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

Claudio Santoro Symphonies Revel in Brazilian Sound

This is the fourth volume in Naxo's traversal of Claudio Santoro's symphonies. And I'd say it's about the halfway point. This Brazilian composer wrote 14 symphonies. With this volume, seven are now available.

The Goias Philharmonic is ably directed by Niel Thomson. Santoro wrote challenging music. And he saturated these compositions with the musical language of Brazil. 

So it's not enough to play the notes. Musicians have to feel the music to bring out the subtext. And that's what Thomas and the Goias Philharmonic deliver. 

The works on this album document Santoro's turn from serialism to nationalism. The 1951 "Canto de Amor e Paz" marked the change. There are some Brazilian elements present. But the work has a more cosmopolitan character.

That changes with the 1953 Symphony No. 4, "Sinfonia da Paz." The music is energetic, celebratory, and enthusiastically Brazilian. That's also the case with the concise Symphony No. 6 from 1957. Although here the Brazilian elements are reigned in slightly. 

Also included is the Choro Concertante for Tenor Saxophone (1951) and the Fantasia for Violin (1959). Both show Santoro's skill in solo instrument writing. He provides idiomatic and engaging music for each instrument. And both embued with Santoro's nationalist style.   

I recommend this release to anyone not familiar with Santoro. These works illustrate the essence of his style. That style evolved. But his Brazilian heritage can be most clearly heard in these works. Looking forward to volume five! 

Claudio Santoro: Symphonies Nos. 4 and 6
Choro Concertante for Saxophone; Fantasia for Violin
Pedro Bittencourt, tenor saxophone; Emmanuele Baldini, violin
Goiânia Symphony Choir
Goiás Philharmonic Orchestra, Neil Thomson, conductor
Naxos 8.57472

JoAnn Falletta Finds the Right Approach for Kodály

 

This is the second Kodály outing for JoAnn Falletta and the Buffalo Philharmonic. And it's the final volume, too. Kodály didn't write that much orchestral music. But he did write was solid gold. 

This release features the Hary Janos Suite, one of his most popular works. Falletta conducts the orchestra with a light touch. The protagonist is a braggart, and his stories aren't meant to be taken seriously. There's a sense of fun embedded in the orchestra's performance. 

"Summer Evening," on the other hand, is perhaps Kodály's least-performed work. I'm hesitant to say "least favorite." I think most folks would fall in love with this music if they heard it. This idyl features a solo cor anglais accompanied by strings and a few other instruments. 

It's a lush, lyrical work. Here Falletta leans into the richness of the harmonies. The strings have a full, warm sound that supports the dark-timbre cor anglais nicely. 

Kodály had worked intermittently on his Symphony in C major. At Toscanini's request, Kodály managed to finish the work two decades after he started it, in 1957. As might be expected, the work's long gestation period precludes any ultra-modern gestures. It has a sense of nostalgia. 

But not for the Late Romantic period. With this work, Kodály seems to be emulating Haydn and Mozart. The orchestra has a translucent sound. And the musicians play with a restraint worthy of Haydn. Nevertheless, Kodály's harmonies and orchestrations root this work in the 20th Century. 

Falletta has forged the Buffalo Philharmonic into a world-class ensemble during her tenure. The result is another outstanding album to add to the BPO's catalog of recordings.

Zoltan Kodály felt that music should be for everyone. The works -- and the performances on this album  -- should have broad appeal. 

Recommended.

Zoltán Kodály
Háry János Suite; Summer Evening; Symphony in C major
Buffalo Philharmonic Orchestra; JoAnn Falletta, conductor
Naxos

Alexander Markov Excels with Vieuxtemps Violin Works

Henri Vieuxtemps was one of the best -- and most influential -- violin virtuosos of the mid-19th Century. His playing even impressed Paganini. Not surprisingly, most of Vieuxtemps' compositions are for the violin. And most popular is his violin concertos. 

This release presents some of his shorter works for violin and orchestra. The variety is refreshing -- as is the playing. Vieuxtemps may have been a ferocious player, but he wasn't a showboater. For Vieuxtemps, the technique was always in service to the melody. 

Alexander Markov has that same approach. The technique is there, but he doesn't call attention to it. Rather, Markov plays with a clear, singing tone. Double stops are carefully voiced. Lightning-fast runs outline melodic arcs. Extremely high notes aren't there for show -- they're the logical destination of the phrase. 

The works chosen showcase both Vieuxtemps as violinist and composer. The two sets of variations demonstrate his musical imagination. As the variations develop, he doesn't just pile on runs. (Although there are plenty of them.) Rather, the melodies are transformed and reharmonized. These explorations provide fascinating insights into the original material.

When Vieuxtemps died in 1881, he left his eighth violin concerto unfinished. Only the first movement was completed, and even that was in short score. This release presents a realization of that movement, orchestrated by Christoph Baumgarten. Markov himself provides the cadence.

It's a tantalizing glimpse at what might have been. Vieuxtemps experimented with the concerto form. This torso suggests Vieuxtemps was moving towards something new.

Henri Vieuxtemps: Fantasie in E major ‘La Sentimentale’
Variations on a Theme from Bellini’s Norma; Violin Concerto No. 8 (unfinished); Variations on a Theme from Beethoven’s Romance No. 1
Alexander Markov, Violin
Thüringen Philharmonie Gotha-Eisenach: Markus Huber, conductor
Naxos

Koechlin Seven Stars' Symphony Still Shines

French composer Charles Koechlin was, among other things, an avid film buff. So it's not surprising that he would draw inspiration from movie stars to create a symphony. The resulting Seven Stars' Symphony proved to be his best-known work. 

Koechlin wrote the symphony in 1933. Each of the seven movements presents an impression of a famous movie star of the silent era. Some, such as Marlene Dietrich, Greta Garbo, and Charlie Chaplin retained their popularity. Lilian Harvey, Emil Jannings, Douglas Fairbanks, and Clara Bow have not.

Koechlin's portrayals are impressionistic. This, I think, helps the work transcend its origins. I don't need to know who Lilian Harvey was to be charmed by Koechlin's minuet fugue. 

Each movement represents a different star, so there's very little thematic continuity between them. This makes the work episodic. But since Koechlin was such a fine orchestrator, it doesn't matter. His music beguiles the ear, as it moves from star to star. 

The Sinfonieorchester Basel is directed by Ariane Matiakh. The recorded sound is quite good. Koechlin has some very subtle orchestral effects that are captured in this recording. 

It doesn't matter if you're well-versed in Silent Era films or not. The Seven Stars' Symphony stands on its own musical merits. 

Charles Koechlin: The Seven Stars' Symphony, Op. 132

Vers la voûte étoilée, Op. 129

Sinfonieorchester Basel; Ariane Matiakh, conductor

Capriccio C5449

Stefan Poradowski Concertos show range of talent

Stefan Poradowski was a man of many talents -- including a talent for survival. This Polish composer was deported by the Nazis in 1939,. He lived through the war and returned to become Vice-Rector of the Polish State Music Academy. 

Poradowski was also a renowned violinist and organist. And he was a respected artist and art photographer.

These days, he's best known outside of Poland for his compositions. His Double Bass Concerto, Op. 26 is often performed at double bass competitions. 

That work is included in this recording, as well as his Violin Concerto, Op. 70 and his symph9ony No. 3, Op. 29. 

In the immediate postwar period, Poradowski worked closely with the Poznan Philharmonic Orchestra. So it's fitting that "his" orchestra record these works. The ensemble, directed by Lukasz Borowicz, has a nice, tight sound. The various soloists perform a high degree of musicality. 

Poradowski wrote in a mainly tonal style. To my ears, it sounds a little more conservative than, say, Prokofiev. His themes are well-defined. And the structure of his music makes it easy for the listener to follow. 

Piotr Czerwinski is an exceptional bassist. At times, Czerwinski's instrument sounded more like a cello than a double bass. Czerwinski maintains a well-rounded singing tone in the upper register. That's not easy to do consistently. This is why this concerto makes a good competition piece.

Violinist Marcin Suszycki also gives a good performance. His playing is sometimes aggressive, and his sound often has an edge to it. His performance is what put me in mind to Prokofiev. 

The Third Symphony, written in 1930, is the most tonal and conservative of the three works. Poradowski was a skillful orchestrator. And this symphony has some thrilling moments. Poradowski wrote eight symphonies in all. Based on the strength of this one, I would love to hear the other seven.

Stefan Bolesław Poradowski Violin Concerto; Double Bass Concerto; Symphony No. 3
Marcin Suszycki, violin; Piotr Czerwinski, double bass
Orkiestra Filharmonii Poznanskiej
Poznan Philharmonic Orchestra; Lukasz Borowicz, conductor
DUX

Poul Ruders Dream Catcher - An Accordion Showpiece

In America, most people don't consider the accordion a symphonic instrument. In northern Europe, though, it's a different matter. Danish Poul Ruders isn't the only classical composer to write for the instrument. He's definitely one of the more talented, though. 

Sound and Simplicity is fairly new work, completed in 2018. Ruders subtitled it "Seven Pillars of Music for Accordion and Symphony Orchestras. Each of the pillars represents a very simple and fundamental musical idea. In one movement, it's simply a sustained chord.

Ruders uses these ideas as foundations to build upon. Ruders avoided naming this work a concerto -- and rightly so. The accordion is the primary voice in the ensemble. But it's not a showcase for the instrument. Rather, the accordion adds zest to the orchestral sound. 

Also on this release presents two related works. Bjarke Morgensen's arrangement of "Dream Catcher." This was a movement from Ruder's "Serenade on the Shores of the Cosmic Ocean" for accordion and string quartet. This arrangement for solo accordion is quite effective. To me, it sounded true to the source material. At the same time,  it gave a different perspective to the underlying construction of the work. 

Symphony No. 3 "Dreamcatcher" is based on that same movement from Serenade. But what a difference. Ruders transforms the music into something bigger, more emotional, and -- well -- symphonic. Hearing Morgsen's arrangement followed by Ruder's reimagining of the same material was revelatory. 

I'd recommend this not only to those who like classical accordion music. And I recommend it to those who don't think they like it. These performances -- and this music -- may well change your mind.

Poul Ruders: Dream Catcher
Bjarke Mogensen, accordion
Odense Symfoniorkester; Sebastian Lang-Lessing, Scott Yoo, conductors
Bridge Records 9553

Niccolò Zingarelli Milanese Symphonies Surprise

 

Niccolò Zingarelli is best remembered as a composer of operas. Over the course of his career, he composed around 37, mostly comic operas. But he also wrote other in other forms, too. This release presents four of his "Milanese" symphonies.

The works were given this name by musicologist Rey Longyear. It references the Conservatory of Milan, where the manuscripts are housed. Zingarelli arrived in Milan in 1793 and composed for La Scala through 1803. These symphonies date from an earlier time, around 1780. 

Zingarelli was about 28 years old, and the Sturm und Drang movement was in full bloom. These four symphonies show some of those traits, especially with the wide dynamic contrasts between sections.

The symphonies are all in three movements, and concise. What sets them apart from, say, the symphonies of Johann Stamitz are their melodies. Zingarelli the opera composer brings his skill to these instrumental works. The slow movements especially have beautifully crafted melodies.

The Atalanta Fugiens Orchestra directed by Vanni Moretto performs in a refined Classical style. There's plenty of drama, but none of it is overwrought. The melodies have an Italian lilt to them, revealing their kinship to Zingarelli's operas. 

The ensemble is recorded in a somewhat spacious venue, giving the music an expansive sound stage. It softens the sound a little, but I think it makes complement's Zingarelli's style.

Niccolò Zingarelli: Sinfonie Milanesi Nos. 5-8
Atalanta Fugiens Orchestra; Vanni Moretto, conductor
Urania Records LDV 14068

Mieczyslaw Weinberg Chamber Symphonies - phenomenal

This release is special in two ways. First, it marks the centenary of Mieczyslaw Weinberg's birth in 1919. Second, it's the debut recording of the East-West Chamber Orchestra.

The combination is magic -- we get phenomenal performances of some phenomenal music.

The East-West Chamber Orchestra has been the in-house ensemble for the Yuri Bashmet International Music Festival. It consists of concertmasters and soloists from across the globe.

Performance levels are quite high -- as are the quality of the instruments. Not surprisingly, there are more than a few Guarneris, Gaudagninis and Stradivaris.

It all translates into exceptional performances with exceptional sound. I think this is about the best-sound string ensemble I've heard in the Naxos catalog.

And the music is worth the effort.  Weinberg's music is often compared to that of his friend and colleague, Dmitri Shostakovich. There are some parallels. To my ears, Weinberg has a harder time keeping his emotions in check.

Both of these concertos were reworked from earlier string quartets. The quartets were written just before the Second World War, the concertos in the late 1980s-early 1990s. Weinberg brings a lifetime of experience to these works. The depth of expression they offer can be breath-taking -- especially in these performances.

As I said, phenomenal performances of some phenomenal music.

Mieczyslaw Weinberg: Chamber Symphonies Nos. 1 & 3
East-West Chamber Orchestra; Rostislav Krimer, conductor
Naxos 8.574063

The Celebratory Suites of Pancho Vladigerov

In Bulgaria, Pancho Vladigerov is almost considered the founder of classical music. Like Bedrich Smetana and Antonin Dvorak, he deftly blended his country's folk music with Western classical traditions. And like those composers, he created music of both national and international appeal.

The characteristic odd meters of Slavic folk music gives Vladigerov's compositions a bubbling energy. In some ways, Vladigerov's style reminded me of Bohuslav Martinu's.

Seven Symphonic Bulgarian Dances features some imaginative orchestration. Vladigerov seems to use the orchestra as a resource of individual sounds. He only uses as many or as few instruments as he needs to get the effect he wants.

And the overall effect is this: every dance has a very different sound. The seven-movement suite is a kaleidoscope of orchestral color that keeps the listener's attention.


The Vardar Rhapsody was originally for violin and piano. In its orchestral form, the rhapsody became a patriotic emblem -- similar to the role Sibelius's "Finlandia" plays its country. It's a noble-sounding work and a distinctively Bulgarian-sounding one as well.

The album closes with the Bulgarian Suite, Op. 21. Vladigerov once again returns to folk traditions for each of the four movements as he did for the Bulgarian Dances. And like the Dances, this Suite is just as appealing for all the same reasons.

Rouse Philharmonic Orchestra gives these works sympathetic readings. I suspect Bulgarian musicians have a deeper understanding of what Vladigerov intended. And they deliver.

These are lively, energetic performances that at times sound celebratory. The recorded sound is passable.

Pancho Vladigerov: Bulgarian Suite
Rousse Philharmonic Orchestra; Nayden Todorov, conductor
Naxos 8.573422

Alexander Moyzes Symphonies 11 & 12 - fitting finales

This release completes Naxos' reissue of Alexander Moyzes symphonies. Their sister label, Marco Polo, first released these recordings nineteen years ago. As I said in the reviews of the previous volumes, it's good to have these works available again.

Ladislav Slovak and the Slovak Radio Symphony Orchestra share the same cultural background as Moyzes. And that understanding informs their performances, enabling them to bring out some of the more subtle points of Moyzes' writing.

That being said, these definitely aren't audiophile recordings. Although I could hear a fair amount of detail, the overall sound of the ensemble seemed a little soft.

There's nothing soft about the symphonies, though. Moyzes wrote in a mostly tonal style throughout his career and used it to great effect. Symphony No. 11 was completed in 1979. It was completed months after Symphony No. 10.

The two works share the same general structure and emotional themes. But this work seems to go further. The dissonances seem sharper, and the thematic material more tightly connected.

Moyzes' Symphony No. 12 was completed in 1983, months before his death. Moyzes is economical in the use of his material, each note placed to telling effect. Here Moyzes isn't as concerned about grand gestures as he is about stopping to take in the details. It's a fitting finale to an extraordinary career.

Of course, I recommend all six volumes. But at the very least, invest in volumes 5 and 6. That way you can hear Symphonies 10 & 11 back-to-back. The comparison is revelatory.

Alexander Moyzes: Symphonies Nos. 11 and 12
Slovak Radio Symphony Orchestra; Ladislav Slovak, conductor
Naxos 8.573655

Karl Goldmark Symphonic Poems, Vol. 1 - Off to a good start

Before I received this release, I really only knew two works by Karl Goldmark - his Rustic Wedding Symphony, and his First Violin Concerto.

CPO's new series of Goldmark Symphonic Poems is a welcome addition. Goldmark was a friend of Brahms and an admirer of Wagner. Both those influences can be heard in this collection of symphonic poems.

The Scherzo in E minor, Op. 19, and the Scherzo in A major, Op. 45 owe more to Brahms (with a touch of Hungarian folk music). Both pieces work out their motifs in a logical fashion as Brahms might.

On the other hand, Goldmark's symphonic poems with evocative titles show more Wagnerian influence. Sappho, Op. 44. for example, begins quietly with a harp, suggesting a lyre of ancient Greece. The melody gradually builds, reaching a dramatic contrast. From there, the motifs are tossed around, with an ever-insistent chromatic rising in the harmonies.

The Bamberger Symphoniker directed by Fabrice Bollon perform well. They give spirited readings that bring out the dramatic arch of these poems. 

Goldmark seems quite at home in these short-form works. I look forward to Volume 2.

Karl Goldmark: Symphonic Poems, Vol. 1
Sakuntala; Penthesilea; Sappho; Scherzos
Bamberger Symphoniker; Fabrice Bollon, conductor
CPO 555 160–2

Johann Brandl Symphonies -- Music in Transition

Although mostly unknown today, Johann Evangelist Brandl was a well-respected composer and violinist at the turn of the 19th Century. His Op. 17 string quartets were dedicated to Haydn. In his later years, he was first violinist of the ducal orchestra in Karlsruhe. He eventually became the orchestra's music director, working under kapellmeister Franz Danzi.

Brandl's 1796 Symphony in E-flat major, Op. 12 represents an early foray into the genre. It was contemporary with Haydn's final symphonies and follows the same general outline.

The first movement has a slow introduction. There's a slow second movement, a third movement minuet, and a fast finale in triple time.

Brandl, like Haydn and Mozart, effectively builds his themes from simple scales and chord patterns. He differentiates himself with his extensive use of winds throughout the work.

His Op. 25 Symphony in D major is a more adventurous work. Published in 1803, its highly chromatic harmonic motion looks ahead to the Romantic period. I was reminded of Weber's symphonies. Brandl's symphonies might be considered transitional, but I found them worth listening to. They're tightly constructed works, with few extraneous notes.

The Deutsche Staatsphilharmonie Rheinland-Pflaz has a rich, full sound. Kevin Griffiths finds a good balance between the lightness of the Classical style and the emotional weight of the Romantic era. It's just the right place for these works.

Johann Evangelist Brandl: Symphonies Op. 12 & Op. 25
Deutsche Staatsphilharmonie Rheinland-Pflaz; Kevin Griffiths, conductor
CPO 555 157-2

Perle Orchestral Music - Beautifully Performed

George Perle didn't come to orchestral composition until fairly late in his career. But as this new album shows, it was worth the wait. Maestro Morlot and the Seattle Symphony deliver strong, sure-footed performances. If you're never experienced Perle's music before, this may be the recording to start with.

Perle developed his own version of 12-tone writing -- one that remained tonal. The resulting sound is piquant and nuanced. To my ears, a lot of mid-century 12-tone works sound somewhat dated. But Perle's music sounds fresh, vibrant -- and contemporary.

The 1986 Dance Fantasy reflects Perle's love of ballet. The work crackles with kinetic energy. It practically demands to be choreographed. It's a great way to start the album.

The Six Bagatelles from 1965 show Perle's mastery of orchestration. As does the Cello Concerto, written a year later. The inherent chromaticism of Perle's "12-tone tonality" lets the composer spin out long, sinuous melodies for the cello.

The Sinfonietta I and Short Symphony were written in the 1980s. The Sinfonietta may be the lighter of the two, but it doesn't lack for intensity.

The Short Symphony may not be long, but it's deep. Perle's multi-layered writing and subtle tonal colors reveal something new with every hearing.

This is volume four of Bridge Record's Perle series. It's my favorite to date.

George Perle: Orchestral Music (1965-1987)
Seattle Symphony; Ludovic Morlot, conductor
Jay Campbell, cello
Bridge Records 9499