Atterberg Symphonies Vol. 5: romantic and visionary

The fifth and final installment of Neeme Järvi's traversal of Kurt Atterberg symphonies is out. And it presents two works that stand in stark contrast. Atterberg's 1942 "Sinfonia romantica," is sunny, lyrical, and light-hearted, while the "Sinfonia visionaria" is a thickly-textured study of Nordic gloom.

Atterberg's Symphony No. 7 was written in reaction to what he saw as an anti-romantic trend in music. The "Sinfonia romantica" is unabashedly romantic, with richly-voiced harmonies and beautiful melodies that occasionally border on sweetness.

The 1942 premier was not well-received, and afterwards, Atterberg dropped the final movement. I have to admit the three-movement version Järvi presents works just fine. The new last movement brings the symphony to a rollicking close, and reminds me of the last movement of Mendelssohn's "Italian Symphony."

Symphony No. 9, the "Sinfonia visionaira" couldn't be more different. This 1955 work is based on the prophecies of the Völva, a 10th-century Icelandic text. In it, the Völva, or seer, answers the questions of the Bard (Odin in disguise), revealing the future, and the end of the gods. Yes, she's talking about Gotterdammerung.

Atterberg's music is highly chromatic, and in some places dodecaphonic, although still leaning heavily towards tonality. This is a choral symphony, with two soloists representing the Bard and the Seer in conversation. To me, the structure and the sound more resembled that of an extended opera scene. It's a moving work, but one that offers little relief from its overall darkness.

Neeme Järvi and the Gothenburg Symphony deliver committed performances. If you have an opportunity, listen to this played back on an SACD player as opposed to a downloaded file (even a high-resolution one). There are some nuances in Atterberg's orchestrations that become more evident with SACD playback.

A great finale to an excellent series.

Kurt Atterberg: Orchestral Works, Volume 5 
Symphony No. 7, Op. 45 "Sinfonia romantica" 
Symphony No. 9, Op. 54 "Sinfonia visionaria" 
Gothenburg Symphony Chorus and Orchestra; Neeme Järvi, conductor 
Anna Larsson: mezzo-soprano; Olle Persson, baritone 
Chandos CHSA 5166 SACD

December Celebration: New Carols by Seven American Composers

Now here's a good idea. If you're like me and are sick to death of hearing the same old holiday "classics" year after year, then you'll welcome this new release from Pentatone.

December Celebration presents a cohesive program of fresh-sounding, accessible carols by living American composers. And while the musical language might lean a little on the conservative side, these are all well-constructed compositions. There's no dumbing down here. Even the well-known "Silent Night" gets an imaginative -- but wholly appropriate -- re-imaging by Gordon Getty.

One of my personal favorites is "How Bright the Darkness" by Luna Pearl Wolf. It's a delicately beautiful work, with a similar character to Britten's "Ceremony of Carols."

As with virtually all Pentatone releases, I strongly recommend purchasing the SACD version (as opposed to just downloading it). The more detailed the sound, the more beautiful the Volti Chorus seems to sing.

December Celebration will be getting heavy rotation in my personal holiday music playlist.

December Celebration: New Carols by Seven American Composers
Mark Adamo: The Christmas Life; Jake Heggie: On the Road to Christmas; Joan Morris & William Bolcom: Carol (Neighbors, on this Frosty Tide); David Garner: Three Carols; Lona Pearl Woolf: How Bright the Darkeness; Gordon Getty: Four Christmas Carols; John Corigliano: Christmas at the Cloisters; Franz Gruber, arr. by Gordon Getty: Silent Night
Lisa Delano, soprano; Lester Lynch, baritone; Volti Chorus; Musicians of the New Century Chamber Orchestra; Dawn Harms, conductor
Pentatone SACD PTC 5186 537

Venetian Christmas a release for all seasons

Don't let the title mislead you. Yes, "Venetian Christmas" is a compilation of music that was played during the Christmas season in Venice during the 1750's. But there's nothing that would make it sound "seasonal" to modern ears.

 Many of the selections feature the psaltery, an ancestor of the hammered dulcimer. The soft, warm tones of the struck psaltery strings give the music a different cast then that of a harpsichord's harsher plucked-strong sound.

Works by Venetian composer Antonio Vivaldi make up much of the program (as they probably did in Venetian concerts of the day). Also included is a concerto grosso by Torelli and a sonata for psaltery by Fulgenzio Perotti, a composer and psaltery teacher.

 This is a beautifully recorded SACD that takes full advantage of the technology. The psaltery is a soft-spoken instrument, and Komalé Akakpo's expressive playing makes it sound luminous. Soprano Ruby Hughes sings Hasse's Alma Redemptoris Mater and Vivaldi's Salve Regina with warmth and sensitivity.

And the SACD preserves the fine details of violinist Ewa Golínska delicate phrasing and gives the ensemble sound of the Arte dei Suonatori real depth. I didn't receive this recording for review until well after Christmas. But no matter. It was a pleasure to listen to then, and I anticipate it will continue to be in late summer. This is one seasonal disc that is anything but.


Venetian Christmas 
Antonio Vivaldi, Johann Adolph Hasse, Fulgenzio Perotti, Giuseppe Torelli Ewa Golínska, violin; Komal&eactue; Akakpo, psaltery; Ruby Hughes, soprano; Arte dei Suonatori; Martin Gester,conductor 
BIS 2089 SACD

Davis delivers an operatic Dream of Gerontius

Sir Andrew Davis has performed "The Dream of Gerontius" with these same forces in live performance. And that may be why this recording sounds so organic. Sarah Connolly, Stuart Skelton, and David Soar sound like they've all settled into their roles, and the duets seem sometimes almost conversational.

Davis' vision of Elgar's massive work leans towards the operatic, which makes this performance sound more like a story with forward motion rather than a series of devotional tableaux.

Davis elicits a standout performance from the BBC Symphony Orchestra, and especially from the BBC Symphony Chorus. The ensemble sound is impeccable, of course, but the variety of expression he gets from them makes the chorus active characters in the drama, rather than background figures.

David Soar has a rich, full bass. He manages give the lofty pronouncements of his priestly character a sense of humanity.

As a heldentenor, Stuart Skelton brings a brightness and energy to the role of Gerontius. And it makes sense -- Gerontius isn't actually a dying old man, but a soul freed from the body of a dying old man. Skelton effectively conveys all the emotions Gerontius experiences as his soul hastens towards its final judgement.

Gerontius' guardian angel is sung by mezzo-soprano Sarah Connolly, who also brings welcome dramatic impetus to her role. To my ears, her voice sometimes had an edge to it that seemed at odds with the ethereal music surrounding it, but that's a minor quibble.

Connolly fares better as the soloist in the orchestral song cycle "Sea Pictures," also included with this release. That slight brassiness I heard in her voice is an asset in this work. Connolly sounds as expansive as the seascapes the music depicts, with an expressive energy that's entirely appropriate to the text.

Although available for download, I strongly suggest investing in the SACD. The additional detail I heard in the orchestra, chorus, and especially the soloists made this a much more powerful listening experience.

Sir Edward Elgar: The Dream of Gerontius, Op. 38; Sea Pictures, Op. 37
Sarah Connolly, mezzo-soprano; Stuart Skelton, tenor; David Soar, bass; BBC Symphony chorus; BBC Symphony Orchestra; Sir Andrew Davis, conductor
Chandos SACD 5140 2-disc set

Miho Fukui performs Vivaldi bassoon concertos with energy

Antonio Vivaldi: Concertos for Bassoon
Miho Fukui, bassoon; Ensemble F
Ars 38 165 SACD

Antonio Vivaldi wrote over 30 concertos for the bassoon, giving Miho Fukui a lot to choose from. Five of them, plus the Sinfonia from "Il Giustino", RV 217 make up this new release. Included is the concerto in B-flat major, "La Notte," RV 501, an oft-recorded work.

Bassoonist Miho Fukui plays with a rich, full-bodied sound. The Ensemble F, using period instruments, seem somewhat loose-limbed, especially in the ritornellos. But that's part of what makes these performances attractive.

There's a fire and energy in these works that more than compensate for a lack of machine-like precision. And in the end, that's what it should be about. Both Miho and Ensemble F invest this music with a lot of expression, almost exaggerating the shape of the phrases.

Personally, I enjoyed these pieces more than I generally do Vivaldi's instrumental music. (Not that I hate it, I just usually have a neutral reaction.) The SACD recording brings you close into the ensemble, making this an intimate-sounding release,that in my opinion, adds to its appeal.

Stephen Isserlis energizes Martinu Cello Sonatas

Martinu: Cello Sonatas 1-3
Works by Sibelius and Mustonen
Steven Isserlis, cello
Olli Mostonen, piano
BIS SACD

Steven Isserlis turns in an attractive program of cello music with this new SACD. Bohuslav Martinu wrote in a very distinctive style; one that was remarkably consistent throughout his long and prolific career. Martinu wrote tonal works, but they were his own version of tonality.

Dancing syncopation and shimmering chords are Martinu trademarks, and they're here in abundance. Playing two or more of Martinu compositions back-to-back -- especially ones using the same forces can have the effect of blurring them together. Isserlis avoids this by interspersing works by two composers whose styles complement Martinu's, simultaneously providing contrast and creating a coherent program.

Jean Sibelius' Malinconia, Op. 20 is a dark work, written after the death of the composer's infant daughter. Isserlis convincingly brings out the pathos of the work, while at the same time savoring the beauty of Sibelius' extended melodic lines.

Pianinst Olli Mustonen not only partners with Isserlis in these performances; he also provides a sonata as well. Mustonen's post-romantic composition fits in nicely with the Martinu and Sibelius works, with plenty of rich sonorities and juicy melodic tidbits.

Isserlis has recorded the Martinu sonatas before, and this time he doesn't hold back. Martinu's music has a certain lightness to it, but Isserlis makes it more compelling by really digging into the notes. The urgent character his technique brings to these works makes them, in my opinion, some of the best recorded versions of Martinu's cello sonatas to date. And if you have an opportunity, listen to this release through an SACD player. The intimate nature of this chamber music becomes all the more vivid with the additional sonic details the format provides.

Gergiev and LSO shine with Szymanowski symphonies

Szymanowski: Symphonies Nos.1 & 2
London Symphony Orchestra
Valery Gergiev, conductor
SACD Recording
LSO

 Symphony No. 1 was composed when Szymanowski was only 24, and he seemed to have considered it a youthful indiscretion. Yes, parts sound derivative of Richard Strauss' tone poems, and the structure isn't very tight in places.

But the symphony's a work with a lush, romantic sound and that's the work's strength. Gergiev understands that and presents the work with unbridled enthusiasm. These may be the exaggerated passions of youth, but they're genuine -- and in this recording, they're taken seriously.

In some ways, Szymanowski's second symphony No. 2 is proto-concerto, with solo violin playing off the orchestra. The influences of Richard Strauss and Max Reger are evident; the former in the first movement, the latter in the intricate second movement's fugue. Gergiev shapes the music to make these relationships more apparent.

Szymanowski at 27 was a much more confident composer than he was three years earlier, and Gregiev artfully articulates the structure of the music -- especially in the theme, variations, and fugue of the second movement.

I strongly recommend the SACD version if you have an SACD player. Although a live recording, the performances by the London Symphony Orchestra are immaculate. Subtle details of the sound of the instruments and the acoustics of the hall really make the music come alive. An excellent addition to LSO's self-released catalog.

Holmboe Chamber Symphonies -- Minature Gems

Vagn Holmboe: Chamber Symphonies 
Lapland Chamber Orchestra 
John Storgards, conductor 
Dacapo SACD 

I wasn’t that familiar with Vagn Holmboe’s music before I received this collection of his chamber symphonies. But after listening to them for a while, I would definitely like to explore the repertoire of this Danish composer further.

Written in 1951, the first of Holmboe’s three chamber symphonies shows a composer in full command of his material. 1 somewhat spare and lean at the beginning, building inexorably as it moves towards its big climax at near the end of the work, before finishing quietly with a reappearance of material from the opening movement.

The second chamber symphony is subtitled “Elegy.” Overall it’s a quiet, atmospheric work. Holmboe makes effective use of mallet percussion instruments, especially the vibraphone, which brings a hint of unearthliness to the mix. Holmboe was a conservative composer, using a primarily tonal language, but the somber harmonies and downward-turning chromatic melodic motifs almost sound atonal.

Holbmoe’s third chamber symphony, “Frise” is actually an orchestration of a choral work of the same name. Both were written to commemorate the unveiling a new frieze at a school. Although technically an occasional work, it’s much more substantial than just a “grand opening” fanfare. Holmboe digs deep into the ensemble, bringing instruments to the fore in groups of two and three to spotlight a melody. It’s a kaleidoscope of instrumental timbres changing in slow motion. The work has six movements, which, with a playing time of about 20 minutes, gives it a somewhat episodic quality and sounding very different in character than the first two works on the disc.

John Storgards leads the Lapland Chamber Orchestra in a compelling reading of these works. The performances sound fresh and engaging – even more so when played on an SACD player.

Magnificent music by Philippe Rogier

Philippe Rogier: Music from the Missae Sex  
Magnificat; Philip Cave, director
His Majesty's Sagbutts and Cornetts
Linn SACD

This outstanding recording by Magnificat features a set of masses by Philippe Rogier. Missa Inclita stirps Jesse is a parody mass, one of the higher expressions of a composer’s skill back in the 1500’s. The idea was to take an opening polyphonic theme from another composer’s work (in this case Jacobus Clemens’ motet Inclita stirps Jesse), and develop the material in a different way. The quoted (or “parodied”) material would begin each part of the mass.

Rogier was from France, but made his fortune in the court of the Spanish king, Philip II. These choral works are very clean, and spare. There’s no mere filling in harmonies here – each vocal line has a purpose. The Missa Inclita stirps Jesse is a fine example of high renaissance counterpoint, with the motifs expanding outward in ever more complex (yet transparent) patterns.

Rogier’s Missa Philippus Secoundus Rex Hispaniae takes its theme from the musical spelling of King Philip’s name. Despite its rather unmusical origin, Rogier makes it the foundation for a mass that’s an amazing compositional tour de force. His Majesty's Sagbutts and Cornetts join Magnificat for this work, doubling the vocal lines and shading them in subtle ways. This is indeed music to pull one’s mind to higher things.

Cudos go to Maginifcat, directed by Philip Cave. This early music vocal ensemble has a wonderful blend. The ensemble can be a seamless blend of sound when it needs to be, and clearly articulating multiple lines of counterpoint at other times.

And added bonus is the release of this recording in SACD format. The album is beautifully recorded, but to get the full effect of the performing space (something never far from any renaissance composer’s mind), one should really hear it through the SACD multi-channel format. Rogier’s counterpoint depends on the special relationships between the voices as well as the harmonic – it’s the difference between a 2D and a 3D image.