Johann Heinichen Dresden Vespers hit a sweet spot

In 1720, Johann David Heinichen was rehearsing his latest opera in Dresden. The lead castrato pitched a fit. He tore up the music and hurled the pieces at Heinichen's feet. 

That incident was all the excuse King Augustus the Strong needed. He dismissed his temperamental -- and very expensive -- singers. It effectively ended Italian opera in Saxony. 

Heinichen was kind of out of a job. But then realpolitik kicked in. Augustus was Protestant, which meant minimal liturgical music. But Augustus wanted to be elected King of Poland. To do so, he had to convert to Catholicism. He did. 

He won the throne and returned to Dresden with a Catholic wife. Augustus demonstrated his support for Catholicism through the arts. And so Heinichen was in demand once again, composing music for the Roman Catholic liturgy.

This album shows the results of those efforts. The music is big, complex, and almost operatic in vocal lines. Augustus' Protestant services used a small ensemble singing simple melodies. For the Catholic Augustus, Heinichen was free to expand his forces. These works use large ensembles with interweaving lines of complex counterpoint.

To me, Heinichen's Vespers walks a stylistic middle path. The music isn't overly florid. While it is substantial, the music doesn't detract from the spiritual nature of the text. At the same time, the complexity of the choruses requires a high degree of skill.

The Ensemble Polyharmonique has a wonderful vocal blend. The Wrocław Baroque Orchestra proved suitable support for the singers. 

Jarosław Thiel injects a lot of energy into this music through his conducting. I suspect the tempi were a little on the fast side. And that was fine with me.

This recording has a somewhat dry sound. It does make the counterpoint clearer. But I kept wanting a little more ambiance, as one would hear even in a small chapel. 

Not completely operatic, not completely pared-down Protestant, nor completely overblown Catholic. Heinichen's music sits at the intersection of all three, in an undeniably sweet spot.

Johann David Heinichen: Dresden Vespers

Ensemble Polyharmonique

Wrocław Baroque Orchestra, Jarosław Thiel, director

Accent ACC 24381

#ClassicsaDay #UkrrainisnClassics Week 4

 For several years, the Classics a Day team has made Soviet composers the theme for May. This, of course, was inspired by May Day. For many, though, the terms "Soviet" and "Russian" have become conflated. Many composers active in the Soviet Era were actually from Armenia, Azerbaijan, Estonia, Latvia -- and Ukraine. This year the team chose to make Ukrainian classical music the theme for May.

The challenge is to post music from Ukrainian composers. Some were subjects of Imperial Russia. Others were citizens of the USSR. And some live in the independent nation of Ukraine. 

In my research, I found two common threads running through the history of Ukrainian classical music. The first is that Ukrainian composers were proud of their heritage and expressed it through music. The second is that the Russian rulers, be they Czars or Commissars, continually sought to obliterate Ukrainian culture.

We celebrate what survives with this month's theme. Here are my posts for the fourth and final week of #UkrainianClassics

5/23/22 Stefania Turkewich (1898–1977) - Symphony No. 2

Turkewich is considered Ukraine's first female composer. Her music was frequently played before World War II. She emigrated to the UK in 1946. In response, Soviet authorities banned her music from publication or performance in Ukraine.

5/24/22 Yakiv Stepovy (1883–1921) - Three Morceaux, Op. 14

Stepovy founded the Ukraine State Vocal Quartet. He also published several collections of music for children. Most of his works were written for piano.

5/25/22 Sydir Vorobkevych (1836–1903) - Trio "Nocturne"

Vorobkevych made a deep study of Ukrainian music and literature, which informed his own compositions. He was also a poet and published several didactic music collections. Vorobkevych was also an Eastern Orthodox priest. Most of his 240 works are liturgical.

5/26/22 Kyrylo Stetsenko (1882–1922) - Evening Song

Statsenko was head of the Ministry of Education's Music Section for the Ukrainian People's Republic. The republic gained independence in 1917. At first, the USSR recognized the republic. But they soon withdrew it. Soviet troops overran the country in 1920 and ending Ukraine's independence and forcing it to join the USSR. Stetsenko lost his position and died shortly after during a typhus outbreak.

5/27/2 Virko Baley (1938 - ) - Symphony No. 1 "Sacred Monuments"

Baley was born in Ukraine and has spent most of his professional life in the U.S. He wrote the score to the Ukrainian film "Swan Lake, The Zone," and served as guest conductor for the Kyiv Camerata.

Next month: 

George Walker Piano Sonatas - Exceptional

 

George Walker's music, in my opinion, isn't performed as often as its quality merits. Apparently, Steven Beck thought so, too. He's not only the performer on this release, he's also the producer. And he fills both roles quite nicely.

The album includes all five of Walker's piano sonatas, spanning a half-century. The first sonata from 1953 is the most "modern"-sounding. Walker's music mimics the chromatically angular motives of atonal composers. 

But not totally. There's a tonal base here, and Walker subtly keeps the listener aware of it. That base keeps the work anchored, and provides context for the ear. 

Walker's fifth sonata, finished in 2003 is different, yet not radically so. This sonata is quite compact, its motifs and gestures models of efficiency. Though less than five minutes in length, it has both substance and emotional impact. 

Seven Beck performs with affinity and authority. The complex counterpoints of the first two sonatas are handled with aplomb. Even at its most avant-garde, Walker's music has an underlying logic and form. Beck goes beyond the notes to bring the core of the music to the forefront. 

I've often mentioned how well Bridge Records captures the piano in recordings. The recording quality here meets Bridge's high standards. And that quality helps us hear the subtleties of Beck's performances. 

George Walker is one of the many African-American composers under-represented in classical music. I'll be programming these works on my radio program, and I encourage others to do the same. And not because of the color of Walker's skin, but because of the quality of his work.  

George Walker: Five Piano Sonatas (1953-2003)
Steven Beck, piano
Bridge Records 9554

#ClassicsaDay #UkrainianClassics Week 3

 For several years, the Classics a Day team has made Soviet composers the theme for May. This, of course, was inspired by May Day. For many, though, the terms "Soviet" and "Russian" have become conflated. Many composers active in the Soviet Era were actually from Armenia, Azerbaijan, Estonia, Latvia -- and Ukraine. This year the team chose to make Ukrainian classical music the theme for May.

The challenge is to post music from Ukrainian composers. Some were subjects of Imperial Russia. Others were citizens of the USSR. And some live in the independent nation of Ukraine. 

In my research, I found two common threads running through the history of Ukrainian classical music. The first is that Ukrainian composers were proud of their heritage and expressed it through music. The second is that the Russian rulers, be they Czars or Commissars, continually sought to obliterate Ukrainian culture.

We celebrate what survives with this month's theme. Here are my posts for the third week of #UkrainianClassics

5/16/22 Sergii Bortkevych (1877–1952) - Piano Concerto No. 1

Circumstances forced Bortkevych to live most of his life away from his native land. His style blends the late-Romantic pianism of Liszt and Scriabin blended with Ukrainian folk music.

5/17/22 Artemy Vedel (1767-1808) -O God, the proud are risen against me

Though acknowledged as one of Ukraine's (and Imperial Russia's) greatest choral composers, Vedel's creativity was hindered by politics. His works were banned in 1799 when he was accused of treason. He was sent to a mental hospital and banned from composition for life. 80 of his works survive, but many more were lost.

5/18/22 Semen Hulak-Artemovsky (1813-1873) - Andriy's Prayer, from "Cossacks in Exile"

As a baritone, Hulak-Artemovsky sang in over 50 operas. He was the first Ukrainian to compose an opera. His third, "Cossacks in Exile" (1863) is the most popular.

05/19/22 Mykola Dyletsky (1630–1690) - 4-Part Liturgy 7 'Cherubic Hymn'

Dyletsky was both a composer and theorist. His 1677 "A Musical Grammer" greatly influenced composers of the Russian Empire in the late 1700's.

05/20/22 Levko Revutsky (1889–1977) - Symphony No. 2 in E major, Op. 12

Revutsky's 1926 symphony is considered a masterwork of Ukrainian classical music. It's a synthesis of Ukrainian folk music and Western classical tradition.

Josef Labor Chamber Works for Wittgenstein -- and others

This release features two works commissioned by Paul Wittgenstein. Wittgenstein was a piano student of Josef Labor.  Wittgenstein lost his right arm in the First World War. After the war, he continued his career by building a body of work for the piano left hand. 

His former teacher received his first commissions. Labor was a well-respected pianist and composer. He associated with luminaries such as Johannes Brahms, Gustav Mahler, and Richard Strauss. And his style aligned with their late-Romantic aesthetics.

The 1917 Trio for Clarinet, Cello, and Piano Left Hand in E minor is an interesting work. The pianist's left hand often plays two or more notes. Labor can't make the piano sound as full as it would with two hands playing. 

Instead, he treats the piano almost like a single-line instrument. This puts the piano on par with the clarinet and cello. Cello double stops and piano chords thicken sound in places. But generally, it's three instruments in real conversation. 

Labor exploits the cello's ability to play chords in his 1918 sonata. For this work, both performers must be at the top of their game. The pianist has some wide-ranging chords. Quick jumps between octaves give the illusion of two hands. The cellist must also cover a lot of ground, with arpeggiated chords and double stops. 

Pianist Holger Busch delivers exceptional performances. His left hand plays in a smooth, supple manner. And he can bring the power when required. 

Cellist Gehard Waiz shines in the sonata. Yes, this was composed primarily for the pianist, but this is a great work for cello. Waiz digs right in, giving us one beautifully expressive phrase after another. 

And I shouldn't slight Jörg Wachsenegger, the third member of the Ensemble Tris. He plays with a rich, fluid tone that exudes warmth. 

These works were written for a very specific purpose. But there's more here than giving a one-handed pianist something to play. Labor crafted music of genuine quality. You can enjoy these works just on their own musical merit. Which is exactly what I did. 

Josef Labor: Trio for Clarinet, Cello, and Piano Left Hand in E minor 

Sonata for Cello and Piano Left Hand in C major 

Ensemble Tris
Capriccio C5446

Johann Mattheson "Joseph" -- contemplative masterwork

Joseph Mattheson was a close friend of Georg Fredrich Handel. In part because the two shared an affinity for vocal writing. 

Mattheson was director of the Hamburg Cathedral. His operas were performed at the famed Oper am Gänsemarkt. Because of these connections, Mattheson had access to the best singers in the city. And that's who he wrote for. 

Mattheson premiered his oratorio "Joseph" in 1727. The vocal parts are extremely demanding, both in the solo and ensemble passages. 

Mattheson borrows from opera conventions to add drama to the story. Because this is a sacred work, vocal ornamentation is at a minimum. But the singers still need exceptional breath control for the long flowing melodies. 

The oratorio also has an exceptional amount of counterpoint. Several sections are quite complex, with chromatic motion. This is not music for an amateur choir!

Christian Bonath leads his musicians through this challenging work successfully. Each aria and ensemble piece has a delicate beauty to it. Although the drama is subdued, subtle phrasing gives us the underlying conflict. 

Mattheson and Handel were friends, but their treatment of religious texts was quite different. Mattheson's oratorio is contemplative and restrained. 

If you're only familiar with Handel's oratorios (like "Messiah,") give Mattheson's an audition. The genre was more varied than you might think. 

Johann Mattheson: Joseph
Cornelia Fahrion, soprano; Jan Jerlitschka, alto; Klemens Mölkner,
Daniel Schmid, tenors; Malte Fial, baritone; Johannes Hill, Chrsitian banoth , bass
Ensemble Paulinum
Pulchra Musica Baroque Orchestra; Christian Bonath, organ and conductor
Capriccio C5448

Arthur Sullivan Incidental Music - Good to be back in print

Good to see this back in print. Naxos first released this album on their Marco Polo label in 1992. It features some of Arthur Sullivan's other theatrical music. 

This Irish composer will forever be part of Gilbert and Sullivan. But even in his lifetime, he was well-known for his work outside the "Savoy Operas."

The Masquerade from The Merchant of Venice represents a key plot point. It plays while Jessica and Lorenzo elope from the ball. Sullivan deftly sets the mood with Italianate melodies and dances. 

For an 1877 revival of Henry VII. This play was a collaboration between William Shakespeare and John Fletcher. The final act celebrates the birth of Elizabeth I.

Sullivan's music for the act is suitably royal, with trumpet flourishes and fanfares. It even includes a ballad thought to have been written by Henry VIII. Sullivan smoothed out the Renaissance harmonies though, giving the tune a Victorian setting.

The Sapphire Necklace was an unperformed opera. Though most of the score is lost, the overture and two vocal numbers were published. It's an exciting work that perhaps promised far more than the libretto could deliver.

Rounding out the program is a concert overture Sullivan wrote for his father. Some of the sections are suitably somber. But Sullivan also includes some celebratory passages commemorating his father's love of music.

The recording and performances have held up well. The overall sound isn't as crisp as one might expect from a 2022 recording. But there's still plenty of detail, and the stereo sound field is suitably spacious. 

Sullivan had strong theatrical instincts. Even without Mr. Gilbert. That's my takeaway from this recording.   

Arthur Sullivan: Incidental Music
The Merchant of Venice; Henry VIII; The Saffire Necklace; Overture in C
Emmanual Lawler, tenor
RTE Concert Orchestra; Andrew Penny, conductor
Naxos 8.555181

#ClassicsaDay #UkrainianClassics Week 2

 For several years, the Classics a Day team has made Soviet composers the theme for May. This, of course, was inspired by May Day. For many, though, the terms "Soviet" and "Russian" have become conflated. Many composers active in the Soviet Era were actually from Armenia, Azerbaijan, Estonia, Latvia -- and Ukraine. This year the team chose to make Ukrainian classical music the theme for May.

The challenge is to post music from Ukrainian composers. Some were subjects of Imperial Russia. Others were citizens of the USSR. And some live in the independent nation of Ukraine. 

In my research, I found two common threads running through the history of Ukrainian classical music. The first is that Ukrainian composers were proud of their heritage and expressed it through music. The second is that the Russian rulers, be they Czars or Commissars, continually sought to obliterate Ukrainian culture.

We celebrate what survives with this month's theme. Here are my posts for the second week of #UkrainianClassics

5/9/22 Mykola Leontovych (1877–1921) - A scene from "The Water Nymphs' Feast"

Leontovych, composer of "Carol of the Bells" wrote primarily choral music. His goal was to develop a national Ukrainian style. Leontovych was working on this opera whne he was assassinated by a Chekist (Soviet state security) agent.

5/10/22 Vasyl Barvinsky (1888–1963) - Piano Concerto in F minor

Barvinsky was an internationally recoginzed composer when he was denounced by Soviet authorities in 1948. He was imprisoned for 10 years, and his music suppressed. Most of his works are lost, destroyed by the NKVD. Fortunately, some were published outside the USSR.

5/11/22 Sebastian z Felsztyna (1480/1490?–after 1543) - Felix es Sacra Virgo

Sebastian is often credited as a Polish composer. He was born in Felsztyn (modern-day Skelivka, in Ukraine). He studied in Krakow, then went to Felsztyn as a chaplain. Only three of his motets survive.

5/12/22 Marcin Leopolita (1537–1584) - Missa paschalis

Leoplita was born in Lviv, and served at the court of Zygmunt August, King of Poland and Grand Duke of Lithuania. His Missa paschalis is the only mass from 16th Century Poland to survive.

5/13/22 Dmytri Bortnyansky (1751–1825) - Sinfonia concertante in B-flat major

Bortniansky spent 10 years in Venice, studying and composing. He returned to join the court of Catherine the Great. He's known primarily for his sacred choral works, which demonstrate mastery of polyphony.

Felice Giardini and Johann Christian Bach - more alike than different

The title of this release, "The Courts of Turin and London,"   suggests contrast. It implies a vast difference between the music of Italy and England in the 1760s. 

But the liner notes explore the similarities and cultural ties between the two cities. And the two composers represented even more so. 

Johann Christian Bach (1735-1782) worked for a while in Milan. He came to London in the 1760s and by 1766 was Master of Music for Queen Charlotte. 

Bach and fellow German composer Carl Abel mounted a concert series. It ran for about twenty years and became the tastemaker for British audiences. 

Felice Giardini (1716-1796) also spent time in Milan, and also relocated to London in the 1760s. He gave concerts sponsored by J.C. Bach. The two were both colleagues and friends. 

L’Astrée presents a selection of chamber works by both composers. Heard side-by-side, there are differences. Bach, the younger composer leans more into the galant style. Melodies are lighter, and harmonies are more transparent. 

These are works seldom heard (by either composer). And they're a real treat. Both men were superb craftsmen. Their music appeals both to the ear and to the intellect.

The musicians of L’Astrée perform with copies of period instruments. That's a plus because these are the timbres the composers had in mind. So we get a better sense of what Giardini and Bach intended. 

There is a minus, though. At times the instruments sounded a little rough. In some passages, the violins were scratchy, which detracted from my enjoyment. 

Arianna Zambon (oboe) and Manuel Granatiero (transverse flute), though,  were first-rate. And the sound of Giorgio Tabacco's clavicembalo was pristine, with near-silent action. 

I'm not sure the program supports the premise, but that doesn't matter.  This is just a fine collection of music that delivers enjoyment time and again.     

The Courts of Turin and London

Felice Giardini & Johann Christian Bach
Quartets & Quintets
L’Astrée
CPO  555 497–2

Jouni Somero presents Palmgren's "American" music in Vol. 4

Selim Palmgren studied with Ferruccio Busoni.  So it's not surprising that he had incredible pianistic chops. Palmgren's keyboard skills let his musical imagination roam unfettered -- especially in his piano music. 

This volume of Grand Piano's series features works written during Palmgren's time in America. Palmgren emigrated to the United States in 1921. He joined the Eastman School of Music faculty in 1923. In 1936 he became part of the Sibelius Academy in Helsinki.

Jouni Somero presents a dazzling program of short piano pieces. Most were composed between 1921 and 1936. Many receive their world premiere recording with this release. 

Palmgren had incredible technique. But his music was never about showing off his skill. Rather, it was about exploiting the possibilities his playing abilities opened up. 

Several of these pieces often have two or more lines playing in different registers. It's not readily apparent to the listener. But if you look at the score, you'll see many instances where Palmgren's melodies flow from hand to hand. And at the same time, both hands also provide accompaniment.

As always, Somero's playing is impeccable. He doesn't just nail the technical challenges. He also brings out the lyricism in these works. 

And that's what makes each of these pieces a treat to listen to. If you enjoy Liszt, Busoni, Chopin, and/or Rachmaninoff, give this album a listen. You won't be disappointed. 

Selim Palmgren: Complete Piano Works 4
Jouni Somero, piano
Grand Piano GP907

Eleanor Alberga Violin Concertos - collaborative classics

Eleanor Alberga and her husband Thomas Bowes make quite a team. As the piano/violin duo Double Exposure they toured and performed together. And they frequently performed Alberga's music. The blend of personal and artistic intimacy between the two inspired both. 

Case in point, the two violin concertos featured on this release. In 2001 Alberga chose to concentrate on composing rather than performing. 

One of her first compositions as a full-time composer was her Violin Concerto No. 1. The work was written for her husband and is tailor-made for his abilities. One of Alberga's strengths is her lyricism, as Bowes understands so well.

Joseph Swensen conducts this performance. He also conducted the premiere with Bowes as soloist. Sometimes new music can sound a bit lifeless, as the performers haven't absorbed the score. 

Not so here. Bowes and Swensen knew this work from its creation (and probably a bit before). The result is a performance that's assured, focused, and vibrant.

Alberga's second violin concerto is more of a program piece. This 2020 concerto was inspired by the myth of Narcissus. In the story, Narcissus sees a reflection of himself in a pond and is instantly entranced. He remains transfixed, eventually fading into dust. 

Alberga doesn't give us a literal telling. Rather, she gives us the spirit of the myth. Much of the score is self-referential, presenting passages reworked and reimagined. 

At the end, the violin softly fades away to silence, mimicking the fate of Narcissus. Once again Bowes brings his wife's music to life. There are passages of exceptional beauty in the single-movement concerto. And Bowes delivers with each.

Also on this release is "The Soul's Expression" for baritone and string orchestra. This work also exists in a version for voice and piano. The string orchestra version creates moods and textures different from the piano version. 

Morgan Pearse sings with a warm, full tone. The interplay between voice and strings is masterfully done. And his delivery enhances the emotional content of George Eliot's poetry. 

This is Lyrita's third release of Alberga's music. I hope there is more to come!

Eleanor Alberga: Violin Concertos Nos. 1 & 2
The Soul’s Expression for baritone and string orchestra
Thomas Bowes, violin; Morgan Pearse, baritone
BBC National Orchestra of Wales; Joseph Swensen, conductor
Lyrita SRCD.405

#ClassicsaDay #UkrainianClassics Week 1

 For several years, the Classics a Day team has made Soviet composers the theme for May. This, of course, was inspired by May Day. For many, though, the terms "Soviet" and "Russian" have become conflated. Many composers active in the Soviet Era were actually from Armenia, Azerbaijan, Estonia, Latvia -- and Ukraine. This year the team chose to make Ukrainian classical music the theme for May.

The challenge is to post music from Ukrainian composers. Some were subjects of Imperial Russia. Others were citizens of the USSR. And some live in the independent nation of Ukraine. 

In my research, I found two common threads running through the history of Ukrainian classical music. The first is that Ukrainian composers were proud of their heritage and expressed it through music. The second is that the Russian rulers, be they Czars or Commissars, continually sought to obliterate Ukrainian culture.

We celebrate what survives with this month's theme. Here are my posts for the first week of #UkrainianClassics

5/2/22 Borys Lyatoshynsky (1895–1968) Symphony No. 3 "Peace Shall Defeat War"

The work was premiered by the Kyiv Philharmonic in 1951. Soviet authorities objected to the symphony's message. Lyatoshynsky had to rewrite the work and remove the subtitle.

5/3/22 Mykola Roslavets (1881–1944) - Piano Sonata No. 1

Sometimes called the "Ukrainian Schoenberg," this composer's music was suppressed by Soviet authorities from the 1930s through the end of his life.

5/4/22 Maksym Berezovsky (1745–1777) - Symphony in C major

Berezovsky is credited as the first Ukrainian composer to write an opera, a violin sonata, and a symphony. Most of his music is lost, but this c.1770 symphony was rediscovered in 2002.

5/5/22 Mykhaylo Verbytsky (1815–1870) - Symphony No. 7 in A major

Verbytsky was a Greek Catholic priest, and full-time composer. He wrote the music for the Ukrainian national anthem. This is the seventh of his nine symphonies, composed in 1865.

5/6/22 Mykola Leontovych (1877–1921) - Shchedryk, shchedryk

Leontovych wrote this composition, based on a traditional Ukrainian folk chant. The English version, "Carol of the Bells," is a Christmas staple, though Leontovych is seldom credited as the composer.

Anders Eliasson symphonies present a unique voice

Anders Eliasson isn't as well-known outside of Scandinavia as he should be. This release should help remedy that. Eliasson had an epiphany when he attended the Royal Swedish Academy of music in the 1960s. 

As he wrote, "It was a time of unbearable self-denial. Metrical rhythms, melodies, even particular intervals were all taboo in contemporary music... I suddenly lost all contact with the music I had inside myself."

In the 1970s Eliasson forged his own path, like his colleagues Kaveli Aho and Alan Pettersson. He created a personal style that didn't ignore contemporary trends. But he wasn't beholden to them either. The result was a musical language both tonal and modern.

Eliasson's Symphony No. 3 for soprano saxophone was originally conceived as a concerto. And yet, in its final form, it's not. The soprano saxophone is always front and center. But it's closely integrated with the orchestra. Rather than soloist vs. orchestra, the ensemble has a different role. It seems to amplify and reinforce the saxophone in collaboration. 

Symphony No. 4 was completed in 2005. It's a more solidly tonal work than the Third Symphony, with a different aesthetic. In this symphony, Eliasson takes two- and three-note groupings as his building blocks. The music expands and develops those groups. Over the course of the work, they bloom into lush and complex harmonies melodies. 

Eliasson's friend Christian Lindberg commissioned the Trombone Concerto and performs it here. Eliasson reverses the traditional three-movement form, making it slow-fast-slow. Rather than rapid passagework, the soloist's challenge is long, sustained tones. Tones that require a great deal of musicality to reveal their beauty. And that's exactly was Lindberg does in this performance. 

All three works are exceptionally well-constructed. And, at least for me, this disc was successful in its mission. I now want to hear more from this extraordinary composer. 

Anders Eliasson - Symphonies Nos. 3 & 4
Anders Paulsson soprano saxophone; Christian Lindberg trombone
Gothenburg Symphony Orchestra; Johannes Gustavsson, conductor
Royal Stockholm Philharmonic Orchestra; Sakari Oramo, conductor
BIS 2368 SACD