Ascent is the first solo album by the 26-year-old American violist Matthew Lipman, and also marks his debut on the Cedille Records label (CDR 90000 184 cedillerecords.org). He is accompanied by his regular duo partner, American pianist Henry Kramer. The creative process behind the CD started when Lipman asked American composer Clarice Assad to write a fantasy piece for viola and piano in memory of his mother. Lipman chose the Ascent title to describe the album’s music and “the upward movement that happens throughout life and after.”

The opening track is the Phantasy for Viola and Piano Op.54 from 1914 by the English composer York Bowen. It’s a simply gorgeous work which perfectly showcases the warmth, lightness and agility of Lipman’s playing as well as the top-notch contribution from Kramer. The standard never drops throughout the world premiere recording of Assad’s two-part Metamorfose or Robert Schumann’s four Märchenbilder Op.113.

Fuga libre by the Irish violist and composer Garth Knox is the only solo viola work on the CD. Written in 2008 for the Tokyo International Viola Competition, it uses some really interesting effects, including quite fascinating harmonic glissandi.

Shostakovich’s very brief (at 1:56) Impromptu for Viola and Piano Op.33, written in 1931 but not discovered until 2017, is another world premiere recording, Lipman having managed to obtain a pre-publication transcript of the score from the DSCH Publishing House. A viola arrangement of Franz Waxman’s virtuosic Carmen Fantasie brings an outstanding CD to a close, Lipman’s flawless technique, beautiful tone and consummate musicianship making for viola playing as fine as any you will hear. 

It’s difficult to think of a more exciting duo than violinist Alina Ibragimova and her long-time pianist partner Cédric Tiberghien. Their 3-CD live recital set of the complete Beethoven violin sonatas contained some electrifying performances, and they bring the same level of playing to their latest CD, Vierne & Franck: Violin Sonatas, a recital of works that pay homage in their own ways to 19th-century musical thinking, their fairly dense textures and serious nature being qualities that would be rejected in post-WWI Paris (Hyperion CDA68204 hyperion-records.co.uk).

The Poème élégiaque Op.12 by Eugène Ysaÿe opens the CD – and what an opening it is! Published in the piano version in 1893 and the first of Ysaÿe’s nine Poèmes for string instruments and orchestra, it was inspired by the death and funeral scenes from Shakespeare’s Romeo and Juliet and employs scordatura tuning for darker colour, the low G string being tuned down to F. It’s a rhapsodic, passionate work that perfectly showcases this duo’s strengths: tone, nuance, intelligence, passion, commitment, and flawless technical assurance.

César Franck’s Violin Sonata in A Major was written in 1886 as a wedding present for Ysaÿe; it’s been popular for so long that hearing it again is like revisiting an old and treasured friend, and the visit here is a truly lovely one. The connections between the works on the disc continue with Louis Vierne’s outstanding Violin Sonata in G Minor Op.23. Vierne was a pupil of Franck, and this sonata was written at Ysaÿe’s request and premiered by him in 1908. It’s a sweeping work much in the style of the Franck, and deserves to be much better known.

The brief Nocturne from 1911 by the 18-year-old Lili Boulanger, Nadia’s younger sister, acts as a light dessert after the richness that has preceded it, and ends a CD of music-making of the highest order.

Whenever there’s another CD from the always wonderful Steven Isserlis in the new releases, you just know you’re in for something special, and so it proves yet again with Shostakovich & Kabalevsky Cello Sonatas, Isserlis being joined by his recital partner of over 30 years, pianist Olli Mustonen (Hyperion CDA68239 hyperion-records.co.uk).

The Shostakovich Sonata in D Minor Op.40, written in 1934 when the composer was in his late 20s, sets the tone for the whole CD, Isserlis displaying his usual full-blooded and passionate, yet always sensitive and musically intelligent playing, especially in the opening movement and the fiendish and demonic second. Mustonen is his equal in every respect.

Prokofiev’s Ballade in C Major Op.15 is an early work from 1912 when the composer was only 21; it is essentially in two halves, Prokofiev referring to it as “similar in form to a sonata in two movements.”

There’s no doubting the strength and quality of Kabalevsky’s Sonata in B-flat major Op.71, written for Rostropovich in 1962. Isserlis notes that this is a work that should really be heard more often, and his performance here makes an even stronger case.

Three short works round out the CD. Shostakovich’s brief (at 2:31) Moderato was only published in 1986 after being discovered in a Moscow archive alongside the manuscript of the Cello Sonata. It’s believed to be from the same period, but its real provenance remains unknown. Prokofiev’s Adagio – Cinderella and the Prince is a 1944 arrangement of a section from his ballet Cinderella. Kabalevsky’s Rondo in memory of Prokofiev Op.79 was the third of three test-piece Rondos he wrote for the Tchaikovsky Competition in Moscow – one for piano in 1958, one for violin in 1962 and this one in 1965. It’s quite substantial, with more than a hint of Prokofiev’s music, especially the wispy “wind-in-the-graveyard” effect from the first violin sonata.

In his usual outstanding booklet notes Isserlis includes his customary exact timing references to salient points in the works, adding an extra touch of class to a simply outstanding CD.

In his introductory booklet notes to Bach: The Cello Suites (Hyperion CDA68261 hyperion-records.co.uk) the German cellist Alban Gerhardt reveals that, like so many others, he was reluctant to even try recording these challenging works before turning 50 – which he does this coming May. He is also aware that any recording can never be a final word.

For some time Gerhardt studied Baroque performance practice, but felt his attempts to assimilate historically informed techniques didn’t work for him, his playing sounding “neither authentic nor musically very interesting. I came to realize that just turning off the vibrato and using a sound which barely touched the surface of the string actually had very little to do with historical performance and didn’t sit well with me as a musician.”

He consequently uses vibrato “with great care and control” and aims for “a seemingly effortless articulation with as much depth to the sound as possible.” Add Gerhardt’s 1710 Matteo Gofriller cello and the results are simply beautiful. It’s a set that easily holds its own in a very competitive field.

With the BIS Super Audio CD Tan Dun: Fire Ritual – Violin Concertos we enter the distinctive sound world of the Chinese composer Tan Dun, now in his early 60s. The Norwegian violinist Eldbjørg Hemsing has been collaborating with the composer since 2010, a relationship which resulted in the creation of both of the works on the CD: the violin concertos Rhapsody and Fantasia and Fire Ritual. Tan Dun conducts the Oslo Philharmonic Orchestra (BIS-2406 bis.se).

An early version of the Rhapsody and Fantasia was originally written over a decade ago, but the work is heard here in the 2018 revision for Hemsing. The two movements, each of three parts, have their roots in ancient Peking opera melody, Tan Dun having been a conductor of a travelling Peking Opera troupe in his teens.

Fire Ritual was written for Hemsing and premiered by her in Oslo in September 2018. Subtitled A music ritual for the Victims of War, it unfolds from – and stays centred on – the single note D, using its status as “Re” on the solfège scale as a prefix meaning “again,” as in the Renewal, Resurrection, Return and Rebirth of souls who were lost in wars.

Both concertos have a similar sound, with little Western melodic (or harmonic, for that matter) material, prominent percussion sections (four players with at least 20 mainly Chinese percussion instruments) and a distinctly Chinese flavour to the solo violin writing. Hemsing is outstanding in what must be considered definitive performances.

Formed in 2002 for a concert tour of Taiwan, the Formosa Quartet celebrates its members’ Taiwanese heritage on From Hungary to Taiwan, a project that pairs treatments of folk music from the two countries and explores their similarities (Bridge Records 9519 bridgerecords.com).

Dana Wilson’s Hungarian Folk Songs was commissioned by the quartet as “a sort of entrée” into Béla Bartók’s quartets. Wilson says that he tried to capture key aspects of the traditional music itself and not just write his own music inspired by it, and he certainly succeeded. The Formosa Quartet perfectly captures his remarkable folk music effects and nuances.

In Song Recollections, another work written for the group, Chinese composer Lei Liang studies Taiwan’s art, songs and people. His settings of five songs from four native tribes are mostly quiet and atmospheric, with a distinctly Chinese feel.

Béla Bartók’s String Quartet No.4 from 1928, constructed as a five-movement symmetrical arch with the Night Music slow movement at its heart, is the major work on the CD.

Another Formosa Quartet commission, Wei-Chieh Lin’s Four Taiwanese Folk Songs from 2017 ends the disc. These clearly popular and much-loved melodies, two of them written in the 1930s, are given lush, Romantic treatment, and draw rich, warm and evocative playing from the quartet.

A bonus track, Spring Breeze, is available only through an online link; it turns out to be the first of Five – not Four – Taiwanese Folk Songs, so its omission from the CD is a bit odd. Still, it’s a gorgeous piece, and you can watch the quartet performing the complete set on YouTube. It’s well worth watching, and well worth a listen.

The Juilliard String Quartet has been around since 1946, and although founding first violinist Robert Mann lasted for an astonishing 51 years and two subsequent members for over 40 years each, the ensemble has had a total of 17 members during its existence. The 2017 lineup (first violin Joseph Lin left in 2018) is featured on Juilliard String Quartet: Beethoven, Davidovsky, Bartók, a CD recorded as part of the group’s 70th anniversary celebrations (Sony Classical 19075 88454 2 sonymusicmasterworks.com).

The quartet’s longstanding commitment to both the classic repertoire and new contemporary works is fully evident here. A suitably tense and energetic performance of Beethoven’s String Quartet in F Minor Op.95 “Serioso” opens the disc, and the centrepiece is Mario Davidovsky’s Fragments, String Quartet No.6 from 2016, written on a commission for the Juilliard. Davidovsky explains that the title refers to broken and scattered parts that, “moved and processed by some creative force, can aggregate to become something.” It certainly gives you a good idea of what the quite brief work sounds like as it moves from a fairly abrasive start to a more integrated ending.

A passionate and powerful performance of Bartók’s String Quartet No.1 ends the CD. It’s a work with a distinct post-Romantic feel, and no hint of the Night Music of the later quartets – more an indication of where the composer has come from than where he is going.

The playing throughout is of the exceptionally high standard we have come to expect from this ensemble. 

Charles Richard-Hamelin’s recent recording Chopin: Concertos Nos. 1 & 2 (Analekta, AN 2 9146, analekta.com/en) is an exhilarating encounter with these two items of standard repertoire. There is a freshness in this performance that owes everything to its collaborators. Kent Nagano and the OSM are deeply aware of how much Chopin has vested in the piano’s role. Their ability to morph into something purely ethereal for the slow movement of Concerto No.2 is magical. The balance and unity across the ensemble, in this and similar passages, support the piano exquisitely. So much of the piano part in this movement is in simple octaves, albeit often very ornamented and fast. Richard-Hamelin performs it with absolute fluidity, as if it were an extended keyboard recitative. The time signature seems to dissolve, leaving only a hint of anything resembling a beat as the soloist and orchestra flow toward some distant ending.

The essence of dance that is inherent in Chopin’s writing saves the pianist from a conflictual role with the orchestra. The two are instead a pair of dancers elevating the solo instrument above the ensemble. While historical criticism of these works has focused on Chopin’s weak orchestral writing, Hamelin and Nagano have delivered such a transcendent experience that the criticism seems somehow lost if not irrelevant in the overwhelming beauty of this performance.

Maria João Pires appears in a new collaboration with the London Symphony Orchestra under Bernard Haitink, Beethoven Piano Concerto No.2, Triple Concerto (LSO www.lsolive.lso.co.uk). Despite the numbering, the piano concerto is actually Beethoven’s first and much of it recalls Mozart, especially in the opening movement. But the young Beethoven is unmistakably present in the piano writing where his unique keyboard figurations are now recognized as familiar vocabulary. It’s a careful and measured performance that reveals the caution with which Beethoven wrote it. No angry rebel here, just an explorer testing the waters for the journey to come.

All this presents a considerable challenge to the performers because listeners tend to have an expectation of what Beethoven should sound like and aren’t usually prepared to hear something so Mozartean and Haydnesque. Haitink keeps the orchestra firmly in classical territory, helped by reduced instrumentation. Pires follows suit technically and stylistically but exploits every opportunity to remind us of the voice she is interpreting. The slow movement, despite its delicacy, carries an intensity that can only be Beethoven, even if it’s the young version. The final movement, however, leaves nothing to doubt. Pires plays with the lightness, clarity and impeccable phrasing that have made her career.

While the Triple Concerto offers more substance, here in a reissue featuring Gordan Nikolitch (violin), Tim Hugh (cello) and Lars Vogt (piano), the piano part was written for Beethoven’s patron and pupil, the Archduke Rudolph, and so doesn’t have quite the virtuosity of its string partners. Still, Vogt shapes every keyboard utterance into a masterful line. The recording is, in every way, a classic.

Jeri-Mae G. Astolfi is a Canadian pianist working principally in the US as a performer and teacher. Her new CD, Ed Martin – Journeys (Ravello Records, RR7995, www.ravellorecords.com) demonstrates her interest and commitment to contemporary piano music. She plays three works by one of her contemporaries, American composer Ed Martin who wrote two of them specifically for her.

The major piece on the recording is the title work Journey. Laid out in 11 sections, it charts the progress of life through a range of experiences that Martin uses as his program. Astolfi’s performance of Journey makes its impact through the startling contrasts between agitated movements with titles like Vexed, Obsession and Manic and the more serene sections with names like Soul, Lament and Transcend. One of the intriguing characteristics of Martin’s music is that he doesn’t shy away from long fermatas or extended rests. Silence and decay are an effective part of his vocabulary. Astolfi surrenders completely to this language producing a performance so intense that it seems more like channelling than playing. Her entanglement with the essence of this music is absolute.

Two other works, Swirling Sky and Three Pieces for Piano, while shorter, are equally effective programmatic expressions. Martin is a composer who sees and feels things tangibly in his music and Astolfi is a ready interpreter with an undeniable affinity for his writing.

Inga Fiolia’s new disc Glinka – Complete Piano Works Vol.2, Dances (Grand Piano, GP 782 www.grandpianorecords.com) follows her first volume that focused on Glinka’s variations compositions. The 23 tracks are predictably brief though some are arranged in longer sets of quadrilles and contredanses.

Glinka’s place in Russian music history acknowledges his contribution to a national style that began to set Russian composers free from their cultural debt to the French, German and Italian influences of the 18th and 19th centuries. This contribution is not particularly obvious in this music, designed as it was to accompany light-hearted times in the parlours and salons of Russian society.

Fiolia is a natural performer for this genre. Something about the dance form, regardless of its origin or style, seems to draw from her a fluid response that sways with the music. Her keyboard technique makes an instant impression. She has a touch that in rapid repeats throws the hammer against the strings in a way that must challenge the double escapement action that makes it possible. She relies less on pedalling than many pianists and the result is a highly articulated clarity that respects the inner harmonies of Glinka’s writing.

Pianist Gloria Cheng played a major role in the creation of Garlands for Steven Stucky, (Bridge, Bridge 9509, www.bridgerecords.com). She led the call for invitations to write short works of tribute in memory of the American composer who died in 2016. Over his lifetime, he wrote well over a hundred works in nearly every form and won dozens of awards. Cheng included some of Stucky’s piano music on a Grammy Award-winning 2008 recording.

The 32 compositions Cheng compiled for this tribute are very personal musical statements from Stucky’s colleagues, friends and composition students. They’re each accompanied by brief anecdotes and dedications to Stucky’s memory. What emerges from these tributes is the picture of a person who was not only a gifted and skilled composer but even more, someone remembered for his kindness and humanity. Stucky’s ability to build close rapport with anyone he met opened countless opportunities for creative collaboration, instruction and deep personal friendships. In his work with the Los Angeles Philharmonic and other orchestras, Stucky made a point of getting to know each musician personally. This direct openness accounts for much of the affection the LA Philharmonic and Essa-Pekka Salonen had for Stucky and his music. It seems fitting that Salonen’s tribute Iscrizione is the disc’s opening track.

This recording is a remarkable collection of utterances by composers old and young; ultimately, it will bring Stucky’s work to a wider audience.

Katarzyna Musiał’s new recording My Spanish Heart (Dux, Dux 1448, www.dux.pl) is beautifully planned with repertoire that leaves no doubt about where her cultural affections lie. “A Canadian pianist with Polish roots,” as her agent describes her, Musiał is undeniably at home with this repertoire. Whether playing Albéniz, Granados, Turina, Mompou or de Falla, she takes to the idiomatic rhythms like a flamenco dancer, delivering characteristic Spanish melodic snaps as if her keyboard had castanets.

The Danzas gitanas Op.55 by Turina are especially impressive for the atmosphere of seductive mystery in which Musiał wraps them. But the tracks of Manuel de Falla’s own piano transcriptions of his ballet music, The Three-Cornered Hat and Love the Magician are the most impressively played. In these, Musiał combines the piano’s best percussive and legato qualities to deliver a full range of orchestral effects. The entire CD is an energized performance of music for which she has a fiery passion.

Michael McHale and Tom Poster appear as the two pianists in Cliff Eidelman – Symphony for Orchestra & Two Pianos and A Night in the Gallery, (EN001, www.cliffeidelman.com). Eidelman is an American composer and conductor with a lengthy and impressive career, most of it writing for film. His relatively few ventures into the world of large-scale orchestral forms include a symphonic tone poem, ballet music and similar works.

McHale and Poster perform neither as soloists nor as players fully integrated into the ensemble. Eidelman has, unusually, created a flexible role for the two pianists that lies somewhere between the concerto form and a fantasia featuring the keyboards, perhaps akin to Saint-Saëns Carnival of the Animals. The two pianists do appear convincingly as full-scale soloists in the second movement’s cadenza. For the balance of the work, however, they emerge from and retreat back into, the ensemble at the composer’s will.

As a highly skilled orchestrator, Eidelman’s mastery of colour and subtle shading is superb. He describes finding the inspiration for the Symphony in the reflection of water and writes in a way that uses the pianos to enhance the emotional image of its various characters, whether still, flowing or turbulent. It’s easy to hear why his film scores like Star Trek VI and Christopher Columbus have been so successful.

The disc’s second work is Eidelman’s Night in the Gallery for orchestra and piano. Here pianist Michael McHale becomes part of the composer’s palette for recreating the impressions he experienced on viewing specific paintings by acknowledged masters.

Nadia Shpachenko’s latest release The Poetry of Places (Reference Recordings, FR 730, www.referencerecordings.com) is a collection of original and highly imaginative works for piano, assorted instruments and effects. The concept for the recording project is an exploration of the relationship between music and its space. Shpachenko writes briefly about her experiences of space on performance, including the performers and the audience. Her curiosity has led to commissions from eight composers to write specifically about their impressions of spaces and places as represented by architecture.

The variety of this repertoire is remarkable. Shpachenko performs a veritable tour of structures ancient and modern, producing extraordinary colours and textures from her Steinway D. Her composers sometimes add a second piano, voice, a toy piano, percussion and electronics to build their works. The subjects include Ireland’s 5,000-year-old Newgrange, Aaron Copland’s home in upstate New York, Bangladesh’s National Assembly, a small cottage on an island in rural New York state, the American Visionary Art Museum and a couple of architectural projects by Frank Gehry.

Each composer provides a few notes on the subject of the commission and it’s immediately striking how much common ground they share with Shpachenko on this abstract challenge. The strong affinity between the principal performer and the composers has produced a thoroughly engaging disc. 

Handel – Dixit Dominus; Bach & Schütz – Motets
Ottawa Bach Choir; Lisette Canton
ATMA ACD2 2790 (atmaclassique.com/En)

The Ottawa Bach Choir and Ensemble Caprice join forces in this recording for thrilling performances of Baroque masters Handel, Bach and Schütz. From the outset of Dixit Dominus, the quick pace and precision with which the chorus deftly moves through Handel’s ever-running and cascading phrases is awe-inspiring. Daniel Taylor guests for the alto aria Virgam virtutis in which the interplay between his golden voice and the continuo instruments is sublime. Soprano Kathleen Radke maintains a wonderfully relaxed vocal line through the execution of elaborate lines in Tecum principium in die virtutis and later she and Kayla Ruiz create enchanting chemistry in the soaring duet De torrente in via bibet.

Looking back almost a century, next on the recording are rarely heard Passion Motets from Heinrich Schütz’s Cantiones Sacrae. Heavily influenced by Italian madrigals of the time, Lisette Canton coaxes the full anguish of the thematic material from the choir in emphasizing dissonances and highly expressive rhetoric. The recording ends with homage to the choir’s eponym. In Bach’s Komm, Jesu, komm, excellent recording technique and choice of venue shine through, with a lovely resonance from the start and an erudite interchange captured in the dialogue of a choir divided into two sections by the composer.

New Works
Da Capo Chamber Choir
Independent DC 003-18 (dacapochamberchoir.ca)

Waterloo-based DaCapo Chamber Choir is celebrating its 20th anniversary with this release featuring Canadian choral works by six established and four emerging composers, set to words ranging from Shakespeare to D.H. Lawrence. Recorded in four sessions over a two-year period, each work was a choir premiere, with all but James Rolfe’s composition featured in DaCapo’s annual, national composition competition.

Choral lovers will rejoice (and perhaps sing along) to these diverse works. Of the established composers, Benjamin Bolden’s Harvest features classic choral counterpoint with slightly atonal sounds interspersed with tonal sections. Jeff Enns’ Le Pont Mirabeau has higher-pitched Romantic harmonies to stress the words. Rolfe’s Shadows is a to-be-expected well-written piece with dramatic word-painting rhythms at “autumn deepens” and atonality on “distress,” and a vibrant unexpected high-pitched tenor solo (sung by Brian Black) at the dramatic highpoint. Emerging composer David Archer’s In Sweet Music is a slow work with classic choral qualities (swells and lyricism) with a touch of minimalism at the repeated “fall asleep” end part. Works by Christine Donkin, Don Macdonald, Sheldon Rose, Matthew Emery, Nicholas Ryan Kelly and Patrick Murray complete the recording.

Conducted by founding artistic director Leonard Enns, the choir sings with both technical and musical acumen. Each vocal section is strong, knowledgeable and unafraid to sing both new and established choral sounds with perfect balance and articulation. Canadian choral music shines thanks to DaCapo!

Alberto Nepomuceno – Symphony in G Minor
Minas Gerais Philharmonic Orchestra; Fabio Mechetti
Naxos 8.574067 (naxosdirect.com)

As the music of the entire recording including, of course, Symphony in G Minor suggests, Alberto Nepomuceno’s map of Brazil was his glorious harmony book. The 1893 symphony predates (but only by a few years) what came to be a movement for creating an authentically Brazilian music, with less influence of European culture. In this sense, the folklore of the colourful northeastern Brazil from where Nepomuceno came was the major font of inspiration for his music.

This is not always obvious in the program at hand as we can hear in the music a struggle for Nepomuceno to pull away from his European training before drawing deeply from his northeastern Brazilian roots. His mind, newly opened to the sounds of his childhood in Recife, triggered perhaps by the influence of the French impressionists, becomes evident first in Série Brasileira (1891). It is a colourful, mysterious work and by the time we get to the fourth movement Batuque the full effect of northeastern Brazil is heard in the lyrically rhythmic infusion produced by the strings of the Minas Gerais Philharmonic Orchestra.

The mysterious splendour of O Garatuja – Prelude (1904) reverberates with the mesmeric swirling of African slave dances that Nepomuceno incorporated into his music. The full grandeur of the composer’s work is uncovered in the celebrated Symphony in G Minor where maestro Fabio Mechetti draws from the Minas Gerais Philharmonic Orchestra its fullest, winning combination of expressive power and voluptuousness yet.

Florence Beatrice Price – Symphonies
Fort Smith Symphony Orchestra; John Jeter
Naxos 8.559827 (naxosdirect.com)

Florence Beatrice Price (née Smith) was an African-American composer born in Little Rock Arkansas in 1887. Her father was a dentist and her mother a music teacher. She received her solid musical education from her mother because the city’s best-known tutors, uniformly and unapologetically white, refused to teach a person of colour. Her mother taught her well. So well that she gave her first piano performance when she was eight and aged 11 had her first published work.

Her mother wanted her to further her studies after graduating as valedictorian from high school, and as this was next to impossible in the South, she was enrolled in the New England Conservatory. There she was tutored in all the musical disciplines under the care of a faculty that included George Whitefield Chadwick. During that time her compositions included a string trio and a symphony. In 1906 she graduated with a diploma in organ and a teaching certificate.

She returned to Little Rock and began teaching in segregated academies in Arkansas and Georgia. She married attorney Thomas Jewell Price and moved back to Little Rock. Following a lynching in 1927 and amid general unease, the family moved to Chicago where Florence was to flourish and become a recognized member of the musical community. In 1932, her Symphony in E Minor won the first prize of $500 in the Rodman Wanamaker Competition sponsored by the National Federation of Music Clubs. The work attracted the interest of conductor Frederick Stock who led his Chicago Symphony Orchestra in the premiere public performance, the first time a major American orchestra had ever performed any piece written by an African-American woman.

Her symphonies are in the usual four movements. Symphony No.1 dates from 1932 and calls to mind the symphonic music of the era, most evoked being Dvořák, Edward MacDowell, Horatio Parker and George Whitefield Chadwick whose music I continue to enjoy. The first movement is a mighty statement running over 16 minutes. The grand second is an attractive largo of 12 minutes duration. In the third movement where one might normally expect to hear a scherzo, we are treated to a Juba Dance, based on the antebellum slave style, complex body percussion (foot stomping and chest patting) and syncopated melodies. The boisterous fourth movement is an appropriate closing.

The Fourth Symphony is similarly constructed with an Andante cantabile second movement à la Dvořák. The third movement is again a Juba Dance and the final movement, a mighty Scherzo. I am very interested in hearing more of Florence Price.

Respighi – Roman Trilogy
Buffalo Philharmonic Orchestra; JoAnn Falletta
Naxos 8.574013 (naxos.com)

I have never forgotten as a child first hearing The Fountains of Rome at a concert conducted by a short, wiry and agile Italian, Francesco Molinari-Pradelli, who made me fall in love with the piece instantly. Over the years I found that the Fountains is by far the best of the trilogy, Pines a close second and Festivals a distant third, but generally recordings tended to establish a certain routine interpretation and sound that became an expected norm.

However, this brilliant new recording by JoAnn Falletta, who now emerges as a star conductor and favourite of Naxos, will surprise you. She is American, original and unorthodox, and picks Festivals to play first (!), turning it into a monumental sound spectacle and making the most of Respighi’s adventurous harmonies and orchestration. Just listen to Circenses where the music is so graphic as it describes vividly ferocious lions devouring Christian martyrs and Ottobrata with its sweet mandolin solo and far away horn calls evoking my beloved countryside around Rome.

The disc gives us surprise after delightful surprise as Falletta, revelling in the rich score, brings out voices I have never heard before. Like a gorgeous sound painting of night on the Gianicolo Hill with the noble silhouettes of pines and a nightingale singing. She is so totally engrossed that the music simply doesn’t want to end. But where she really strikes home is Pines of the Via Appia, a tremendous tour de force depicting an ancient Roman army emerging from distant haze marching towards us, and the music just builds and builds. A gradual crescendo exploding in glorious fortississimo without ever becoming bombastic or overpowering. Brava!

Invitation – Trios for Clarinet, Violin and Piano
Christine Carter; Duo Concertante
Marquis Classics MAR 81489 (marquisclassics.com)

Having to declare an interest in the subject of a disc review is an unalloyed pleasure when said conflict involves praising the work of a former student. Together with Tim Steeves and Nancy Dahn (Duo Concertante), clarinetist Christine Carter has released Invitation, an album of trios for clarinet, violin and piano. Alongside the witty and spirited Suite by Darius Milhaud is Aram Khachaturian’s almost emo Trio; Tango, a chestnut by Canadian Patrick Cardy (1953-2005); and last of all, Francis Poulenc’s L’invitation au château.

The latter is new material to me, as I’m sure it will be to many listeners. It’s a curiosity, beautiful raw material that Poulenc never got around to turning into a suite, unlike his colleague Milhaud. Both composers wrote the music on this disc as integral backdrops for plays by Jean Anouilh, but where Milhaud sifted his score down to four movements, the Poulenc remains in its original form of 16 musical installments, some extremely short, others stretching to between one and two minutes in length.

Nothing detracts from the pleasure of listening to the performances on this disc. The Khachaturian stands out as particularly compelling, but no doubt others will find their own favourites. Tasteful style, courteous and elegant musicianship, and technical ease are featured throughout by all three performers. One supposes, or hopes, this won’t be their last such collaboration.

The liner notes are helpful, packing a good deal of information into an interview format.

Listen to 'Invitation: Trios for Clarinet, Violin and Piano' Now in the Listening Room

Excess
Lori Freedman
Collection QB CQB 1923 (actuellecd.com)

On Excess, distinguished Montreal-based clarinetist Lori Freedman presses the boundaries of contemporary musical discourse, challenging the clarinet’s, the individual composer’s and her own expressive depths. Pressing a point, she focuses on bass and contrabass clarinet, perhaps the most vocal of orchestral instruments, with every pitch ready to bend and break, a spray of overtones seemingly ever at the ready. Oh, yes, she challenges the listener as well.

The program is bracketed by its most radical and expansive adventures. British composer Richard Barrett’s Interference requires the performer to sing over a four-octave range and play a kick-drum as well as turn in a virtuosic explosion of wild burbling lines from the contrabass clarinet. It’s shamanic work, an invocation of spirits, a depth of expression that tests the limits of performance. At the opposite end of the CD, there’s French composer Raphaël Cendo’s Décombres, a work of “saturation” that fills the sound space with roaring contrabass clarinet and abrasive electronics.

In between, Freedman reaches back to Brian Ferneyhough’s daunting Time and Motion Study I (1977) and explores three recent pieces. Freedman worked closely with Vancouverite Paul Steenhuisen on Library on Fire and Paolo Perezzani on Thymos, the former mixing vocal sounds with bass clarinet, the latter the sonic potential of the contrabass, elephants and all. It’s her own Withwhatbecomes that’s most remarkable: almost unvoiced, it’s filled with the quietest, most fleeting, evanescent sounds, more challenging in its own way than anything else here.

Petra Stump-Linshalm – Fantasy Studies
Various Artists
Orlando Records or 0033 (orlando-records.com)

The technical ability of the players on this new disc is enough to bind the listener to the chase of sounds they produce. A collection of different works for (mostly) winds, and most among them the various sizes of clarinet, the CD is named for its final multi-movement work, written by composer Petra Stump-Linshalm. This piece calls for four players dealing with 11 instruments between them (flutes, clarinets, recorders, cello, some also playing percussion). The performers produce eerily beguiling songs and dances. Tonality is a ghost of its former self, pale-to-vanishing. Stump-Linshalm is more concerned with finding voices to utter her thoughts that no one has heard yet, colours and consonants fresh from a fine-tuned imagination. Movement is mostly ordered but gradual, although some movements pop and spark with sudden furtive gestures. Nowhere is the dance faster than a lively funeral march. Fantastic indeed, and beautiful; and terrifying.

Opening the disc are eight short movements for solo contrabass clarinet, which seems to be having its moment in new music. Uisge Beatha is an exploration in sound of the variety of flavours found in good peated scotch. My unmixed love of single-malt scotch whiskey is not matched by my feelings for the contrabass clarinet. I certainly admire the playing ability of Heinz-Peter Linshalm, who is featured on most of the disc, and his mastery of the double-length bass. There’s a mad take on The Teddy Bears’ Picnic as well; I leave the listener to find it.

Simon Martin – Musique d’art
Quatuor Bozzini; Pierre-Alexandre Maranda
QB CQB 1922 (actuellecd.com)

Simon Martin is a younger Quebecois composer whose work is intimately connected with music’s relationship to materiality. His earlier work Hommage à Leduc, Borduas et Riopelle focused on specific works of three great painters, setting each segment with a small group of like instruments: a saxophone quartet, a trio of classical guitars and the string quartet, Quatuor Bozzini. Here the quartet turns to a more ambitious Martin work. Musique d’art is similarly concerned with meaning, with relationships among music, sound and noise and the philosophical and material status of the musical work, its title a play on the expression “objet d’art.”

It’s a work of substantial scale, over an hour in length, and also great sonic mass. Quatuor Bozzini is extended to a string quintet here with the presence of double bassist Pierre-Alexandre Maranda. In some of the work’s five movements, his is the central voice. The first part moves from silence to a consonant drone that’s gradually engulfed in a gathering dissonance only to return to silence. Maranda’s role comes to the fore in the second part, his harsh, low-register bowing suggesting grinding tools. At another point, his savage, whipping glissandi feel as much like a side effect of industry as a musical technique.

The final movement alternates groups of sustained harmonics to develop a state that’s simultaneously tense and suspended, gradually creating a sense of timelessness. A kind of stable mystery, Musique d’art can only grow in significance.

Samuel Andreyev – Music with no Edges
HANATSUmiroir
Kairos 0015025KAI (kairos-music.com)

Before you even read the booklet notes that speak of a late work of Marcel Duchamp in relation to Samuel Andreyev’s sublime modernist composition, you realize – in the rhythm and stroke of reeds, strings and percussion – that the Canadian composer now living in France is a visualist musician. It is clear from the very first few bars of Vérifications (2012). Then rifling through the booklet as you might be tempted to do, the discovery of his scores reveals more of his method. Of the three scores depicted, only one is on staved paper; another is on a black sheet and the third is on graph paper. The notes are meticulously written, ramrod straight. But clearly Andreyev does not mean for them to sound that way.

This is, after all, Music with no Edges. Fingertips holding bows and mallets are meant to be extensions of paint brushes, perhaps just as pursed lips on piccolos and other reeds become extensions of musicians painting with sound, rather than engaging in some aural activity. So, for instance, on Cinq pièces, Stopping, Passages and, indeed Music with no Edges, and the final Strasbourg Quartet, the steady drip, drip, drip of sound as if wet from a paint brush seems to fall from the ensemble HANATSUmiroir onto blank canvases creating vivid pictures of sound emboldened with emotion. Andreyev seems to write not only with a pencil but with his nerve endings as well.

Giya Kancheli – Sunny Night
Frédéric Bednarz; Jonathan Goldman; Natsuki Hiratsuka
Metis Islands 2019 MI-0009 (metis-islands.com)

I get particular satisfaction from listening to an album rendered stylishly by gifted Canadian musicians. A good example is Sunny Night, a collection of 17 miniatures originally scored for the cinema and theatre by Giya Kancheli (b.1935) recorded at McGill University in Montreal by the duo of Frédéric Bednarz (violin) and Natsuki Hiratsuka (piano).

The well-known Georgian composer Kancheli, currently living in Belgium, is an unabashed romantic when it comes to composing music. “Music, like life itself, is inconceivable without romanticism. Romanticism is a high dream of the past, present, and future – a force of invincible beauty which towers above, and conquers the forces of ignorance, bigotry, violence and evil,” states Kancheli in the liner notes.

The highlights on Sunny Night are the two works for violin, piano and bandoneon (Jonathan Goldman), an instrument closely associated with the tango. Earth, This Is Your Son for the trio is episodic and dramatic, dominated by minor key tonalities. At just over five minutes it is also the most substantial work on the album. It’s more a concert piece than incidental music.

Not only unapologetically melody-driven, romantic and tonal – often gently drawing on early 20th-century vernacular genres such as the tango – the musical language on Sunny Night also seeks to capture a single mood befitting the music’s original theatrical function. In that it succeeds admirably, though sometimes the effect verges on overt sentiment. There are times however when that is just what’s needed.

Reiko Füting – Distant Song
Ensemble Vocal & Instrumental
New Focus Recordings FCR216 (newfocusrecordings.com)

Composer Reiko Füting (Germany b.1970), a faculty member of the Manhattan School of Music, offers an intriguing study of a juxtaposition of ancient and modern practice. The first two pieces on Distant Song, performed by AuditiVokal Dresden and Art D’Echo are als ein licht/extensio and in allem Fremden/wie der Tag/wie das Licht, based on works by Heinrich Schütz. The motet Verleih Uns Frieden Gnädiglich is framed by dynamic percussion, spoken word and lush, dissonant vocalizations meant to illustrate, in the composer’s own words, a “continuing compositional interest in time and space.” Meant as an epilogue to the first two pieces, eternal return (Passacaglia) features the Byrne:Kozar:Duo, in an alarmingly engaging duet for soprano and trumpet using text from Nietzsche’s Thus Spoke Zarathustra. Next is mo(nu)ment for C, on the 2015 attack on Charlie Hebdo in which the ensemble loadbang reiterates “Je suis,” “Ich bin” and “I Am.” Dutch ensemble Oerknal performs Weg, Lied der Schwäne, a “swan song” on the subject of euthanasia based on Arcadelt’s renaissance madrigal, Il bianco e dolce cigno. The same ensemble backs vocal quartet Damask in versinkend, versingend, verklingend which recalls Debussy’s La cathédrale engloutie and quotes the 15th-century German folk song Gesegn dich Laub.

In listening to Füting’s compositions, it becomes clear that while focusing on contemporary issues, he brilliantly incorporates musical fragments of memory which bridge present and past.

Empty Words by John Cage
Varispeed
Gold Bolus GBR035 (goldbolus.com/empty)

Long before John Cage created Empty Words, he was already encouraging the performer of his music to “let go of his feelings, his taste, his automatism, his sense of universal, not attaching himself to this or that, leaving by his performance no traces, providing by his actions no interruption to the fluency of nature.” In their recording of this epic vocal piece the quintet Varispeed, together with ten supporting musicians, seem to have absorbed Cage’s radiant words as they plough through the shard-like composition completely absorbing its incandescence into their hearts and minds – as Cage would have it – to create a deeply committed and meticulously prepared performance, produced with magical results.

Cage’s monumentally challenging work calls for invention over and above that precise quality that the composer built into his work. On Empty Words – literally words stripped of meaning – the ensemble uses male and female human voices propelled on a collision course with acoustic (woodwinds, strings, percussion and piano), electronic boards and prepared (glass) instruments. The result turns Cage’s effect of splintering and pointillist sound into an exploitation of a wide range of sonorities, some bright, some bell-like, others more delicate and subdued. Rhythmic motifs and patterns recur, producing an incantory and hypnotic quality.

Varispeed’s experience as improvisers makes their presence felt in this tactile articulation of Cage’s driving rhythms and percussive “ungrooves” with uncommon perfection ranging from the lyrical to the difficult and disturbing.