Walton: Violin Concerto and "Troilus and Cressida" in SACD

This release collects three of William Walton's most important compositions. And that's a good thing -- because Walton isn't as well-known as his music deserves. 

The Sinfonia of London performs his biggest hit, "Portsmouth Point." This energetic 5-minute overture launched Walton's career. He gained an international reputation with his lively interpretation of an 18th-century print. 

The Violin Concerto was one of Walton's most important commissions. He composed it for Jascha Heifetz. It took a while for the work to reach fruition and for Heifitz to eventually premiere it. Charles Lovell-Jones is the leader of the Sinfonia of London.

He performs the work with great sensitivity and expression. Walton's work borders on the post-Romantic without stepping over into sentimentality. Lovell-Jones plays in a straightforward manner that conveys the emotion behind the music. 

Walton's grand opera "Troilius and Cressida" took seven years to compose. And there were many twists and turns along the way. As an opera, it's had a difficult run. In 1987, Walton's publisher hired Christopher Palmer to create a symphonic suite from the score. And that suite has enjoyed greater success.

The work is almost symphonic in scope. The key scenes are carefully delineated -- and quite effectively -- by orchestra alone. 

This is not only an excellent recording. It's an excellent-sounding recording. If you have the opportunity, listen to it through an SACD player. The added details -- especially in "Portsmouth Point" enhance the listening experience.

William Walton: Suite from "Troilius and Cressida"
Violin Concerto, Portsmouth Point
Charles Lovell-Jones, violin;
Sinfonia of London; John Wilson, conductor
Chandos SACD CHSA 5360

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

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

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

Ronaldo Miranda’s Piano Works Shine in New Release

The latest entry in Naxos' Music of Brazil series is a real corker. And a real discovery (at least for me). It features works for piano and orchestra by Ronaldo Miranda. 

Though probably not well-known in America, Miranda has international stature. He's considered one of Brazil's most important living composers. And his music regularly appears in concerts and music festivals throughout Europe. 

This album features three world recording premiers. Miranda's 1983 Piano Concerto is one of them. It's an intense, modernist work with echoes of Bartok. Miranda is a natural melodist. No matter how jagged the contours, melody always wins out. 

This is an energetic work that pits piano against orchestra. And that dynamic back-and-forth is thrilling. Wonder why it took so long to get it recorded. This is a composition that should appeal to many orchestras -- and soloists.

The 1986 Concertino for Piano and Strings has a more modest scope. It's a more tonal composition. The motivic thrusts reminded me a little of Bernard Hermann. Like the concerto, this piece demands your attention -- and rewards it with a wealth of detail. 

Also included are two pieces for orchestra. The Variacoes Temporais (Beethoven Revisitato) (2014) features a variety of Beethoven motifs, quickly deconstructed by Miranda. Hoizontes is a tone poem inspired by Columbus' voyage of discovery (the good parts). 

Pianist Eduardo Monteiro brings a lot of attitude to his playing. And it's what Miranda's music requires. These aren't academic exercises. This is music to be enjoyed. And that's just what Monterio delivers. 

Ronaldo Miranda: Piano Concerto
Concertino; Horizontes; Variacoes Temporais
Eduardo Monteiro, piano
Minas Gerais Philharmonic Orchestra; Fabio Mechetti
Naxos 8.574591

Falletta and the Buffalo Philharmonic Orchestra Dazzle with Contemporary Music

I know people who absolutely, positively will not listen to contemporary music. If the local orchestra schedules it, they'll show up late to miss it (or not show up at all). Why? Because they assume that all modern music is dissonant and ugly. Sorry, that only describes their prejudices. 

Wonderful, exquisitely beautiful classical music is being written every day. All it needs in an audience. JoAnn Falletta and the Buffalo Philharmonic have done their part. 

They've put together a program of engaging, well-crafted works. These pieces are unabashedly tonal, and yet they could have only been composed now, in the 21st Century. 

All four composers have a strong relationship with Falletta and the BPO. The musicians know these composers. They know what they're trying to say, and they deliver. 

The BPO has recorded several Kenneth Fuchs albums. Their latest collaboration won them a Grammy. "Point of Tranquility" is a drifting cloud of swirling orchestral colors. As the piece progresses, these colors come together before dissipating into the air. 

Russell Platt's Symphony in Three Movements is an homage. It's inspired by Expressionist artist Clyfford Still. This is a restless, energetic work. Spikey melodies compete with each other for attention. Yet in terms of modernism, Platt's language isn't that far removed from Shostakovich's.

BPO's first chair oboist Henry Ward gets the spotlight in a collaborative concerto. Randall Svane is a friend of Falletta. She thought his Sonata for Oboe and Piano would make a good concerto. "Concerto for Oboe and Orchestra" is the result of that commission. 

Svane reworked the sonata taking advantage of the orchestra's expanded color palette. Modal harmonies add to the attractiveness of the work. 

The Covid-19 lockdown inspired "The Winter that United Us.". Wang Jie's work is introspective. In places I heard hints of Sibelius, Shostakovich, Barber, and Saint-Saens. But the material, and how it's developed, is all Jie. 

I hope the house was packed when the BPO performed these works. This is the direction classical music is going. It just needs audience support. Recommended.

Contemporary Landscapes
Kenneth Fuchs, Russell Platt, Randall Svane, Wang Jie
Henry Ward, oboe
Buffalo Philharmonic Orchestra; JoAnn Falletta, conductor
BPO

Baltic Echoes: Choir and Strings in Perfect Harmony

 

There's something about the Baltic region. Something that has inspired native composers in the 20th Century. Something that has inspired deeply spiritual works of contemplation.

Dalia Dedinskaite (violin) and Gleb Pysniak (cello) are a powerhouse duo. And they know this music well. They're from Lithuania and intuitively understand the Baltic aesthetic. 

On this release, they're joined by the Vilnius Municipal Choir JAUNA MUZIKA, directed by Vaclovas Augustinas. (Vilnius is the capital of Lithuania if you didn't know.)

One of the standout works on this album of masterpieces is "Ave Maria." it's set by Lithuanian composer Jurgis Juozapaitis. Soloists, choir, conductor, and composer are all in sync. It's a luminous work highlighted by string obbligottos. 

Estonian composer Arvo Part is internationally known. Some consider him one of the founders of this ethereal, clouds-of-sound choral writing. But actually, British composer John Tavener came first. His interest in Eastern Orthodox hymnody laid the foundation. Both composers are represented in this release. 

The album also includes music by Latvian Peteris Vasks and Norwegian Ola Gjeilo. They're among the most-performed and most-recorded choral composers today. 

The choir has a warm, transparent sound. There's enough room ambiance to give the voices a soft focus, but not enough to muddy the sound. It's the perfect sound for these compositions. And Dedinskaite and Pysniak are at the top of their games. 

The album concludes with a heart-rending version of "The High Pass: Melody." Myroslav Skyork's tune has become the symbol of Ukrainian resistance. This version for choir and strings is gorgeous, yet full of melancholy. Not to be missed.

Baltic Prayer
Dalia Dedinskaite, violin; Gleb Pysniak, cello
Vinius Municipal Choir JAUNA MUZIKA, Vaclovas Augustinas, conductor
Stradivarius STR 37322

Herbert Howells and Charles Wood - String Quartets by Pupil and Teacher

This release pairs two string quartets: one by the teacher, the other by the pupil. The teacher was Charles Wood. 

Wood was an Irish composer active in the last decades of the 19th Century and up to the First World War. Wood built his reputation on Anglican church music. His use of modes gave his music a distinctively "English" sound. 

He was part of the first class of the Royal College of Music. He studied with Charles Villiers Stanford and Carles Hubert Hastings Parry.  Both worked to create an English school of composition. 

As a composition professor, Woods' students included Ralph Vaughan Williams and Herbert Howells. Both composers would represent the height of that British school. 

Wood provides the link between the generations. And his music shows it. His sixth string quartet is performed here. This 1916 work has strong elements of both British and Irish folk music. It's a solid composition and one I was happy to discover. 

Howells had a fascination for the music of Tudor England -- and English folksong. His string quartet "In Gloucestershire" encapsulates those interests. The work had a perilous journey to recording. 

Howells wrote the work in 1916, and the score was almost immediately lost. He rewrote it in 1920. After a few performances, that manuscript also disappeared. In the 1980s a set of parts from the 1920 version were found. This recording was made from those parts.   

The London Chamber Ensemble Quartet is heavily invested in this music. Cellist Joseph Spooner worked on the reconstruction of the Howells quartet. First violinist Madeleine Mitchel made string quartet arrangements from Howell's "Three Pieces for Violin and Piano." . Those two selections are also included on this album. 

The quartet plays this music with sensitivity and deep understanding. The "Englishness" of these pieces comes through without sounding cloying or artificial. Wood and Howells were masters of their craft. And the inherent beauty of these works is what the quartet delivers. 

The liner notes suggest that a cycle of Charles Woods string quartets is underway. Based on this quartet, it's a cycle I'd love to hear. 

Herbert Howells & Charles Wood: Quartets
London Chamber Ensemble Quartet
Somm Recordings SOMMCD 0692

African Art Song - Uncommon Music Awaiting Discovery

I wondered what Rebeca Omordia would give us next. She had released two strong albums of African piano music. This release seems the next logical step. It collects works from African composers who are writing in a classical framework. 

The music is more tightly focused. Omordia's piano albums sampled works across the continent. This recital stays within Nigeria, with composers from the Yoruba and Igbo peoples. It also includes intermezzos for drums. For the Yoruba part of the program, the Yoruba talking drum is used. For the Igbo section, it's traditional Igbo percussion instruments. 

And there are some outliers. The album includes two arias by Joseph Bologne, the Chevalier de Saint-Geroges. This mixed-race composer and violin virtuoso was a contemporary of Mozart. Errollyn Wallen and Shirley J. Thompon are first-generation Britians from Jamaica.  

As with the solo piano albums, the music is fresh, engaging, and enlightening. The balance between African and Western classical traditions varies from composer to composer. And no matter where that balance is, the results are expressive, creating music. Music that communicates not just to Nigerians, but to everyone. 

Omo Bello is French-Nigerian and well-suited to sing this music. She has an impressive CV full of major opera roles. Her first recording was of Mahler's "Des Knaben Wunderhorn." 

But Bello also understands the musical traditions behind these works. And she speaks the language, giving the melodies the right inflection. Like these composers, she blends her classical training, creating something of great beauty. 

Rebeca Omordia and her colleagues have produced an album of music worth exploring. And music that encourages further exploration. Here's hoping there's a volume 2 in the works. 

African Art Song
Rebeca Omordia, piano; Omo Bello, soprano
Somm Recordings

Juozas Gruodis Piano Music

The classical music of Eastern Europe is still mostly unknown in the West. It's proven to be a treasure trove for adventurous labels like Toccata Classics. 

Over the past two years, they've released albums of music from Bulgaria, Estonia, Latvia, Finland, Ukraine, and the Balkans as a region. This release features music by Juozas Gruodis, the father of Lithuanian music. 

Gruodis began his studies in Moscow. He transferred to the Leipzig Conservatory in 1920. When he returned to Lithuania, he synthesized both traditions. Gruodis' goal was nothing short of a "national concept of music." And he succeeded. Many Lithuanian composers trace their inspiration back to Gruodis. 

This release features two sonatas plus four other works for piano. Gruodis wrote the Piano Sonata No. 1 in C sharp minor in 1919. He was just finishing his studies in Moscow. The late-Romantic Russian style is prominent in this sonata but doesn't overwhelm it. I heard hints of Scriabin and Rachmaninoff, but I also heard something else. Some unusual melodic turns and harmonies that were perhaps Lithuanian. 

Gruodis' Piano Sonata No. 2 in F minor was written during his studies in Leipzig. There's more Lizt than Lyadov to the sound. And yet once again, melodies don't always follow Germanic models.

These sonatas require a great deal of technique. And Daumantas Kirilauskas is up to the task. He plays the cascades of thundering chords with authority. And he also plays with delicate tenderness when the music demands. I especially liked his performance of 1920 Variations in B minor. 

Gruodis intended the work to be an exercise in salon music. But he couldn't keep his imagination in check. By the third variation, the composition has flowered into a real showpiece. 

I would very much like to hear Gruodis' orchestral music. But for now, this album is here to enjoy. And to enjoy with repeated listening. Another exceptional release of music worth discovery from Toccata Classics.

Juozas Gruodis: Piano Music
Daumantas Kirilauskas, piano
Toccata Classics

Rediscovering Maria Herz's Piano Music

It wasn't that long ago that I reviewed a Capriccio release of Maria Herz's orchestral music. A recording of all world premiere recordings. And now here's an album of all her numbered piano works -- all world premiere recordings. 

Maria Herz was a virtuoso pianist and composer active in the between-war years. When the Nazis rose to power, her Jewish heritage put an end to her career in Germany. She left the country in 1935 with her children, never to return. 

Herz would eventually rebuild her career as a performer and teacher. But she stopped composing when she left Germany. Herz only wrote around 30 works. Who knows? In time they may all be recorded. 

Pianist Aude St-Pierre makes her recording debut, and it's a great one. Herz was a pianist. Her keyboard music is idiomatic and exploits the possibilities of the instrument. St-Pierre plays with confidence and empathy. These are performances I want to revisit again and again. 

All three works show Herz's creativity. Her Op. 1 is a set of variations on Chopin's Prelude Op. 28, No. 20. This is a core repertoire work. So much so that it simply is. To recast and rework the motives takes real imagination. And Herz delivers. Each variation takes this prelude in a new direction. And there are eleven of them. 

Her second published work, 12 (Valses) Ländler for piano also delivers. These are twelve very short pieces, but each one has its own character. Both these works come from the 1910s when Herz was just starting her career. 

She hit her compositional stride in the early 1930s. Her Piano Sonata in F minor foreshadows her mature efforts. Written in 1922, this is a complex piece in structure and harmony. Herz flirts with the chromaticism of atonality without stepping over the edge. The sonata is a work that's both modern and accessible.

I applaud St. Pierre for her bold programming choices. Most artists stick to the basics for their debuts. This is well-crafted music that indeed deserves rediscovering

Rediscovering Maria Herz
Aude St-Pierre, piano
Genuin Classics GEN 24863

Rautavaara and Aho -- Joy & Asymmetry, Indeed!

This release features the music of a teacher and his pupil. Finnish composer Einojuhani Rautavaara was the teacher. Kalevi Aho was the student. And he learned well. Rautavaara's mature style featured clouds of sound that continually intersected in unusual ways. 

Aho's style has a similar underlying aesthetic but takes a different form. If Rautavaara's music is in soft focus, then Aho's is crystal clear. This contrast is clearest when listening to two works from 2010. 

Unsere Liebe by Rautavaara is primarily homophonic. Its shimmering harmonies obscure the tonal center. Yet they also effectively color the melody, providing emotional context to the work. 

Kolme laulua Mawlana Rumin runoihin was also composed in 2010. Like Rautavaara's work, the rhythmic pulse is weak. Here though, the single-line melody builds as it develops. A harmonic line splits off. A chorus intersperses answering motifs throughout the work. 

Different in style, but somehow similar in intent. These are choral works meant to evoke an atmosphere. Both composers have very subtle contrasts. Both demand the full attention of the listenr. 

And I suspect both composers demand much from the singers. The Helsinki Chamber Choir does an outstanding job. Their intonation is precise, and their vocal blend is seamless.

This is an SACD release. If you purchase a digital download, make it the highest resolution available. On a good playback system, you will hear a difference. Aho and Rautavaar use silence as much as sound. And often very quiet sounds at that. The more details you here, the more the artistry of these two composers comes through.  

Joy & Asymmetry
Einojuhani Rautavaara, Kalevi Aho
Choral music
Helsinki Chamber Choir; Nils Schweckendiek, conductor
BIS 2892 SACD

Juliana Koch Presents Ruth Gipps at Her Best

Chandos has already released two albums of Ruth Gipp's orchestral music. This release features some of her chamber works for oboe. Gipps was an accomplished oboist, pianist, and composer. So I would expect that this music would have some of her best work. And I think it does. 

Gipps fully exploits the potential of the oboe. There are few examples of extended technique here, but plenty of demanding passages. 

Gipps studied composition with Gordon Jacobs and Ralph Vaughan Williams. Throughout her career, her music remained resolutely tonal. Several works suggest an "Englishness" in their modal harmonies and melodic shapes. 

But Gipps used these elements sparingly, as a way to enhance her own musical expression. 

Juliana Koch performs with impressive facility. Her runs are immaculate. The intonation of the instrument is also spot on. This is an album of incredible beauty. 

For me, the title track was the real showpiece. "The Piper of Dreams" is for solo oboe. Gipps crafts a melody that implies its harmony.  This provides the listener a point of reference. And Koch's playing adds to the experience.

The trio for Oboe, Clarinet, and Piano, Op. 10 was written in 1940, while Gipps was still studying composition. The influence of her teachers may be the strongest here. And yet there's no mistaking thing music for anyone else's. 

Gipps had a rare gift for composition and one that just is now being fully appreciated. If you like English music, this disc is for you. 

Ruth Gipps: Piper of Dreams
Juliana Koch, oboe, cor anglais
Michael Michale, piano; Julian Bliss, clarinet
Chandos CHAN 20290

Janis Kepitis: Piano Miniatures from the Manuscripts, Volume Two

I really enjoyed the first volume in this series. I like this volume even more. Janis Kepitis was a major composer, performer, and teacher in his native Latvia. He was head of the Department of Chamber Music for the Latvian Academy of Music. As such, he influenced many of the students who came through the school. 

By all accounts, Kepitis was kind and generous. And those traits show in his music. Volume One featured a sampling of his many piano miniatures. Latvia was under Soviet control after World War II. The same political restrictions placed on Soviet composers were inflicted on Latvian composers -- if not more so. 

Kepitis' piano miniatures were written for personal use, as a safe outlet for his creativity. Volume One collected a number of his stand-alone miniatures. This volume focuses on his piano suites. 

Keptitis was a genius miniaturist. Most of these movements are very short and seemingly very simple. But every note does double -- if not triple -- duty.  The individual movements in these suites always total more than the sum of the parts. 

The album opens with "Snowflakes." Three of the movements depict snowfall in very different ways. Yet every one evokes the image of snow. Kepitis quotes "Lo, How a Rose E're Blooming," tinging it with wistful nostalgia. 

The other suites are equally effective. "Impressions of an Evening" sounds Debussy-adjacent. While impressionistic, it's clearly not French, nor in anyone's voice but Kepitis'. 

The two sets of "Mood Paintings" are also impressive. Listen to these suites straight through.  You'll hear a world being built around you, movement by movement. 

Nora Luse turns in another set of tremendous performances. She gives these suites a sense of direction, embuing them with a narrative thread.

Also included is a recording of Kepitis performing one of his own piano works. It simply confirms the obvious. Kepitis was an accomplished pianist of great technical ability. And musicianship to match. 

Are there more Kepitis miniatures awaiting recording? Gosh, I sure hope so. 

Janis Kepitis: Piano Miniatures from the Manuscripts, Volume Two
Nora Luse, Janis Kepitis, piano
Toccata Classics TOCC 0721