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

Album Marks Philippe Quint's Career Milestones

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

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

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

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

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

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

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

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

Three Polish Voices, One Bold Sound

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

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

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

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

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

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

Bacewicz, Lutoslawski, Szmanowski

Royal Scottish National Orchestra; Thomas Sondergaard, conductor

Linn CKD 758

Liszt’s Legacy: Two Forgotten Concertos, Reborn

 

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

1) They were both composed by students of Franz Liszt

2) Both composers were better known as pianists

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

4) Both are extraordinary concertos that deserve an audience

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

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

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

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

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

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

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

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

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

Violina Petrychenko Champions Ukrainian Masters

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

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

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

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

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

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

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

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

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

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

Romantic Bassoon: Scandinavian Gems Rediscoverd

 

This release presents four bassoon concertos from the Romantic Period. Specifically, Swedish concertos written in the early 1800s for Frans Carl Preumayr.  Preumayr was a virtuoso bassoonist living in Stockholm.

The most familiar composers represented are Franz Berwald and Berhard Crusell (Preumayr's father-in-law). Familiar, that is, if you know Scandinavian classical music. Their works were frequently programmed throughout the region in the mid 1800s.

Édouard Du Puy is a little more obscure. He was born in Switzerland, but Du Pay worked in Copenhagen and Stockholm most of his life. 

The fourth composer on the album is Eduard Brendler. He was born in Germany, and his family moved to Sweden when he was an infant. He died age 31. Brendler's catalog of works was small, but showed great promise.

All four pieces were written for the same performer. And that provides a certain consistency among them. They all share a Mendelssohn clarity of construction and melody. 

Bassoonist Jaakko Luoma plays with a warm, honeyed tone. This makes slow movements especially delicious. And he can also play with agility when required. And his rapid scale work is always articulate and clear. 

I'd recommend this album to just about anyone. If the only Scandinavian composer you know is Edvard Grieg - start here. If you don't think of the bassoon as a solo instrument -- start here. And if you just enjoy the early Romantic style of Mendelssohn and Schumann -- start here.

Bassoon Concertos: Crusell, Du Puy, Berwald, Brendler

Jaako Luoma, bassoon

Tapiola Sinfonietta; Janne Nisonen, concertmaster

Ondine CDE 1481-2

York Bowen, William Walton Viola Concertos Fresh and Appealing

There are plenty of violin concertos -- composers in the 1700s started writing them as soon as the instrument was perfected. Viola concertos have been fewer and farther between. Which is not to imply they're of lower quality. The two concertos on this release prove that. 

York Bowen was a star on the rise in the early 1900s. He wrote in a predominantly Romantic style that fell out of favor after the First World War. His 1908 Concerto for Viola and Orchestra, though, shows Bowen at the top of his game. 

A critic at the premiere wrote that Bowen had "filled all his movements with melodies." And how. The viola has a natural rich, resonant tone. A tone ideal for spinning out long, sensual melodies. 

English violist Lionel Tetris commissioned Bowen's work. He also commissioned William Walton's Concerto for Viola and Orchestra in A minor. Tetris took Bowen's work on tour. He rejected Walton's 1929 concerto for being too modern. The honor of premiering the work fell to violist (and composer) Paul Hindemith.

Wwlton's work certainly isn't rooted in the Romantic. But it's also not on beyond Webern. Rather, it's a tonal work that uses sophisticated harmonies and clearly defined motifs. 

Diyang Mei gives us a pair of excellent performances. In his day job, he's the principal violist of the Berlin Philharmonic. But he definitely has the personality to be a solo violist. Mei plays with warm expression and near-flawless technique. 

Sometimes the viola can sound a little undefined in its lower register. Not here. Mei plays with precision, ensuring every note is clearly heard. His phrasing illuminates, never muddies. 

Brett Dean conducts the German Radio Philharmonic Orchestra. Dean's a composer and violist himself. He and Mei make quite a team, both in sync with these works and how best to realize them. 

York Bowen, William Walton
Viola Concertos
Diyang Mei, viola
Deutsche Radio Philharmonie Orchester; Brett Dean, director
SWR Music SWR19158CD

East German Flute Concertos -- Unknown in the West

This release presents three works by three East German composers. All lived and worked in the German Democratic Republic (GDR). This Soviet satellite state was founded in 1949 and lasted until 1990 when East and West Germany were reunited.

East Germany (as GDR was referred to in the West) was governed in a Stalinist Soviet style. Everything -- including music -- was tightly controlled, with Soviet Realism the aesthetic goal. 

But the GDR wasn't the USSR. And so what defined "music for the people" had a slightly different definition, as these works show. 

Gunter Kochan's Concertino for Flute and Orchestra dates from 1964. The Cold War was at its hottest. Yet Kochan's work isn't politically safe music-making. Rather, it's a cheeky little number with the attitude of early Prokofiev.

The Concerto for Flute and Orchestra by Sigfried Matthus is another surprise. Soviet composers lived in fear of being labeled "modernist." But that's exactly what this 1978 concerto is. 

It's aggressively dissonant. Notes grind against notes. An energetically aggressive percussion section drives home the climaxes, and the flute exhibits some extended techniques. Matthus' music might seem a little conservative compared to Western contemporaries. But in the Soviet world, this was dangerously daring stuff.

Guisbert Nathaer lived and worked in the GDR, but his concerto was composed long after its collapse. Flutist Claudia Stein commissioned the Concerto for Flute and Orchestra in 2007. It has a fresh, modern sound. The concerto is a lively, good-humored work that showcases Stein's talents brilliantly. 

All three works receive their world recording premiers here. And all three are worth the effort. Stein delivers some committed performances. Her tone is pure and her articulation always spot-on. 

Highly recommended. And I'd be very interested to hear more works by these three composers.   

East German Flute Concertos
Kochan, Näther, Matthus
Claudia Stein, Flute
Brandenburgisches Staatsorchester Frankfurt' David Robert Coleman. director|
Naxos 8.57457

Gubaidulina: Triple Concerto and Rejoice! Exceptional.

Some composers build on established traditions. They take standard forms and common musical expressions and create something new. Other composers create their own sonic world, seemingly from scratch. Sofia Gubaidulina is one of those. 

Her 2017 Triple Concerto was inspired by Beethoven's. But she takes that inspiration in unexpected and innovative directions. Beethoven's concerto was for violin, cello, and piano. Gubaidulina substitutes the bayan for the piano. 

The bayan is a button accordion. It's a characteristic instrument of Russian folk music. There's nothing folk-line in Gubaidulina's treatment, though. All three solo instruments use extended techniques to create otherwordly sounds. The soloists glide around each other and the orchestra. In the process their sound blends and fragments like a kaleidoscope's image. 

Gubaidulina has her own musical language, but it's one with a rigorous internal logic. Every time I listened to the concerto, that logic became a little clearer. It's an amazing aural journey. 

The NDR Radiophilharmonie plays with disciplined energy under the direction of Andrew Manze. This is a live recording. At the conclusion, the applause begins tentatively, as if not wishing to break the spell. (It soon picks up.)

Also included is Rejoice! Sonata for Violin and Cello. To me, this 1981 work is a sonic ice sculpture. It's transparent, yet substantial. Exceedingly delicate, yet emotionally powerful. And it's a work to test the talents of its players. 

Biaba Skride, violin, and Harriet Krijgh, cello rise to the challenge. Harmonics sound with crystal clarity. Glissandi, string plucks, and bent notes sound clean and unforced. It's a work that is both intellectual and emotional.  

Gubaidulina writes like no one else. If you're familiar with her style, know that these are some of her best compositions. If not, be ready for some real adventures in listening.

Sofia Gubaidulina
Triple Concerto for Violin, Cello, and Bayan
Rejoice! Sonata for Violin and Cello
Biaba Skride, violin; Harriet Krijgh, cello; Elsbeth Moser, bayan
NDR Radiophilharmonie; Andrew Manze, conductor
Orfeo

Daugherty: Harp of Ages - One of his best

Executive brief: another great Michael Daugherty composition for hard-core fans and non-classical listeners alike. Need a bit more info? Keep reading.

"Harp of Ages" is a concerto written for Courtney Hershey Bress. Bress is the principal harpist for the Colorado Symphony. This recording features the soloist and the orchestra that commissioned the work. And it's Daugherty gold. 

Daugherty has a gift for blending multiple genres into a cohesive and engaging whole. His works are often good-humored. And he includes plenty of pop culture references to reward the alert listener. 

In this case, Daugherty presents the harp through the ages. Each of the seven movements shows the harp in a different role. The opening movement harkens back to ancient Greece, and the instrument's mythic origins. 

The second pays tribute to Sor Juana Inés de la Cruz, a Mexican nun and composer of the late 1600s. Other movements reference King David of the Bible, Harpo Marx, and two pioneering jazz harpists, Dorothy Ashby and Alice Coltrane. 

My favorite movement is "Uhurua's Harp." Trekkies know that in "Charlie X," (Season 1, Episode 2) Urura sings an improvised song accompanied by Spock on the Vulcan harp. Daugherty's movement turns it into a joyful dance.  And he French Horn occasionally plays Alexander Courage's signature "Star Trek" motif. 

The finale, "Irish Wedding" is a real barnburner. Daugherty serves up Turlogh O'Carolan. Then mixes it with Bach's "Jesu, Joy of Man's Desiring" and a dash of Mendelssohn's "Wedding March." It's a rollicking celebration and a real showpiece for the harp. 

Bress is a first-rate harpist, and really delivers here. Daugherty's music has real substance to it, but one has to strike the right emotional balance. Sometimes it's serious and heart-felt. Sometimes it's funny, satirical, or even ironic. When it's done well, Daugherty's music is magical. 

And it's done well here. Andrew Litton ably leads the Colorado Symphony in an inspired performance. Daugherty's music is indeed for everyone, regardless of their depth of classical knowledge. It's just that good. And "Harp of Ages" is one of his best.

Michael Daugherty: Harp of Ages
Courtney Hershey Bress, harp
Colorado Symphony; Andrew Litton, conductor
Naxos 9.70365

De Hartmann Rediscovered Revives Two Masterworks

I admit I was a little judgemental when I received this album for review. The title "Thomas de Hartmann, Rediscovered" put me off. Rediscovered? Where had these guys been? I'd already reviewed two de Hartmann releases from Toccata Classics. 

I should have remembered the adage about books and their covers.

The Thomas de Hartmann Project coordinated this release.  It was the same organization behind the Toccata Classics releases. And were responsible for three albums from the Nimbus Alliance (which I wasn't aware of). So if the album title attracts more listeners to de Hartmann's music, then all the better. 

Thomas de Hartmann was a Ukranian composer who enjoyed an international career. He studied with Anton Arensky, Sergei Taneyev, and Nikolai Rimsky-Korsakov. Russian Romanticism provided a foundation for his music in the beginning. 

But de Hartmann soon grew beyond it, though. He incorporated Ukrainian folk traditions, mixed with Impressionism, Modernism, and jazz. 

The Cello Concerto was composed in 1935. De Hartmann cites Klezmer music as one of his inspirations. There are no direct quotes. But his melodic contours and harmonic movement pay homage to the style. Matt Haimovitz performs this work with loving care.

De Hartmann said later he wrote the concerto for his Jewish friends suffering Nazi persecution. That was quite an unusual -- and dangerous -- stance to take in 1935 Germany.  Haimovitz's playing evokes a feeling of longing and quiet, desperate hope.

The Violin concerto was composed in 1943. The oppression de Hartmann witnessed in 1935 was now experienced first-hand. He dedicated the work surreptitiously to Jewish violinist Albert Bloch. Bloch was in hiding at the time, evading capture in Vichy France.

De Hartmann described it as "the Klezmer concerto." And so it is -- if you listen carefully. Superficially it appears to be a modern, modelly-constructed work. The melodies have a folk-like quality to them. If you know the context, the references become clear.

Joshua Bell delivers a thrilling performance. His technique leans into the concerto's Klezmer origins. The music no longer has to hide its roots. Bell plays with energy and enthusiasm. 

These are major works created during a time of war and repression. And the violin concerto was recorded in a similar circumstance. The INSO-Lviv Symphony Orchestra had to journey to Warsaw for the sessions. Lviv was under siege by Russian invaders. 

Russia's invasion of Ukraine has had one unintended consequence. It's prompted an international interest in Ukrainian music. Which has given the Thomas de Hartmann Project major support. Support to produce albums like this. 

These two works by Thomas de Hartmann await your discovery. And they are masterworks, indeed.  

Thomas de Hartmann Rediscovered
Joshua Bell, violin; Lviv National Philharmonic Symphony Orchestra; Dalia Stasevska, conductor
Matt Haimovitz, cello; MDR-Rundfunkorchester; Dennis Russell Davies, conductor
Pentatone PTC5187076

George Lloyd String Concertos: Stripped-down Masterworks

It looks like George Lloyd's star is set to rise once again. Lloyd had a promising career before the Second World War. But he was traumatized in battle and came home barely able to function. He quietly recuperated out of the limelight.

Lloyd's music returned to the concert stage in the early 1970s. Audiences in Britain, and then other countries quickly rediscovered and embraced it. 

Lloyd had composed constantly throughout his long recovery. He wasn't driven by commissions. He simply wrote music for himself. 

He managed to remain unaffected by the various trends of the mid-twentieth century. Lloyd's language remained tonal, if not entirely traditional.

His concertos use stripped-down ensembles, evening the balance somewhat. Lloyd wrote, "I don't really like the relationship between the violin and the big, modern orchestra... I hate to hear that poor little fiddle being totally swamped!" 

Cristina Anghelescu performns the two violin concertos. Her instrument has a warm, rich tone. The first concerto from 1970 is sweet and sentimental. Anghlelescu delivers with ravishing lyricism. 

The second concerto was written in 1977. This is more somber work. Anghelescu's performance is nuanced. She delivers the emotional content of the work with subtle intensity. 

The CD booklet describes Lloyd's Cello Concerto as "autumnal." Lloyd completed the work in 1997, the year before his death at age 85. It's a summation of a life spent in music. Cellist Anthony Ross captures the inherent melancholy of the work. His cello seems to emanate a sumptuous yearning tone.

It's hard to believe these works were so long neglected, but they were. Violin Concerto No. 1 was first performed when it was recorded in 1998 -- 28 years after its composition. Violin Concerto No. 2 premiered nine years after its completion. His Cello concerto only took three years to bring to performance. 

Lyrita announced they will be reissuing all the George Lloyd Albany Records releases. I'm glad to hear it. That's a substantial catalog of albums. Albany was how I first discovered the music of this remarkable composer. I'm excited to know that others will now have that opportunity.   

George Lloyd: The Violin and Cello Concertos
Cristina Anghelescu violin
Philharmonia Orchestra; David Parry, conductor
Anthony Ross, cello
Albany Symphony Orchestra; David Alan Miller, conductor
Lyrita SRCD.2422
2 CD set

CPE Bach and Antonin Kraft Cello Concertos - Worth Exploring

This release has an interesting premise. Jean-Guihen Queyras presents two cello concertos that bookend the Classical Era. Carl Philipp Emanuel Bach composed his Concerto in B flat major Wq 171 in 1751. 

The Baroque style, as embodied by his father, was waning. Elegance and directness were replacing ornamentation and complexity. Bach's concerto anticipates the aesthetic of Haydn and Mozart.

Antonin Kraft was a virtuoso cellist who played under Haydn for Count Esterhazy. In Vienna, he helped establish the traditions of string quartet playing. Haydn wrote his second cello concerto for Kraft. Beethoven wrote the cello part of his Triple Concerto for Kraft. 

Kraft wrote exclusively for the cello, and not many pieces at that. His concerto is his only large-scale composition. It premiered in 1804 and represents the end of the pure Classical style. Beethoven's "Eroica" Symphony would soon change the landscape and begin the Romantic Era.

Jean-Guihen Queyras performs with a rare instrument, the cello Gioffredo Cappa (1696). The Ensemble Resonanz is a chamber orchestra. That makes it a perfect match for Queyras' instrument. The Classical Era was about elegance and balance. These musicians have both. 

The cello has a warm, honeyed tone that's ideal for the long, singing lines of Bach and Kraft. Queyras' playing is first-rate, of course. Kraft's concerto places heavy demands on the soloist. Queyras delivers and does so with exceptional musicality. 

When it comes to Classical Era cello concertos, many people only know Haydn's. If you're one of them, give this disc a listen. It provides context for those works. And these concertos provide their own audio delights. 

Beautifully recorded, and beautifully performed. CPE Bach and Antonin Kraft may not be well-known today. But in their time they were highly regarded by the masters. And you can easily hear why.   

Antonin Kraft, Carl Philipp Emanuel Bach: Cello Concertos
Jean-Guihen Queyras: cello
Ensemble Resonanz; Riccardo Minasi conductor
Harmonia Mundi HMM 902392   

Maria Herz -- Ripe for Rediscovery

Maria Herz was another artist whose career was derailed by the Nazis. In the 1920s Herz was a brilliant pianist. Her own music was well-received. But Herz was a Jew, and her career ceased in 1933. Jews were banned from performing in Germany, and their music was pulled from the market. 

Her family assets were seized -- including her manuscripts. Herz moved continually over the next six years. She searched for refuge for herself and her children. Herz eventually landed in Britain, where she would wait out the war. She stopped composing in 1933 when she left Germany. She had written about 30 works.

This album features four of her compositions -- all world premiere recordings. And they all show what the world lost when her voice was silenced. Herz's manuscripts were presumed lost. So Herz was unable to get her music performed after the war. Her manuscripts only recently came to light, so we can finally hear them. 

The works presented here show a composer fully immersed in the changing music scene of the 1920s. Herz's 1927 piano concerto straddles the transition from Post-Romantic to Modern. In some ways, it reminded me of Paul Hindemith. Tonal, but with new thoughts about what tonality meant. Oliver Triendl plays with authority and swagger. This is a concerto that demands attention -- and Triendl rewards that attention.

The 1930 Concerto for Cello and Orchestra, Op. 10 shows Herz's development. This work sounds less like Hindemith, and more like, well, Herz. Cellist Konstanze von Gutzeit gives a fine reading. Her playing of the double-stop passages is exceptional -- and moving. As with Herz's piano concerto, the solo instrument is the star here. And von Gutzeit doesn't disappoint. I would love to see her perform this live. 

The Four Short Pieces for Large Orchestra, Op. 8 have a different character. To my ears, this 1929 work resembles Schoenberg's "Verklärte Nacht." It has a dreamlike quality to it. Subtle cross rhythms give the orchestra a smeary sound. And the climaxes never quite deliver until the end. Christiane Silber leads the Rundfunk-Sinfonieorchester Berlin in a moving performance.

The same is true of their performance of the Orchestra Suite, Op. 13. This was composed in 1931, and shows where Herz was heading. The work is both fluid and complex. And while it has a tonal center, shifting harmonies continually blur it. I wish Herz had been allowed to continue growing as a composer -- instead of scrambling to survive.

Maria Herz: Piano Concerto

Cello Concerto; Ochestral Works

Oliver Triendl, piano

Konstanze von Gutzeit, cello

Rundfunk-Sinfonieorchester Berlin; Christiane Silber, conductor

Capricco C5510

Paul Wee Recovers Henselt and Bronsart Concertos

If this album could have been recorded in the 1890s, it would have had a very different dynamic. Back then, this program would have paired one of the most famous concertos in the world with one of the most obscure. 

Fast forward to the 21st Century. Now this program pairs two piano concerts almost equal in obscurity. But now -- as then -- both are worth hearing. And both can deliver an emotionally satisfying listening experience. 

Adolf von Henselt was considered one of the greatest piano virtuosi of the early 1800s. Franz Lizst envied his technique. And his sojourn in Russia influenced generations of Russian pianists -- including Sergei Rachmaninov. 

Henselt's Piano Concerto in F minor, Op. 16 was premiered by Clara Schumann in 1845, with Felix Mendelssohn conducting. As one modern critic noted, "It was the Rachmaninov Second of its day." 

All the major pianists performed the work, and often more than once. It's easy to hear why. Like Rachmaninov's concerto, it's a big work. The melodies are big, the piano passages are big, the emotions are big. And that makes it a real crowd-pleaser. 

It's also a well-constructed work. Henselt unfolds his themes in a logical (though exceptionally dramatic) fashion. 

Henselt withdrew from music in his thirties. And perhaps that's why this concert eventually fell out of the repertoire. 

By contrast, Hans Bronsart von Schellendorf's music never enjoyed much attention. Bronsart was one of Franz List's prime students. He even premiered Liszt's Second Piano Concerto (with the composer conducting). But Bronast transitioned from composing to conducting, and then theater management. His compositional output was small and under-valued by audiences. 

The piece shows Bronsart had the technical skill to write a challenging concerto. And he had the compositional skills to make it an engaging and compelling work. 

Paul Wee performs these concertos with abandon. His technique is formidable, and he employs every bit of it in this work. 

The Swedish Chamber Orchestra is directed by Michael Collins. The ensemble has an impressively big sound. These concertos were meant for flamboyant artists to thrill audiences with their artistry. 

Paul Yee, supported by the Swedish Chamber Orchestra, does just that. My recommendation: press play, and enjoy the ride. I did.

Adolph von Henselt; Hans von Bronsart: Piano Concertos
Paul Wee, piano
Swedish Chamber Orchestra; Michael Collins, conductor
BIS-2715 SACD

Isabelle Faust Plays Benjamin Britten (Very Well)

Another title for this release could have been "Isabelle Faust Plays Britten." And she does so exceedingly well. The showpiece is, of course, the violin concerto. But the shorter chamber works are more than just filler. They demonstrate both the skill of the young Benjamin Britten and the artistry of Faust.

Britten composed three of the four works on this album for Spanish violinist Antonio Brosa. The Suite for Violin and Piano, Op. 6 was the first. Britten completed it in 1936. Britten accompanied Brosa at its premiere. 

The young composer had recently heard Alban Berg's Violin Concerto. Berg was the most lyrical of the early twelve-tone proponents. There's some of that aesthetic in this suite. Britten employs the wide leaps and half-step turns of the Schoenberg School. But always in service to the melody. 

Reveille was composed a year after the suite. Britten dedicated the piece to Brosa, who was not an early riser. The work depicts a violinist slowly rousing. As the work progresses, the violist gathers energy leading to a string-busting finale.

The Violin Concerto was written for -- and premiered by Brosa in 1940. This is the product of a mature Britten. His writing is effective and assured. And it's a real showpiece for the soloist. The recording comes from live performances on October 28-29, 2021. The audience is exceptionally quiet -- I had no audio clues that this was live. But the performances show it. Live performances have an energy that studio recordings generally lack.

Isabelle Faust is on top of this work. Her playing is almost perfect, and her performance sweeps the listener along. Especially impressive is her intonation. Harmonics and notes at the extreme end of the register don't phase her. They're as rock-solid as her broad strokes on the open G string. Faust holds her own with the orchestra. And she's also an excellent chamber player. 

In the Suite and Reveille there's chemistry between Faust and pianist Alexander Melnikov. The two musicians convey Reveille's gentle humor. Their performances, make it a fun little diversion. 

Also included is a world recording premiere of Two Pieces for Violin, Viola, and Piano. Britten wrote the piece when he was sixteen. It was 1929 and the influence of atonality is quite evident. Nevertheless, there's something here that rises the quality above that of juvenilia. Britten wasn't just imitating a style -- he was using it to say something. So while this isn't Britten's best composition, it's still one worth listening to. 

Benjamin Britten: Violin Concerto, Op. 15
Reveille; Suite for violin and piano, Op. 6
Two Pieces for violin, viola, and piano
Isabelle Faust, violin
Symphonieorchestra des Bayerischen Rundfunks; Jakub Hrusa, conductor
Boris Faust, viola; Alexander Meinikov, piano
Harmonia Mundi 902668

Schumann Trilogy Surveys Concertos and Piano Trios

This is a perfect program that works on so many levels. This is more than a Schumann Trilogy. It's actually several Schumann trilogies folded together. 

This three-disc set features the three concertos Schumann composed for violin, cello, and piano. It also features his three piano trios. The soloists comprise the piano trio. And they're each a featured soloist in a Schumann concerto. 

What makes this project even more interesting is the choice of instruments. Isobelle Faust, Jean-Guihen Queyras, and Alexander Minikov wanted to get to the heart of Schumann's music. So they elected to perform with instruments of the period. 

That meant gut-stringed violin and cello. Pianist Melnkiov used an 1847 Streicher fortepiano for the trios, and a 1837 Érard pianoforte for the concerto. And of course, the Freiburger Barokorchester also used instruments of the period. 

It makes for a subtle but important difference in sound. The Piano Concerto in A minor is a repertoire staple. There are plenty of thundering interpretations with large orchestras and steel-string concert grands. Here the sound is softer and more refined. It's still a showpiece, but somehow a more sophisticated one. 

Joseph Joachim didn't think much of the violin concerto Schumann wrote for him. He never performed it and forbade its publication for 100 years. Times have changed. Schumann's use of traditional forms was fluid, but not flawed. The music works on its own terms. Isobelle Faust delivers a thrilling performance.

When these three artists get together things really take off. The three piano trios of Schumann are intimate works. The piano parts were all written with his wife Clara in mind. But the violin and cello are well-balanced with the piano. 

The trios have a sense of exuberance, especially in these performances. As I said -- a perfect program. And in this case, played to perfection.   

The Schumann Trilogy
Violin Concerto WoO 1; Piano Concerto Op. 54; Cello Concerto Op. 129
Piano Trios Nos. 1-3
Isobelle Faust, violin; Jean-Guihen Queyras, cello; Alexander Mlnikov, piano
Freiburger Barokorchester; Pablo Heras-Casado, conductor
Harmonia Mundi HMX 2904095.98

Justin Dello Joio: Oceans Apart

I consider this an important release. Justin Dello Joio's "Oceans Apart" was commissioned by the Boston Symphony. Garrick Ohlsson was the intended soloist for this piano concerto. And in January 2023 the work was performed.  Alan Gilbert led the Boston Symphony Orchestra, with Garrick Ohlsson, piano soloist. 

This is a recording of that performance, hence its importance. It is performed by the commissioning artists, with input from the composer. And it's a tremendous composition.

Dello Joio writes that the work was inspired by divisions: political divisions and cultural divisions. The concerto effectively evokes those concepts. Themes break off unresolved. Various groups of instruments seem to compete for attention. And even the foundation of the music seems unsettled. 

Dello Joio writes in what I call a post-tonal style. That is, the overall language is tonal. However, the nature of the harmonies and their resolution aren't traditional. Yet they make sense.

Ohlsson is in top form in this recording, as is the BSO. I hope more orchestras program this work. It deserves a wider audience. 

Also included in this release are two Dello Joio chamber works. The Due Per Due for cello and piano is a tour de force for the performers. In this case, Carter Brey, cello, and Christopher O'Riley, piano.

Blue and Gold Music was composed for the tricentenary of Trinity School. This work for brass quintet and organ sparkles with originality. There's little heralding fanfare here. Just solid writing that utilizes the characteristics of the instruments involved. 

Justin Dello Joio: Oceans Apart
Concerto for Piano and ORchestra
Garrick Ohlsson, piano
Boston Symphony Orchestra; Alan Gilbert, conductor
Carter Brey, cello; Christopher O'Riley, piano
American Brass Quintet
Bridge Records Bridge 9583

Reissue collects strong Respighi performances

This reissue brings together releases from two different Koch Schann releases. Violinist Andrea Cappelletii recorded the bulk of these works in 1994. The Poema autumnale was issued a year earlier with violinist Igor Bruppman. 

The Philharmonia Orchestra under Matthias Bamert has a luminosity that's perfect for Resphigi. The San Diego Chamber Orchestra under Donald Barra wasn't quite in the same league. It's a smaller ensemble and the sound's a little closed-in.

But when it comes to performances, all these tracks are on the same high level of musicianship. 

Andrea Cappelletti's violin has a clean, crystalline quality to it. For the Concerto gregoriano, it's the equivalent of light pouring through stained glass. For the Concerto all'antica, Cappelletti adopts a carefree, playful stance.

Igor Gruppman plays with a darker, throatier tone. It matches the melancholy mood of the Poema autunnale. 

Respighi was a master orchestrator. That skill is apparent in all three of these works. And the soloists effectively convey the emotions of the material. 

Another welcome reissue from Alto.  

Ottorino Respighi: Violin Concertos and Suite
Concerto Gregoriano; Concerto all' antica; Poema Autunnale
Andrea Cappelletti, violin
Philharmonia Orchestra; Matthias Bamert, conductor
San Diego Chamber Orchestra; Donald Barra, conductor
Alto

Hans Gal Concertinos Seem Frozen in Time

Hans Gal was one of many promising young composers caught up in the turmoil of the Second World War. In the 1920s he was a rising star in German theater. And by 1930 Gal was on track to become one of Vienna's best-known artists. 

The Nazi takeover of Austria ended all that. Gal had a Jewish background, and he was soon erased from the music scene. Fortunately, Gal escaped to Britain before his life was erased. 

Gal spent the rest of his life teaching at the University of Edinburgh. He continued to compose, but not evolve. Gal's style was frozen in Viennese Post-Romanticism.

This release features three of his concertinos, plus his String Serenade. They show how powerfully expressive Gal's music can be. Especially so if you don't care whether it was au courant or not.

The Sinfonietta Riga has a rich, warm ensemble sound that seems well-suited to Gal's style. And the soloists deliver time and again.

The album opens with Gal's Concertino for Cello and String Orchestra, Op. 87 from 1965. Justus Grimm makes the work sound like an extended aria. His playing amplifies the lyricism inherent in the music. 

Oliver Trindl is no stranger to Gal's music. His playing in the 1934 Piano Concerto is mordent and precise. And it can exude warmth when it needs to. 

Gal completed his Violin Concerto, Op. 53 shortly after arriving in the UK. Nina Karmon plays with a charming simplicity that draws the listener in.

Recommended.

Hans Gal: Concertinos for Violin, Cello, and Piano
Nina Karmon, violin; Justus Grimm, cello; Oliver Trindl, piano
Sinfoniette Riga; Normunds Šnē, conductor
Hanssler Classics HC23049