Ambitious Oratorios from Georg Philipp Telemann

This release presents two of Georg Philipp Telemann's "Johannis" oratorios. For the church year 1730-31, Telemann set himself an ambitious task. For every church service, he would compose a full oratorio (rather than a short cantata). 

Few composers other than Telemann could have pulled it off. And an even smaller group could have done so at the quality Telemann maintained. 

The first oratorio recorded here is Gelobet sei der Herr. It relates the birth of John the Baptist, and of the role he would play in preparing the way for Christ.

The second was sung during the Third Sunday of Easter. Bequemliches Leben, gemächlicher Stand is a contemplation of Jesus as the Good Shepherd, and what that role means. 

These are indeed, big works. Soloists include not only the principal characters of the stories. Old Testament prophets comment on the action and provide historical background. Allegorical figures personify concepts such as love and faith.  

The 20 musicians Telemann had at his disposal are given plenty to do, as is the chorus. And yet these oratorios have a lighter feel to them than J.S. Bach's. The choral and instrumental textures have greater transparency. And the relatively straightforward solo lines have a natural clarity to them. 

Michael Alexander Willens and the Kölner Akademie are among the premier practitioners of high German Baroque choral music. Their performances here are fluid and supple. Willens guides the singers (and our ears) through the subtleties of the text. His direction makes a strong connection between the emotional content of Albrecht Jacob Zell's words and the music. 

Will they do all 50+ oratorios? That's a tall order. But I'm glad these two were recorded. Both are works that are worth revisiting time and again.

Georg Philipp Telemann: Johannis Oratorium
Rahel Maas, Harsányi, soprano; Elvira Bill, alto; Mirko Ludwig, tenor; Klaus Mertens, bass baritone; Mauro Borgioni, bass; André Morsch, baritone
Kölner Akademie; Michael Alexander Willens, director
CPO

Ferdinand Hiller Chamber Works Rescued from Obscurity

Ferdinand Hiller definitely qualifies as a forgotten composer. During his lifetime he was a sought-after piano virtuoso. He was a prolific composer (over 450 works). Most of his works were performed, and quite a few were performed frequently. 

Hiller had rock-solid credentials. He was protege of Johann Nepomuk Hummel. He visited (with Hummel) Beethoven during his final days. He heard Franz Schubert and Johan Michael Vogel premier Die Winterreise. 

As a performer, he was admired by Franz Liszt. His pupils include Max Bruch and Englebert Humperdinck.

And yet, within a few years after his death in 1885, Hiller's music virtually disappeared from performance and publication. The current theory is that tastes changed. His music was simply considered too old-fashioned. 

Of course, almost 150 years later, even the New German School that supplanted it is now old-fashioned. And so we can appreciate Hiller's music for what it is, rather than dismiss it for what it is not. 

This release presents two chamber works by Hiller. Both were composed in the early 1870s. The Piano Quartet No. 3 in A minor and the Piano Quintet in G major are great introductions to Hiller. They're both substantial works, each running about 40 minutes.

Hiller was a friend of Mendelssohn, and there's a Mendelssohnian lightness to these works. Hiller develops his themes skillfully. He had studied Bach and was one of the first Romantic pianists to play his music in a recital. But counterpoint is simply a means to an end for Hiller. 

What's most important is that the theme evolves in a logical and emotionally satisfying fashion. And Hiller does that again and again. 

Pianist Oliver Trindl is in top form. A good thing, because piano virtuoso Hiller wrote some challenging piano parts. The Minguet Quartett has a seamless ensemble blend. And their collaboration with Trindl is flawless. 

These are spirited performances indeed! These works were a pleasure to listen to. Solid chamber music delivered with elan. 

Ferdinand Hiller: Piano Quartet Op. 133, Piano Quintet Op.156
Oliver Triendl, piano; Minguet Quartett
CPO

#ClassicsaDay #ForgottenComposers Week 4

This month the Classics a Day team presents a real challenge. And that's to remember forgotten composers. It's a challenge, but remembering the forgotten can be important, too.

The idea here isn't to lift up composers who always labored in obscurity. Rather, the goal is to recall composers that were once popular. 

Throughout this month, many of the composers I'll be featuring will have the same story. During their lifetime they were famous and popular. People flock to hear them play, publishers fight for the rights to their music, and younger composers emulate their style. 

And yet, after their death, it all goes away -- and quite quickly. Usually, within a decade their music's out of print, no one performs or discusses them, and they're virtually eliminated from music history.

Why? The reasons vary. Sometimes it's gender or racial bias. Sometimes it's political upheaval. Sometimes tastes just change.

Here are my posts from the second week of #ForgottenComposers. I'll leave it to you to judge if they deserve to remain so.

11/21/22 Carl Loewe: Erlkonig

In the mid 1800s, Loewe was renowned as a tenor and as a composer of dramtic ballad. He was called the "Schubert of North Germany," and his music was admired by Wolf and Wagner. In time they would overshadow Loewe and his music fell into obscurity.

11/22/22 Thomas Arne: Ouverture to "Alfred"

Thomas Arne was Britain's premier composer of theatrical music, composing one hit after the other. Today, he's remembered for just two tunes: "Rule Britania," and "A Hunting We Will Go." 

11/23/22 John Knowles Paine: Symphony No.2 in A-major, Op.34 "Im frühling"

Paine was a major figure in late 19th Century American music. He founded the AGO, developed Harvard's music curriculum, and was a director of the New England Conservatory of Music. His music was regularly performed until after World War I when European repertoire became the norm in American concert halls.

11/24/22 Hans Pfitzner: "Palestrina," Act I Prelude

Pfitzner was a rising star in 1920s Germany. His contentious relationship with the Nazis hampered his career somewhat. But because he didn't fully break with the regime, his music wasn't performed much after the war.

11/25/22 Moritz Moszkowski: Piano Concerto in E major, Op. 59

Moszkowski was considered the greatest Polish composer/pianist after Chopin. His tours were always successful, and he was one of the most sought-after piano teachers of the 1890s. His health declined in the early 1900s, and his fame soon vanished -- as did his music from the concert hall.

Next month:

Matthias Weckmann Sonatas given good account by Musica Fiata

Collegium Musicum societies sprang up across Germany during the Reformation. Originally, they were amateur musical groups created to perform instrumental works. 

In time, many incorporated professional musicians. These expanded groups provided instrumental ensembles for large civic and church functions. 

And in many cities, it wasn't long before the leading local composers joined. They often wrote music for their collegiums and conducted performances.  

The Hamburg Collegium Musicum of the 1650s was one of the most prestigious. Composers from other cities would send scores for the collegium to perform. This was the organization Matthias Weckmann founded.

Weckmann was a student of Heinrich Schutz and organist at JakobKirche in Hamburg. He was very much interested in the music of Italy, especially contrapuntal music. The works he composed for the Collegium Musicum reflect that interest.

The eleven sonatas recorded here use a variety of instrumental combinations. These were the musicians Weckmann worked with professionally, and he knew their capabilities. Every one of these sonatas pushes the limits of the instruments involved.

The Musica Fiata directed by Roland Wilson is up to the challenge. Wilson also plays cornetto with the ensemble. Wilson's direction brings out the contrasting sections in Weckmann's music. To my ears, there were hints of Gabrielli and his use of contrasting choirs. 

The ensemble is well-recorded. There's a little ambiance, but not a lot. And that's appropriate. These would have been performed in a coffee house or other secular gathering place. So the sound would have been closed in. 

There's no harpsichord used here, only a chamber organ. That gives these works a very different sound quality than many Baroque chamber recordings. And, I think, one truer to the vision of organist Mathias Weckmann.

Matthias Weckmann: Eleven Sonatas for the Hamburg Collegium Musicum
Musica Fiata; Roland Wilson, director
CPO

Joanna Gutowska beautifully performs Kaija Saariaho cello music

This release presents four works for solo cello by Kaija Saariaho. It also includes a fifth, let in on a technicality. Saariaho is a composer who continually explores the nature and texture of sound. And in these works, those explorations range far. 

Two compositions for cello and electronics are included. "Petals" was composed in 1988 and focuses on the sound possibilities of the instrument. Saariaho seamlessly combines the acoustic with the electronics.  The cello seems to transform into something greater than itself. 

"Pres," written six years later, has a clearer structure. The work has three distinct movements, Here the electronics use real-time processing. This makes them more responsive to the performer, making them an extension of the instrument. 

The two acoustic works are "Sept Papillons" for solo cello, and "Spins and Spells" for cello with scordatura. Scordatura means alternate tuning. Saariaho's scordatura changes the pitches of the open strings on the cello. These create subtly different colorations that she then exploits. 

Joanna Gutowska is a fantastically talented performer. Her mastery of this material is superb. Her technique is flawless. And she seems comfortable interacting with the electronics. This is an important addition to Saariaho's catalog of recorded works. 

Oh - that piece that got in on a technicality? It's Neiges for eight cellos. Although in this case, all eight parts are performed by Gutowska with overdubs. I'm not normally a fan of this type of performance, but here it works. Gutowska manages to make each line sound like it's interacting with the others. It's as if eight musicians were indeed performing together. Well done. 

Kaija Saariaho: Works for Cello
Joanna Gutowska, cello
DUX 1686

#ClassicsaDay #ForgottenComposers Week 3

This month the Classics a Day team presents a real challenge. And that's to remember forgotten composers. It's a challenge, but remembering the forgotten can be important, too.

The idea here isn't to lift up composers who always labored in obscurity. Rather, the goal is to recall composers that were once popular. 

Throughout this month, many of the composers I'll be featuring will have the same story. During their lifetime they were famous and popular. People flock to hear them play, publishers fight for the rights to their music, and younger composers emulate their style. 

And yet, after their death, it all goes away -- and quite quickly. Usually, within a decade their music's out of print, no one performs or discusses them, and they're virtually eliminated from music history.

Why? The reasons vary. Sometimes it's gender or racial bias. Sometimes it's political upheaval. Sometimes tastes just change.

Here are my posts from the second week of #ForgottenComposers. I'll leave it to you to judge if they deserve to remain so.

11/14/22 Frank Bridge: Three Idylls

Bridge was one of the pre-eminent composers of Edwardian Britain. After World War I, his music became more complex and forward-looking -- and less popular. Today, his fame primarily rests in the title of Benjamin Britten's "Variations on a Theme by Frank Bridge," which made Britten's reputation.

11/15/22 Antonio Salieri: Requiem in C minor

Salieri was one of the most respected composers and teachers in 1790s Vienna. By the 1820s, changing tastes, and spurious rumors caused his music to disappear from concert halls. Salieri's music experienced a revival in the late 20th C. with the success of Peter Seller's "Amadeus."

11/16/22 Alberic Magnard: Symphony No. 4

He was known as the "French Bruckner." Before World War I his star was on the rise. But Magnard was killed in 1914, and styles changed after the war. His music was soon forgotten.

11/17/22 John Knowles Paine: Symphony No. 1 in C minor, Op. 23

Paine was the eldest member of the Boston Six and a major figure in American music in the 1890s. His works were performed internationally and regularly appeared in American orchestral programs. After World War I, there was an influx of European conductors, hired by the major American orchestras. These conductors considered Paine's music -- as well as those of his contemporaries -- old-fashioned and provincial. Paine's music ceased being programmed.

11/18/22 Sergei Taneyev: Prelude and Fugue, Op. 29

Taneyev was a music theorist as well as a composer. He was a master at counterpoint, and preferred to stick to the "rules" of the forms he wrote in. He often clashed with the Five, who were developing a Russian school of composition. Their opinion prevailed, and the music of Rimsky-Korsakov, Borodin, Mussorgsky, et al. became the standard for Russian music. 

Uncomfortable with Taneyev's intellectual approach to composition, Rimsky-Korsakov characterized it as dull and academic (though it was actually neither). Nevertheless, performances of his works soon dropped off.

Simon Gaudenz brings out the highs in Carl Loewe symphonies

For 45 years Carl Loewe was at the center of musical life in Stettin, Poland. He was organist at the largest church. He taught music and conducted public performances. 

Loewe organized chamber recitals and musical salons. He even managed concerts for the Masonic lodges. And he composed -- a lot. Over 400 works are credited to the "Schubert of North Germany" as he was known. 

This release presents his two symphonies, written in 1834 and 1835 respectively. There's a reason contemporaries compared Loewe to Schubert. These symphonies seem to have been created in a burst of unbridled enthusiasm -- much like Schubert's. 

That's not to say they're unstructured. Far from it. Loewe also shared an instinct for organization with his contemporary Felix Mendelssohn. There are plenty of gorgeous melodies in these works (a la Schubert). But the themes are clearly presented and worked through logically (a la Mendelssohn). 

Simon Gaudenz leads the Jenaer Philharmonie in some energetic performances. Loewe's symphonies are full of drama, and Gaudenz ensures we experience every ounce of it. The ensemble has the power for the thundering climaxes. And they can also play with hushed restraint as required. 

These days, Carl Loewe is only remembered as Emilie Mayer's composition teacher. But his own music's worth exploring as these two symphonies demonstrate. 

Great fun. 

Carl Loewe: Symphonies 1 & 2
Overture Themisto
Jenaer Philharmonie; Simon Gaudenz, conductor
CPO

Lorenzo Perosi Piano Quintets let everyone in on the fun

Monsignor Lorenzo Perosi was the Perpetual Director of the Sistine Choir. As such, he was in charge of liturgical music for the Pope. But Perosi's talent extended beyond the walls of the Vatican. 

He was part of the Giovane Scuola ("young school"). This early 20th Century group of young composers redefined Italian music. Puccini, Mascagni, and Leoncavallo were colleagues with Perosi.

As a cleric, Perosi didn't consider opera an appropriate genre to write for. But that was the only exception. Perosi did compose a great deal of sacred music, but he also wrote instrumental works as well. And in Italy, Perosi is a familiar name in concert halls.

Perosi was a talented pianist as well as a composer. In 1931, was talking with his friend Ermanno Wolf-Ferrari. He explained that, after 16 string quartets, he wanted to write piano quintets, "so I can play too."

And these quintets do sound fun to play. Perosi had a natural facility for lyrical melody. The quintets both seem to sing. And it seems like the piano parts are especially juicy. I guess Perosi indeed wanted to get in on the fun.   

The Roma Tre Orchestra Ensemble has a good ensemble blend. Their playing meshes well with pianist Matteo Bevilacqua. Perosi never wrote operas, but his music has that Italianate operatic quality to it.

Also included is the String Trio No. 2 in A minor from 1928. Like the quintets, the melodies are gorgeous. 

If you're not familiar with this Italian master, this is a good place to start. Perosi was a cleric, but his music was not completely bound by his religion. There's a lot of his work to explore, but these quintets will give you the essence of his talent.    

Lorenzo Perosi: Piano Quintets Nos. 1 and 2
String Trio No. 2
Matteo Bevilacqua, piano
Roma Tre Orchestra Ensemble
Naxos

Per Nørgård Symphonies a present to us all

Well, it was a heck of a birthday present. Dacapo released this complete set of Per Nørgård symphonies on the composer's ninetieth birthday (July 13, 2022). And, really, it's a present for us all. 

Dacapo recorded the symphonies over an eight-year period from 2008 to 2016. Each one was with a world-class orchestra, and each an SACD release. 

Through three orchestras and three conductors, the sound quality remains superb. And so do the performances. One might think that the Danish National Symphony Orchestra might be the strongest. After all, the orchestra members share the same nationality as Nørgård.

But I found the performances with the Vienna Philharmonic and Oslo Philharmonic Orchestra equally compelling.

Nørgård was inspired by Nordic composers such Vagn Holbmoe, Carl Nielsen, and Jean Sibelius. And he strove to infuse his own works with that same Nordic character. 

His "Infinity Series" compositional system proved incredibly malleable and expressive. The idea is that a motif is repeated over and over. Each time the motif grows, increasing in complexity throughout the work. 

As these symphonies show, the series can be tonal, atonal, or even post-tonal. And textures can vary, from simple triads to complex clouds of sound. 

Nørgård is also a precise orchestrator. Every note is there for a specific purpose, and instruments are combined for a specific effect. If you own any of the original releases, I encourage you to complete your collection. 

If you're new to Nørgård, then jump right in. You will be taken on eight sonic journeys that are absolutely unique. (and very, very, Nordic).

Per Nørgård: 8 Symphonies
Danish National Symphony Orchestra; Thomas Dausgaard, conductor
Vienna Philharmonic; Sakari Oramo, conductor
Oslo Philharmonic Orchestra; John Storgårds, conductor
Dacapo CD BOX 8.204002

#ClassicsaDay #ForgottenComposers Week 2

This month the Classics a Day team presents a real challenge. And that's to remember forgotten composers. It's a challenge, but remembering the forgotten can be important, too.

The idea here isn't to lift up composers who always labored in obscurity. Rather, the goal is to recall composers that were once popular. 

Throughout this month, many of the composers I'll be featuring will have the same story. During their lifetime they were famous and popular. People flock to hear them play, publishers fight for the rights to their music, and younger composers emulate their style. 

And yet, after their death, it all goes away -- and quite quickly. Usually, within a decade their music's out of print, no one performs or discusses them, and they're virtually eliminated from music history.

Why? The reasons vary. Sometimes it's gender or racial bias. Sometimes it's political upheaval. Sometimes tastes just change.

Here are my posts from the second week of #ForgottenComposers. I'll leave it to you to judge if they deserve to remain so.

11/07/22 Maria Teresa Agnesi Pinottini: Sonata in G major

Maria Teresa was renowned as a keyboard virtuoso. Holy Roman Empress Maria Theresa was both a fan and a patron, and Pinottini's concerts were destination events for European music lovers. Although a good deal of her music was published, it was not well-curated. After her death in 1795, it was considered second-rate and not worth preserving. As a result, much of her music has been permanently lost.

11/08/22 Franz Schreker: Prelude to a Drama

Schreker, like Wagner, created a unique musical and dramatic aesthetic. After WWI, he was the most-performed operatic composer after Richard Strauss. But he was Jewish. His career was brutally shut down by the Nazis, who officially declared his music irrelevant. Schreker died in 1934, and that assessment of his work was carried forward by historians well into the 1990s.

11/09/22 Thomas Canning: Fantasy on a Hymn Tune by Justin Morgan

Canning studied with Howard Hanson at Eastman and had a successful career in academia. He taught at the Royal Conservatory of Music at the University of Toronto, the University of Hull, and West Virginia University. Most of his compositions were written for specific events, and though favorably received, were still music of the moment. His Fantasy on a Hymn Tune remains his best-known work, although that, too, has lapsed into obscurity.

11/10/22 Robert Fuchs: Piano Concerto in B-flat minor Op. 27

Fuchs was an influential composition teacher at the turn of the century. His pupils highly regarded him as a composer, including Sibelius, Mahler, Korngold, Wolf, Schreker, and Zemlinsky. Fuchs was never interested in promoting his music, so it lfell into obscurity after his death.

11/11/22 Malcolm Arnold: Fantasy for Trumpet, Op. 100

Arnold was a trumpeter who turned to composition. At one time, he was the most-performed composer in Britain. He wrote over 100 film scores, including "Bridge on the River Kwai." Anti-social behavior exacerbated by alcoholism eventually destroyed his career. Now only a few of his most popular scores are infrequently performed.

Ferdinand Ries String Quartets Vol. 4 Worth the Wait

It's been four years since the Schuppanzigh Quartet recorded volume three in series. And 18 years since they started it. This time they present a quartet and a quintet by Ferdinand Ries. It's a good combination. 

Ferdinand Ries was one of only two pupils Ludwig van Beethoven accepted. Ries studied piano with Beethoven, and eventually became his copyist, and personal assistant. His time with the master was well-spent. And it greatly influenced his own compositional style. 

The Op. 37 String Quintet in C major was composed in 1809. Ries dedicated it to violinist Ignaz Schuppanzigh (the quartet's namesake), who premiered it. 

The work is finely constructed. Ries seems to have learned motivic development from Beethoven. And many of the gestures may seem familiar. Familiar, but not derivative. Ries is more concerned about the beauty of expression than challenging the heavens. The work unfolds in a logical and engaging fashion.

The String Quartet, Op. 150, No. 1 in A minor was part of group Ries composed around 1826. Ries' compositional language was similar to Beethoven's. But in this quartet, he seemed to draw inspiration from Haydn. The music has a light texture, and the lines seemed longer and more drawn out. 

The Schuppanzigh Quartet turns in some fine performances. The ensemble has a warm, rich sound that's in line with Rie's music. This is a good addition to this ongoing series. Let's hope volume five is less than four years away! 

Ferdinand Ries: String Quartets, Vol. 4
String Quintet, Op. 37 in C major
String Quartet, Op. 150, No. 1 in A minor
Schuppanzigh Quartet Cologne
Raquel Massades, viola
CPO 777 306-2

Rediscovered Daniel Jones Piano Works Worth Investigating

Normally when I read about rediscovered works, they're of some long-dead composer. But certainly, not a composer who died in 1993. After all, isn't databasing more efficient these days? And especially for a composer as important as Daniel Jones?

Not necessarily. According to Martin Jones, when asked about writing piano music in 1972, the composer declined. He further stated that he had written very little of it at all. His "Set of Bagatelles" had been published, but nothing more. 

So Martin Jones was very surprised to discover a cache of piano scores. They were tucked away in the National Library of Wales. 

The works -- which appear in this collection -- weren't abandoned experiments. The manuscripts were completed compositions. Several had been clearly prepared for publication. Some had performance notations in them. 

Daniel Jones had dismissed them. But fortunately for us, Martin Jones didn't (no relation, BTW). These pieces come from early in Daniel Jones' career, but they show his compositional skill. 

There are some short selections, such as his preludes. But then there are some major works, like the Sonata No. 6 in C-sharp minor. This 36-minute work shows Daniel Jones' ability to develop and sustain complex ideas.

Martin Jones is one of those pianists who play everything very well. And here he's playing music by someone he knew. I especially liked his performance of the sonata. Daniel Jones was a skilled pianist himself. So the music gives Martin Jones an opportunity to shine As he does.

It's only through good fortune that early music manuscripts survive the centuries to be rediscovered. In this case, the music was waiting patiently in a climate-controlled environment. But I'm still glad someone looked through the catalog. 

Daniel Jones: Rediscovered Piano Works
Martin Jones, piano
Lyrita SRD.2396
4 CD Set

Antwerp Requiem ca. 1650 -- Music by Phillipus van Steelant

The latest recording of the B’Rock Orchestra provides a musical snapshot. If you died in Antwerp in 1650 -- and you were important -- this music may well have been performed at your funeral. 

The centerpiece is the Missa pro defunctis by Philippus van Steelant. Van Steelant was an organist at St. James' Church in Antwerp. And, as was common at the time, he was also a composer, primarily of sacred music. 

His 1650 work is a masterwork of early Baroque choral writing. Most of the choral writing is either homophonic or antiphonic. But it's beautifully wrought. 

The control.X vocal ensemble sings with warmth and clarity. They're especially effective in the antiphonal passages, each entrance precisely matched in intonation. 

The release also includes a Miserere mei Deus for five voices and a Missa pro defuctis for six voices. These are also by von Steelant, and show his range within this limited field. 

The Miserere mei Deus makes effective use of strings. Combined with the organ, they set the emotional tone for this plea to God.

 The 1656 Missa pro defunctis is shorter than the 1650 version. Unlike the earlier mass, there are no instrumental symphonia movements. And the mass movements themselves are shorted, and a little more to the point. 

I had never heard of Phillipus van Steelant before, much less his music. This release was a fine introduction. 

Antwerp Requiem ca. 1650
Music by Phillipus van Steelant
CantoLX, B’Rock Orchestra, Frank Agsteribbe, director
Pentatone PTC5187006

#ClassicsaDay #ForgottenComposers Week 1

This month the Classics a Day team presents a real challenge. And that's to remember forgotten composers. It's a challenge, but remembering the forgotten can be important, too.

The idea here isn't to lift up composers who always labored in obscurity. Rather, the goal is to recall composers that were once popular. 

Throughout this month, many of the composers I'll be featuring will have the same story. During their lifetime they were famous and popular. People flock to hear them play, publishers fight for the rights to their music, and younger composers emulate their style. 

And yet, after their death, it all goes away -- and quite quickly. Usually, within a decade their music's out of print, no one performs or discusses them, and they're virtually eliminated from music history.

Why? The reasons vary. Sometimes it's gender or racial bias. Sometimes it's political upheaval. Sometimes tastes just change. 

Here are my posts from the first week of #ForgottenComposers. I'll leave it to you to judge if they deserve to remain so.

11/01/22 Louise Farrenc: Trio for flute, cello, and piano, Op. 45

In her lifetime she was feted as a virtuoso pianist and wrote symphonies, chamber works, and piano music. She was a Professor of Piano at the Paris Conservatory for 30 years and wrote several important piano technique books and etudes. Shortly after she died, her reputation and music disappeared.

11/02/22 Hans Huber: Symphony No. 2 "Böcklin Symphony"

At the turn of the 20th Century, Huber was the pre-eminent Swiss composer. His second symphony was part of the orchestral repertoire. After his death in 1921, his music and his reputation were quickly forgotten.

11/03/22 Marianna Martines: Keyboard Concerto in A major

In her lifetime Martines was renowned throughout Europe as a singer, harpsichordist, and composer. She had studied with Haydn and was the first woman to be admitted to the Accademia Filarmonica of Bologna. After her death in 1812, her music all but vanished.

11/04/22 Niccolo Jommelli: Requiem

In his lifetime Jommelli was extremely influential among French and Italian operatic composers. He, along with Christoph Gluck, was credited with revitalizing the art form. And yet after his death in 1774 his music ceased to be performed. Very soon music histories credited only Gluck with the innovations they both championed.

Machaut - Remede de Fortune new triumph for Blue Heron

What is "Remede de Fortune?" Nothing less than a multi-media work of art -- created in 1350. Guillaume de Machaut was one of the greatest poets of his time. And one of the greatest composers. 

But Remede is more than just a combination of Machaut's words and music. Machaut personally supervised the creation of an illuminated book. 

This illuminated text tells the story of a heartsick poet who blames Fortune for his, um, misfortune. Hope personified comes to his aid, leading him to the proper expression of love. 

The pages of the manuscript tell this story in rich detail. Music notation is embedded in the illustrations, as are poems. In order to fully experience Machaut's creation, patrons would look at the pages while the poetry was recited, the songs sung, and dances recreated by instrumental ensembles. 

So it's a media-rich graphic novel, created 650 years before the concept came into being. Oh - and at the end, the poet's gift to his love is his love poem,  "Remede de Fortune," making this meta as well. 

The early music vocal group Blue Heron staged a live performance of "Remede" with Les Délices. Their performance includes all the music contained in the story.  The narration was replaced with motets, songs, and dances of the period. 

It's a great performance and one that can be enjoyed on several levels. I first listened to the recording cold. The recording works as a pure listening experience. There's enough variety between the combination of instruments and voices to hold interest. 

Blue Heron is still one of the finest vocal ensembles around, and they didn't disappoint. The music was sung with pure, clear tones of incredible expressive beauty. Les Délices provided subtle accompaniment, supporting the vocalists without detracting from them. 

The release comes with the complete text for Remede (and thankfully English translation). It also includes several full-color reproductions of the artwork. So one could, as in Machaut's time, follow along with the text and art as the music played. 

It was an extraordinary work of art, and it's an extraordinary realization. Highly recommended.  

Joachim Raff Piano Four-Hands Sonatas impress

This release presents two sonatas by Joachim Raff for piano four-hands. But they didn't start out life this way, and the clue is in the opus numbers. The Sonata in E minor is Op. 73b, and the Sonata in A major is Op. 90b. That "b" indicates it's the second version. 

In the case of the E minor Sonata, it's an arrangement of his Violin Sonata No. 1. The Sonata in A major is a reworking of his second string quartet. Raff was a skillful pianist and arranger. As a result, these sonatas can easily be enjoyed for their own merits. 

Solveig & Bertil Wikman perform these works with precision and gusto. Their accuracy gives clarity to the music, which can become quite thick at times. And their energy gives the music life. 

In the E minor sonata, the violin melody is distributed across both players. Yet there's a continuity of expression as it moves back and forth. These two performers play as one. And that's what makes this release a joy to listen to. 

Recommended not just for fans of Joachim Raff,. These are great selections for anyone who enjoys late 19th Century piano music.

Joachim Raff: Piano Four-Hands Sonatas
Solveig & Bertil Wikman
Sterling CDA1850

Vincenzo and Michelangelo Galilei -- Musiche per liuto

These days, Galileo is the most famous member of the Galilei family. But at the turn of the 17th Century, that wasn't the case. Galileo's father, Vincenzo Galilei was a renowned lutenist and an influential music theorist. 

In the 1590s, a group of musicians and scholars -- the Florentine Camerata -- sought to revive ancient Greek music and drama. Vincenzo Galilei had done extensive acoustical experiments. His work became a key component of what the Camerata developed. 

The Camerata didn't succeed in reviving ancient Greek music. But they did develop a new style of music -- the Baroque -- and a new musical form, the opera.

Vincenzo Galilei published several collections of lute music based on his new theories. Christian Zimmermann presents a selection of this music. 

Galilei wrote these pieces in only major and minor keys. This was part of the new Baroque aesthetic. And it represented a clean break from the church modes of the Renaissance. 

This recording also includes music by Michelangelo Galilei. He was Vincenzo's son and Galileo's brother. And he was also a virtuoso lutenist. 

Michelangelo's music is more concerned with technique than theory. So hearing music by father and son together is enlightening. 

Zimmermann uses both a six-course lute and a ten-course lute for this recording. The two instruments provide a welcome variety of timber. And, I suspect, some of these pieces are better suited to a particular instrument. 

The recital is well-recorded. The sound is clean and close-up. But the balance is good, and the instruments have a natural resonance. 

Highly recommended to anyone curious about the origins of the Baroque.

Vincenzo and Michelangelo Galilei
Musiche per liuto
Christian Zimmermann, lute
Tactus