chose not to record all 20 etudes. By picking and choosing, he's created a compelling and engaging program. Plus he chose not to play the etudes in sequence. This creates some interesting contrasts between the pieces, and provides additional insights into Glass' music. 

This is a fine collection. I'm looking forward to doing some A/B comparisons with other recordings of the etudes. I suspect there may be a few surprises. 

Philip Glass: Selected Piano Etudes
10th Anniversary Special Edition
Giusto Di Lallo, piano
SOMM Recordings SOMMCD 0695

Daugherty Soars Again with Blue Electra

Would it be too much to name Michael Daugherty America's composer? So much of his work is bound up in American culture and history. From the "Metropolis Symphony" (1991) through "Philadelphia Stories" (2001) to "Mount Rushmore" (2010), he's captured the essence of America

Daugherty has a unique symphonic style. It can be expansive without sounding like Copland. It can be lyrical without sounding like Barber. It can reference other musical genres without sounding stilted or pretentious.

This release adds three more masterpieces of Americana to Daugherty's catalog. 

"Blue Electra" (2022) celebrates the life and mysterious fate of Amelia Earhart. Anne Akiko Meyers is the violin soloist. Her playing crackles with energy, especially in the second movement "Paris (1932)." Her phrasing on the final movement, "Last Flight (1937)" is exquisite. It brings the work to an emotional, heartbreaking conclusion. 

"Last Dance at the Surf" (2021) commemorates Buddy Holly's final performance. He would die in a plane crash hours later. Daugherty captures the exuberance of the gig. And all without quoting music by Buddy Holly, Richie Valens, or the Big Bopper. 

Rather, we're treated to an abstract version of the event, moving from uptempo numbers to slow songs and back again. And that abstraction makes the piece work. There's no danger of "Last Dance" ever sounding dated or contrived. 

"To the New World" celebrates the Apollo 11 moon landing. Soprano Elissa Johnston provides a wordless obbligato. Does her voice, coupled with a soaring French horn, echo "Star Trek?" Perhaps. If so, it's a very oblique reference. 

Daugherty uses the voice to create an otherworldly sound to the music. This is another stirring score that inspires and uplifts. 

David Alan Miller directs the Albany Symphony. They're recorded in the legendary Troy Bank Building. When the ensemble needs to go big, it does. And when subtlety is required, the musicians deliver. These are world-class performances of first-class music. 

Michael Daugherty: Blue Electra
Last Dance at the Surf; To the New World
Anne Akiko Meyers, violin; Elissa Johnston, soprano obbligato
Albany Symphony; David Alan Miller, conductor
Naxos 8.559955

Three Polish Voices, One Bold Sound

This album has a simple program. Yet it's one with complexity and depth. Thomas Sondergaard has collected three works by 20th-century Polish composers. The three composers have a shared musical heritage. Yet each chooses a different way to express it. 

Graznia Bacewicz wrote her "Overture for Orchestra" in 1943. It's a bustling, energetic work. Without context, it can seem celebratory. But Bacewicz composed it during the Nazi occupation. The intent was defiance. And that's the attitude the Royal Scottish National Orchestra delivers.

Symphony No. 3 by Witold Lutosławski challenges differently. This 1983 work features limited aleatorism. That is, specified instruments play notated patterns for a set length of time. But the speed and frequency of the repetitions are up to the performers. Most of these sections have several groups of instruments playing different patterns. The way they interrelate changes with every performance.

The symphony is a difficult work to perform. The balance between control and freedom has to be just right. And it is here. I think the orchestra's performance here is the best on the album.

Karol Szymanowski's "Fantasy on King Roger" is the most traditional work on the album. The music was derived from his 1926 opera, "King Roger." The score is an exotic blend of  Mediterranean music, Gregorian chant, and Polish classicism. Sondergaard leads the RSNO in a spirited and nuanced performance. 

A fine album of music. And one that demonstrates just how diverse the music of a single country can be.

Bacewicz, Lutoslawski, Szmanowski

Royal Scottish National Orchestra; Thomas Sondergaard, conductor

Linn CKD 758

Liszt’s Legacy: Two Forgotten Concertos, Reborn

 

The two piano concertos on this release have a few things in common:

1) They were both composed by students of Franz Liszt

2) Both composers were better known as pianists

3) Both works have languished in obscurity for almost a century

4) Both are extraordinary concertos that deserve an audience

Oliver Triendl has made a career recording overlooked and neglected repertoire. Virtually all the music he's recorded has been worthy of revival. And that's the case here, too. 

Triendl has the chops to pull off these concertos -- and they're needed. Emil von Sauer was considered Franz Liszt's heir. His piano writing is dense and difficult. Conrad Ansorge also follows in Liszt's footsteps, but not as closely. His music relies on sensitive musicianship as well as technical brilliance.

Sauer's Concerto for Piano and Orchestra No. 1 in E minor was the first of two concertos. He wrote it in 1895, and it's the height of Romantic expression. Crashing chords cascade up and down the keyboard. Thick piano textures are the norm, with an abundance of rapid runs. 

But this concerto isn't solo piano with a side order of orchestra. It is a collaborative effort. The piano sometimes accompanies the orchestra (as well as the other way around). Sauer created a four-movement concerto, unusual for the day. 

The work is filled with big, brawny melodies that have some staying power. Now I want to hear Sauer's second concerto!

Ansorge's Concerto for Piano and Orchestra in F major, Op. 28, is a late work from 1924. Ansorge finished it six years before his death. It may be the last work he completed.

It's a very different work from Sauer's concerto. Technical demands on the pianist remain high. But the focus isn't the technique, but what is expressed through it. This is a very lyrical concerto, and one with real beauty. 

The Rundfunk-Sinfonieorchestrer Berlin perform under Roland Kluttig. The ensemble has a big, brawny sound that's well-suited to this music. If you're a fan of Rachmaninoff, Grieg, or Tchaikovsky concertos, give this a listen. You may just discover some new favorites.

Emil von Sauer, Conrad Ansorge: Piano Concertos
Oliver Triendl, piano
Rundfunk-Sinfonieorchestrer Berlin; Roland Kluttig, conductor
Capriccio C5511

Violina Petrychenko Champions Ukrainian Masters

Pianist Violina Petrychenko's recording career has been defined by her heritage. The six albums she's released on Ars Production all center around Ukrainian composers. The first five were solo piano recitals. This one's more ambitious. 

Petrychenko is a world-class performer. Her phrasing is wonderfully emotive, and her technique is near-perfection. 

Instead, she chose to celebrate the musical heritage of Ukraine, her home. And Petrychecko's ideally suited to do it. Her playing shows a deep understanding of Ukrainian classical aesthetic. It's an aesthetic that is different from other Eastern European countries (especially Russia). 

This album presents two world premiere recordings. And what wonderful additions to the repertoire they are. Vasyl Barvinsky gained international fame as a pianist and composer. In 1948 he was arrested by the Soviet authorities and sent to a gulag for ten years. During that time, most of his manuscripts were destroyed. 

After his release, Barvinsky tried to reconstruct as many works as possible. But time was against him. He died five years later. The Piano Concerto in F minor is a magnificent post-Romantic masterwork. 

The gestures are broad, and the orchestration is sweeping. And yet this is a tightly focused work, running only 20 minutes. Barvinsky doesn't waste a note and uses the piano to telling effect. 

Viktor Kosenko lived and worked primarily in Kyiv. He was interested in Ukrainian folk music, which did not sit well with the Soviets. As a result, he was forced to live in a state-provided apartment in abject poverty. 

Nevertheless his compositions are among the most treasured of the Ukrainian repertoire. His 1928 Piano Concerto in C minor is a gorgeous work. It compares favorably to Rachmaninoff's concertos -- big themes, memorable melodies, and glittering piano artistry.

Petrychenko, the Lviv National Symphony, and Volodymyr Syvokhip serve their countrymen well. These are stirring performances, driven by real passion. I'll be revisiting this release many times.

Ukrainian Piano Concertos
Vasyl Barvinsky; Viktor Kosenko
Violina Petrychenko, piano
Lviv National Philharmonic orchestra; Voldymyr Syvokhip, conductor
Ars Production 260052

The Timeless Sequences of the Liber Ymnorum

 

When it comes to musical source materials, few surpass the importance of the Liber ymnorum. This collection organized and codified the sequences sung in the Catholic Church. 

Notker Balbulus (c.840-912) as a monk working in the Abbey of St. Gall. He was a talented writer and composer. In the 880s, he compiled the Liber ymnorum, and contributed music to it. It's a massive work of liturgical and musicological scholarship. 

Balbulus organized all the music according to the church calendar. Those using the book to prepare a service could easily find the appropriate music. 

Balbulus also carefully notated the music, ensuring its preservation through the centuries. The modern musical staff had yet to be developed. Balbulus used numes -- graphic elements to indicate the rise and fall of the melody. For long and involved sequences, this was a welcome innovation. The choirmaster no longer had to rely on memory. 

The Liber ymnorum is still in use, and Balbulus' compositions are still sung. 

This album features selections from the Liber ymnum, sung by the Schola Antiqua of Chicago. Director Michael Alan Andeson makes some canny programming choices. These sequences are mostly devoice of a strong rhythmic pulse, or harmony. 

Anderson varies his forces, providing contrast between the selections. A sequence sung by a single male voice is followed by one for women's choi, followed by one to two males, etc.   

The recording venue is spot on. St. Josaphat Parish in Chicago provides an open ambience for the sound. There's some echo, but not enough to muddy the music. This was music designed for the church, and that open cathedral sound is part of its DNA. 

The performances are excellent. This is serene, contemplative music designed to enhance worship -- or at least thoughts of the Divine. It succeeds.

Notker Balbulus: Liber ymnorum
Schola Antiqua of Chicago; Michael Alan Anderson, conductor
Naxos 8.579169

Kreutzer Quartet: Four Premieres, Four Bold Voices

This album was a long time coming. The Kreutzer Quartet began recording it in 2018 and completed it four years later. The program features four world premier recordings from new and old composers.

Thomas Metcalf is in his thirties and has an impressive body of work. "Pixelating the River" (2022) was commissioned and premiered by the Kreutzer Quartet. The structure is extremely complex. But the quartet's playing makes sense of it all. Metcalf has broken his music down into it's smallest components. The Kreutzer's phrasing shows how it all fits together.   

Australian composer Sadie Harrison is another young artist with something to say. Many of her works address social injustice, as does the piece here. "10,000 Black Men Named George: The Multiple Burdens of Injustice" says it all in the title. Harrison uses African-American spirituals as the template for her work. The result is a moving and heartfelt lament that transcends race.

"On Blue" (2020) was another commission by the Kreutzer Quartet. Joel Jarventausta is concerned with texture. This work moves slowly, with the instruments gradually shifting in their interrelationships. The quartet does a masterful job of sustaining the intensity of the music.. 

Gloria Coates is probably the most familiar composer on the release. The Piano Quintet was her final completed work. Half of the quartet is tuned a quarter-tone higher. It gives the ensemble an eerie, otherworldly sound. From the ethereal sound clouds to the hammering tuttis, this is classic Coates. And it's an apt summation of her career. 

Four contemporary composers with four totally unique approaches to composition. Another fine album by the Kreutzer Quartet.

Kreuzter Quartet: Something So Transporting Bright
Music by Thomas Metcalf, Sadie Harrison, Joel Jarventausta,Gloria Coates
Metier MEX 77132

Derek Scott’s Dance Suites: Defying Academia

 Derek Scott's academic career focused on the British music hall and popular music. And in his youth he played in a rock band. That experience and knowledge come into play with his Dance Suites.

According to Scott, "derision in academic circles for music that was often categorised as ‘derivative rubbish’ or ‘entertainment for the masses’" made him reticent to complete these works. He got over it, though. And I'm glad he did. 

These suites were inspired by various popular dances. But they are neither derivative nor superficially entertaining. Rather, Scott explores the essence of these dances. He keeps the character of the dances while expanding and building upon their cores. 

Dance Suite No. 1 "Old Time Dances" celebrates dances of the Edwardian Era. It includes the tango, waltz, polka, and two-step. Dance Suite No. 2 "The 1960s" features the boogaloo, watusi, and the twist. Both suites are a lot of fun. But they're also substantial works as well. 

Either would be great for a pops concert or a regular series concert. The same is true for the Serenade, Op. 48. Scott channels the great light classical composers, such as Eric Coates and Trevor Duncan. 

Once again, Scott uses the prototypes as a starting point. So, the Serenade achieves the intended effect without sounding like a pastiche. This is wholly original music that -- by design -- is tuneful and accessible. 

Paul Mann directs the Liepaja Symphony Orchestra. These artists deliver spirited performances that add to the fun. 

Scott's Dance Suites may be frowned on by academia, but they brought a smile to my face. 

Derek B. Scott: Orchestral Works, Volume 4
Dance Suite Nos. 1 & 2; Serenade
Liepaja Symphony Orchestra; Paul Mann, conductor
Toccata Classics TOCC 0750

Anatoly Alexandrov’s Landmark Piano Sonatas

Anatoly Alexandrov was a pianist and composer who worked in the Soviet Union. His music isn't as well-known in the West as those of his colleagues (like Shostakovich and Prokofiev). 

Alexandrov wrote in a variety of genres. But his most important works were his fourteen piano sonatas. They're also his most deeply personal works. 

This three CD set includes all fourteen sonatas. And it gives three of them world recording premieres. Clarisse Teo plays with sensitivity and expression. Her interpretations explore the emotional depths of these works.

Alexandrov was a talented pianist. And these sonatas show the full range of his abilities. Teo ably brings out the complex inner voices of Alexandrov's music.    

Like Scriabin, Alexandrov's music has a mystic quality to it. During the Stalin era, he downplayed that characteristic. But it was always present. And Teo draws it out of the scores.

Divine Art sequences the sonatas in chronological order. And that's a great way to listen to them (at least initially). It's easy to hear the development of Alexandrov's compositional skill. And at the same time hear the spiritual foundations that tie these works together. 

Highly recommended.

Anatoly Alexandrov: Complete Piano Sonatas
Clarisse Teo, piano
Divine Art DDX 21375
3 CD Set

Colonna's Two-Choir Psalms: A Feast for the Ears

 

This release features words for two choirs. And it's a live recording from the St. Petronio Basilica. So we get to hear the music composed in the space Colonna intended it for. And that makes a difference. 

Colonna expertly mixes textures, ranging from solo voice to full unison. And the space is treated as an instrument. The reverberations are an integral part of the sound. Echoes harmonize with each other and with the performers.

The full, robust choruses are thrilling. They foreshadow those of Handel's oratorios. Michele Vannelli masterfully leads his musicians. These are terrific performances. The singers fill the space. And the instrumentalists provide the proper amount of support.

Colonna's counterpoint isn't as complex as Bach's. But it does point towards Handel's. It's clean and clear, even with the rich acoustic of the basilica. 

Glorious music, beautifully performed. It's one of the best Baroque choral albums I've heard in a while.

Giovanni Paolo Colonna: Caro Ardore Scro Amore
Concerted Psalms for Two Choirs and Orchestra
Coro e Orchestra Della Capella Musicale di S. Petronio
Ensemble Vocale "Color Temporis;" Michele Vannelli, maestro di cappella
Dynamic CDS8044

Karl Weigl Symphony Recalls Old Vienna

This is the third Capriccio release of Karl Weigl’s symphonies, and my response is simple: "More, please." Weigl began his career as Gustav Mahler's rehearsal conductor, and by 1930, he was teaching composition at the University of Vienna. But by 1938, his career would take a dramatic turn.

Weigl’s Jewish background meant his career ended when the Nazis took over Austria. In 1938, he emigrated to the United States, where he taught at the Boston Conservatory and the Philadelphia Music Academy. Throughout it all, he never forgot his beloved Vienna.

His Symphony No. 3 in B major, written in 1931, is a mature work with a grand, Mahlerian sound. But there’s also a touch of Wagner here. Weigl’s use of motifs weaves the entire 46-minute symphony into a cohesive, organic whole.

Also included is the Symphonic Prelude to a Tragedy from 1933. The word "symphonic" is key here. Weigl creates a sonic world filled with high drama and foreboding. Some passages reminded me of Richard Strauss, though Weigl’s aim is different—he’s not telling a story, but instead communicating a mood.

The Deutsche Staatsphilharmonie Rheinland-Pfalz, conducted by Jurgen Bruns, delivers a performance that meets expectations. These artists recorded the other Weigl symphonies, and Bruns’ interpretation stays true to form. Weigl was deeply influenced by the late-Romantic language of Mahler and Bruckner, and that’s precisely what Bruns emphasizes.

The ensemble’s sound is rich and full, with strong solo performances that make Weigl’s orchestrations truly sparkle. This is another excellent addition to the series. With only two symphonies left to record, I hope we’ll also get to hear some of his shorter works.

Karl Weigl: Symphony No. 3
Deutsche Staatsphilharmonie Rheinland-Pfalz; Jurgen Bruns, conductor
Capriccio C5489

Claudio Santoro Piano Sonatas Trace Composer's Growth

 Is it safe to purchase a recording without auditioning it first? When it comes to Naxos' Brazilian music series, I'd say yes. Produced in collaboration with Brazil's Ministry of Foreign Affairs, this series successfully showcases the best of Brazil's classical music to the world.

This particular release is an outstanding example. It features the six piano sonatas of Claudio Santoro. And they're performed by his son, Alessandro Santoro.

Claudio Santoro was a major figure in Brazilian music and an internationally recognized composer. He studied with Nadia Boulanger, co-founded the Brazilian Symphony Orchestra, and created an extensive body of work.

His first sonata, Sonata 1942, is unnumbered and was written during his student years—though it is remarkably mature. In this piece, Santoro explores his interpretation of the 12-tone technique. While it isn't traditionally tonal, it maintains a strong sense of forward motion.

Three years later, he composed Piano Sonata No. 1, a more intricate work that applies tone rows in a more academic manner. However, it never feels like a dry intellectual exercise. Instead, it is an engaging and dynamic piece, full of surprises for the listener.

By the time he composed Piano Sonata No. 5 in 1988, Santoro had completed his stylistic evolution. The piece still features dissonances and thick textures. But here the complexity now stems from rich, yet distinctly tonal, harmonies.

Alessandro Santoro’s deep understanding of his father’s music is evident. These sonatas demand exceptional skill from the performer, and Alessandro delivers masterfully. His interpretations provide a clear and compelling insight into his father’s artistic vision. 

Claudio Santoro: Complete Piano Sonatas
Alessandro Santoro, piano
Naxos 8.574486

Gould Piano Trio Launches New Marschner Series

In his time, Heinrich August Marschner was one of Germany’s most celebrated opera composers. From the 1830s through 1852, his operas were box office gold. However, with the rise of Richard Wagner’s new aesthetic, Marschner’s works soon faded into obscurity.

Elsewhere, you can find my reviews of Naxos’ other Marschner recordings. Conductor Dario Salvi is now on his eighth volume of Marschner overtures and operatic music, highlighting the composer’s remarkable gift for melody.

This release reinforces that impression. While opera was Marschner’s forte—he composed 18—he also had a deep affection for the piano trio, writing seven in total. These works were highly esteemed by both Robert and Clara Schumann, and for good reason.

The Gould Piano Trio begins their survey of these pieces with a set of bookends, featuring Marschner’s first and last piano trios.

The Piano Trio No. 1 in A minor, Op. 29, published in 1823, showcases a young Marschner at the start of his career. It brims with great ideas and has a free-flowing quality reminiscent of Schubert.

The Piano Trio No. 7 in F major, Op. 167, published in 1855—over 30 years later—reveals a more mature composer. The themes are tightly organized, and though this trio is longer than the first, it somehow feels more concise. Marschner is in full command of his material, with not a note wasted.

The Gould Piano Trio performs with warmth and sensitivity. Marschner’s music is expressive yet slightly reserved, and the trio plays as if engaged in conversation, at times making the music feel spontaneous.

I look forward to hearing more from this side of Marschner’s work.

Heinrich August Marschner: Piano Trios, Vol. 1
No. 1, Op. 29 and No. 7, Op. 167
Gould Piano Trio
Naxos 8.574612

Ch'amor mi prese: Sacred and secular love in Medieval Italy

This release focuses on a specific time and a specific theme. And it's an album of great variety and beauty. The time is the turn of the 14th Century, when a new style of music, Ars Nova arose. And the theme is love.

InTactvs presents some delicate, yet intense performances. Their instruments, viella, cirla, oud, and recorders, have soft, warm sounds. But their performances deliver the rich emotional weight of the music. 

There are songs of longing, of separation, reunion, and the simple joy of love. All are performed convincingly. So much so, that no translation is necessary. 

Simone Gatto sings with clear, honeyed tones. She rarely uses vibrato, in keeping with authentic performance practices. Her singing evokes emotion. And she's especially adept at the unusual syncopations that frequent this music. 

The music is mostly from anonymous composers. Francesco Landini has one selection, and music by Matteo da Perugia begins and ends the album. I didn't receive a booklet with my review copy. I'm not 100% sure. But it sounds like the three Ars Nova formes fixes are well represented -- rondeau, ballade, virelai. And there's a nice balance of sung pieces and instrumental works. 

If early music is your thing, this is a fine album to add to your collection. But even if you're not, this music is both calming and engaging. It takes you to a time and place far away. And it's music that can easily be enjoyed with modern ears. 

Ch'amor mi prese: Sacred and secular love in Medieval Italy
InVactvx; Simona Gatto, voice
Tactus TC 300005

Tempesta di Mare Philadelphia Baroque Orchestra Finishes Fasch Series

 This is the fourth—and likely final—volume in this ambitious series. Johann Friedrich Fasch, a younger contemporary of Bach and Handel, was widely performed during his lifetime but fell into neglect after his death. Only a fraction of his many compositions have survived.

Since 2007, the Tempesta di Mare Philadelphia Baroque Orchestra has made a point of including at least one Fasch work in their concerts. This release, like the previous three volumes, features live performances.

Fasch spent most of his career as Kapellmeister at the court of Zerbst, in Saxony-Anhalt. In 1983, the town of Zerbst/Anhalt established the International Fasch Festival. This recording showcases performances from the 2023 festival.

Stylistically, Fasch stands at the transition to the style galante. His orchestrations are rooted in the High Baroque traditions of Telemann and Bach, yet his melodies possess a lightness and fluidity that anticipate Haydn and Mozart.

Tempesta di Mare delivers superb performances—no surprise, given their nearly 20-year commitment to discovering and premiering Fasch’s works. The ensemble's seamless blend and energetic approach bring out the elegance and vitality of his music. In this recording, Fasch leans more toward the style galante than the Baroque.

This is an outstanding recording and a remarkable series. I highly recommend all four volumes to anyone interested in Baroque music or in tracing the roots of the Classical era. It’s all here.

Johann Friedrich Fasch: Orchestral Works, Vol. 4
Tempesta di Mare Philadelphia Baroque Orchestra
Chandos CHAN 0829