two + two
TorQ Percussion Quartet
Bedoint Records BR002 (www.torqpercussion.ca)

“Always complimenting or opposing” is the descriptive phrase that creative percussion quartet TorQ uses to describe the music on their debut recording project, two + two. Produced by TorQ (skilled percussionist/composers Richard Burrows, Adam Campbell, Jamie Drake and Daniel Morphy) and Ray Dillard, the CD is without question a fascinating and intense piece of work. According to TorQ themselves, their project explores harmonic and rhythmic concepts and the contrasting and complex relationships to their polar antithesis, e.g. pitched and un-pitched; tranquil and relentless; simple and complex.

two + two is comprised of five extended works, including the evocative Awakening Fire by Jason Stanford, which utilizes ephemeral vibes and marimbas, the drones of Tibetan meditation bowls and all manner of drums and percussion gizmos to create a primordial sonic landscape – replete with Neolithic thunderstorms. Also of note is the stark Tak-Nara by Nebojsa Jovan Zivkovic, and the funky, marimba driven I Call Your Name: Rescue Me (Christos Hatzis), which integrates urbanized spoken word snippets as well as some thrilling auricular cacophonies. Also moving is an ethno-centric version of iconic avant-garde composer John Cage’s opus, Third Construction.

This conceptual, non-linear and visceral music may not be everyone’s cup of tea, but it clearly extends beyond a mere auditory experience and into the realm of performance art. I’m sure that we can all look forward to the next magical multi-dimensional presentation from TorQ – highly musical percussive artistry without artifice or gimmicks.

Shamanic Journey
Deanna Swoboda
Potenza Music PM1013 (www.potenzamusic.com)

The noble tuba is the only instrument in the standard symphony orchestra that can claim that virtually all of its solo repertoire has been composed within the last 60 years. This is in large part due to the efforts of tuba players themselves, who often seek out the friendship of composers, who they then commission (or brow-beat) into composing these solo works.

American tuba player Deanna Swoboda is no exception to this: a professor of tuba and euphonium at Western Michigan University and the President of the International Tuba and Euphonium Association, she also is a fantastic performer, as this solo CD, her second, ably shows. Most of the featured repertoire is by women composers and most is of the “easy-listening” variety – a number of the works having a jazz or pop-infused feel. Particularly enjoyable is the Concert Piece for Tuba and Piano by the noted American composer, Libby Larsen.

A bonus for listeners on our side of the border is the inclusion of two works by Canadian composers, Elizabeth Raum’s Ballad and Burlesque (commissioned by Swoboda) and Barbara York’s Sonata for Tuba and Piano, subtitled “Shamanic Journey,” which gives Swoboda’s new CD its name.

Saariaho - D’om le vrai sens; Laterna Magica; Leino Songs
Kari Kriikku; Anu Komsi; Finnish Radio Symphony Orchestra; Sakari Oramo
Ondine ODE 1173-2

Kaija Saariaho stands among today’s outstanding concert music composers. She was born in Finland (1952) but has been a long-time resident of Paris. Her research at IRCAM, the Paris institute where FM synthesis and electroacoustic techniques associated with spectral music have been developed, has had a profound influence on her compositions, which often combine live and electronic musical forces.

This CD features three recent all-acoustic works performed by some of Finland’s finest interpreters. Saariaho’s clarinet concerto D’om Le Vrai Sens, inspired by the famous La Dame à la Licorne medieval tapestries is almost operatic in scope, the solo clarinet virtuoso Kari Kriikku playing the protagonist to the orchestra’s lushly mysterious textures.

Saariaho’s dramatic orchestral piece Laterna Magica derives its title and theme from film director Ingmar Bergman’s memoirs, referring to an early type of manual film projector. The title underscores the composer’s fascination with boundaries: between observation and imagination; between objective light and subjective dream-like reality. The latter is represented in sound by shifting, colourfully orchestrated, alternating dense and wispy chords and evanescent hissing instrumental sounds. Whispered words uttered by the musicians, describing light’s effects both on objects and on human mood, are culled from Bergman, adding to the music’s mystery.

The four Leino Songs, built on texts by Finnish poet Eino Leino (1878-1926), were composed for the polished and nuanced voice of the Finnish soprano Anu Komsi and orchestra. Epigrammatic and voice-friendly, the songs follow the lyrics admirably, allowing the words to dictate the overall form and duration of each song. This is by far the shortest of the works here, yet its emotional impact is perhaps the greatest.

Concert Note: The Canadian Opera Company will present eight performances of Kaija Saariaho’s Love From Afar, featuring Russell Braun, Erin Wall and Kristina Szabó, February 2 to 22.

From the New Village
Duo Resonance
Woodlark Discs (www.silverflute.ca)

German Romanticism of the 19th century, in spite of much turbulence at the time, was a golden age for the arts, especially for music and poetry. Duo Resonance is composed of guitarist Wilma van Berkel and flutist Sibylle Marquardt. The title is derived from the first set of compositions on the disc, Songs and Dances from the New Village by Dusan Bogdanovic, pieces based on traditional music from south-eastern Europe. The rest of the repertoire, with the exception of Toru Takemitsu’s Toward the Sea, is similarly related to folk or traditional music.

There is some invigorating music-making on this CD. In the first movement “Bordel” of Astor Piazzolla’s L’histoire du tango, for example, Marquardt’s robust sound, incisive articulation and precise rhythmic sense, coupled with van Berkel’s dynamic and fluid playing, propel the music forward to an exciting climax. Van Berkel‘s solo at the beginning of the contrasting second movement, exquisitely languid, sensitive and touching, sets a sultry summer mood.

Van Berkel also excels in Toronto composer Alan Torok’s idiosyncratically spelled Native Rhapsody in Hommage of James Brown. The writing for guitar, while neither particularly “native” nor “folk” to my ears, is rhythmically sophisticated and works well with the modal flute line.

The notation of Takemitsu’s Toward the Sea, described in the liner notes as “annotated to the point of excess,” proves effective, nevertheless, in drawing Marquardt, playing alto flute, into a more expressive mode than elsewhere on the disc, exploring a greater variety of tone qualities, colours and dynamics.

Kudos to the duo for coupling some of the better known repertoire for their instruments with lesser known contemporary compositions that need to be heard.

Waltz for Bill
Tom Szczesniak
Independent SZC-27426-27 (www.tomszcz.com)

Waltz for Bill is veteran Toronto session player and arranger, Tom Szczesniak’s, love letter to the genius of Bill Evans. It is also the title of his very first CD under his own name after 40 years in the industry playing with everyone from Anne Murray to Thad Jones. Evans isn’t the only piano player to be honoured by Szczesniak, as the late and much-missed Doug Riley (Dr. Music) is remembered here both with a tribute song and a cover of one of his compositions, Dinosaurus. The progressive rock/bop fusion number is a bit of an incongruity, but a palate-cleanser amidst all the ear butterscotch that comes before and after. The disc is steeped in standards and even veers into chestnut territory a time or two, but is a class act from beginning to end. Starting with a mellow but harmonically fresh approach to What Is This Thing Called Love, we get taken on a lush, lovely journey of the likes of Gershwin and Hammerstein with lots of strings, a bit of sax (Michael Stuart and Vern Dorge) and the occasional velvety vocal from Doug Mallory and Cal Dodd.

Sounds and Silence - Travels with Manfred Eicher
A film by Peter Guyer and Norbert Wiedmer
ECM 5050 DVD 276 9886

Since I first heard Keith Jarrett’s Köln Concert in the 70s, I have been listening to ECM records. My musical tastes have been influenced over the years by the artists the label represents. Although the recording artists’ names would always vary, the producer’s credit seemed to be a constant: Manfred Eicher.

This film offers an intimate view of the recording process both in studios, and in various reverberant spaces around the world. The filmmakers follow Eicher as he travels to produce his discriminately selected artists from Scandinavia to South America. He is shown in most recording sessions as a man deep in listening, rarely communicating verbally with the musicians. It’s as though his presence alone offers reassurance and companionship in the creative process.

Eicher imparts very few words throughout the film, which leaves the viewer feeling equally unfamiliar with him upon completion. Nonetheless, Sounds and Silence is quite beautiful to watch as we travel through the different coloured locales and listen to the respective musical sounds.

In his humble presence, it seems apparent that Eicher is very devoted to his craft. Composer Eleni Karaindrou says of Eicher, “Wherever Manfred works, he is 100 percent involved. That is the true nature of his passion. He devotes himself to the moment and is entirely committed to the artist he is recording.”

Jazz in Quebec is a vigorous element of French-Canadian culture, though all too infrequently experienced in these parts. However, Montreal label Effendi has recently released a bumper crop of albums by provincial stalwarts that underscore the lively musical health of its practitioners. One features veteran bassist Alain Bédard, who skilfully demonstrates his roles as leader, anchor, frequent soloist and rhythmic engine of his Auguste Quintet on Alain Bédard – Homos Pugnax (Effendi FND 115 www.effendirecords.com). He wrote five of the ten tracks that include four by bandsmen and Carla Bley’s Fleurs Carnivores, which he’s arranged impressively. Supported by the nimble, versatile sax of Frank Lozano (mainly soprano), pianist Alexandre Grogg and subtle drummer Michel Lambert, Bédard has created an enticing album full of interest, unusual time signatures and sparkling work by all.

It’s odd to come across a fully-fledged band that’s only been around a short while yet clearly displays confidence and chemistry. Mike Field – Ashes (MFJCD 1101 www.mikefieldjazz.com) is a pleasing quintet outing led by trumpeter Field, a veteran of musical forms other than jazz, performing with tenor saxist Paul Metcalfe, pianist Matt Newton, bassist Carlie Howell and drummer Dave Chan. The boss wrote all nine pieces here, some with unconventional structures and all executed with considerable panache, though the music’s more unblemished than exhilarating. Field plays with authority, with obvious tonal smarts and ear-catching virtuosity. His album strongly suggests future success.

Indefatigable drummer Barry Romberg has put out 11 CDs over the past decade featuring his Random Access combos and the newest maintains the group rep for sustained excitement and relentless drive. Recorded live at the Rex, Barry Romberg’s Random Access – Unplugged Live (Romhog Records 121 www.barryromberg.com) has the usual suspects in play for 70 minutes encompassing just four tunes – guitarist Geoff Young, keyboardist Robi Botos and power electric bassist Rich Brown. Guesting is American tenor saxist Donny McCaslin, who’s more than comfortable with the striking free improv that is RA’s trademark, his staccato phrasing meshing well with Young’s distinctively spiky approach, Brown’s gouging grooves and the fierce energy from keys and drums. The more-than-22 minutes of the burning In Pursuit is a stirring highlight, Botos sparkling on electric piano.

The guitar toted by Winnipeg’s Keith Price makes untypical, attractive sounds, quickly manifested on his sophomore album The Keith Price Trio/Quintet – Gaia/Goya (KP201102 www.keithprice.ca). Bell-like chords, shining echoey notes, shimmering resonances are heard, which gives this disc surprising heft considering that it occupies only a measly 41 minutes as it combines four indie-pop tunes performed by his trio with bass Julian Bradford and drummer Curtis Nowosad and a six-part suite which adds alto saxist Neil Watson and pianist William Bonness. The groupings are well integrated, no one stepping out of line, though the pulse team is allotted occasional flights of fancy. The suite’s components come across as more fully realized, with a freshness of expression and frequent servings of heat.

Montreal pianist Taurey Butler has plenty to offer on his impressive debut recording as leader, the self-titled Taurey Butler (Justin Time JUST242-2 www.justin-time.com), 11 cuts where he unabashedly illuminates his respect for late genius Oscar Peterson without consciously emulating him. The ferocious swing, eloquent skill at speed, pounding left hand and showy imagination are all there, however, markedly on opening burners Sunrise, Sunset and The Lady Is A Tramp. Butler gets exemplary support from bassist Eric Lagacé and drummer Wali Muhammad throughout, though the trio’s work on ballads is less satisfying than the verve they show on tunes mid-tempo and up, like the catchy Butler contributions An Afternoon Downtown and Grandpa Ted’s Tune, the latter a surging procession of ideas. And you can’t say OP doesn’t spring to mind on Butler’s tearaway Nobody’s Here.

Big bands don’t rule the jazz roost nowadays but they’re often worth a listen, as is the case with Mississauga Big Band Jazz Ensemble – On The Periphery (MBBJE 5-2 rboniface@rogers.com), which offers 14 tunes and 73 minutes of classy, sprightly entertainment recorded live at Arnold’s Sports Bar in Oakville. The opening Steamsville is brisk and bright with gritty alto by Gary Martin, who also shines on Aluminum Baby. Section work is mostly splendid though soloists vary widely in ability (10 players get solo opportunities). The ensemble sounds best on relaxed material, especially well-worn standards, but it can swing hard and clearly enjoys challenging choices, including pieces from Burt Bacharach, the Average White Band and Charlie Mingus. Vocalist Catherine McGregor holds her own on four songs.

Three worth seeking: If you’re in the mood for tight fusion try Cinque - Catch A Corner (Alma ACD83012 www.almarecords.com), a quintet featuring Robi Botos, John Johnson and Joey DeFrancesco. For forceful swing there’s Cory Weeds – Just Like That (Cellar Live CL031311 www.cellarlive.com), a quartet helmed by Vancouver alto saxist Weeds with pianist Tilden Webb’s trio. If you want groove and funk hear Jason Raso – The Red Arrow (Summit Records DCD 569 www.jasonrasomusic.com), which showcases the Guelph-based bassist in action with assorted colleagues including B3 master Tony Monaco and drummer Ted Warren.

Almost from the time the professional music business was established in this country, the expected route for success has been for artists to head off to the larger market down south and set up shop there. Canadians from Percy Faith and Maynard Ferguson to Joni Mitchell and Teresa Stratas effectively followed that formula. But today, as American musical hegemony lessens and modern communications almost literally shrink the world, musicians, especially those who play improvised music, can demonstrate that a permanent home in Europe is as beneficial as becoming an American resident. Take Vancouver-born Joe Williamson for instance. On Weird Weapons 2 (Creative Sources CS197 CD www.creativesourcesrec.com), the bassist, who now lives in Stockholm after stints in London, Berlin and Montreal, is matched with German guitarist Olaf Rupp and drummer Tony Buck, an Australian turned Berliner, for two extended selections of intuitive improv. No lounge guitar trio, this band creates sonic sparks that almost visibly fly every which way. Rupp’s constant, intense strumming often elasticizes into slurred fingering as Buck buzzes drumstick on cymbals, pops his toms, door-knocks his snares and rattles and reverberates any number of bells, chains and wood blocks for additional textures. Keeping the improvisations grounded is Williamson, who splays, stretches or saws upon his instrument’s strings, scroll and body wood when he’s not creating added continuum by slapping out pedal point resonation. On the nearly 30-minute Buckram, the three reach such a level of polyphonic coherence that the cumulative textures seem to ooze into every sonic space. Moving to the forefront then fading back into the ensemble, Rupp pinpoints jagged licks that eventually accelerate to stentorian multi-string runs, as Buck concentrates pitter-pattering and agitatedly clanking into tremolo whacks. Finally, a climax is reached, as Williamson’s multi-string variations, consisting of col legno strokes vibrating with a near-electronic pulse, push the three to a decisive conclusion.

Less than 300 kilometres southwest, in Copenhagen, lives drummer Kevin Brow, an Orangeville native and part of the trio on Hopscotch (ILK 179 CD www.ilkmusic.com), completed by Italian-born tenor saxophonist Francesco Bigoni, another Copenhagen resident, plus local guitarist Mark Solborg. Paced and cooperative, Brow’s rhythmic sensibility here is like Williamson’s on the other CD. Brow’s backbeat alternately advances or bonds the others’ extended techniques during ten notable improvisations. With Solberg’s solos including distorted power chords with rock music antecedents plus organ-like echoes, and Bigoni’s bitten-off reed strategies accelerating to intense, repetitive phraseology, the drummer’s playing creates thematic definition. Case in point is Almost. Before Brow’s hard thwacks define a conclusive tipping point where unison harmonies from the guitarist and saxist advance to similar legato patterning, the variegated strategy from each differs markedly. Solberg’s licks are trebly and echoing, while Bigoni’s behind-the-beat tones split and squeak. The percussionist can also express himself more forcefully as he does with carefully positioned press rolls and flanges on Brainwashing. Meantime the saxophonist appears to be exploring the limits of his instrument with intense vibrato, lip bubbling sprays and pressurized staccato tones, as serpentine guitar strokes harden into splayed fingering plus crunching, echoing twangs, leavened by a bit of amp buzz. Bigoni’s tone alternates among magisterial reed quivers, speech-like inflection and legato lines, which helps define the remaining tracks’ scope(s).

Over in the United Kingdom, the band Splice consists of two British players – trumpeter Alex Bonney and drummer Dave Smith – plus French reedist Robin Fincker who has lived in London for a dozen years, and Montreal-born Pierre Alexandre Tremblay. Tremblay, who plays bass guitar and electronics, has taught at England’s University of Huddersfield since 2005 and oversees its electronic music studio. Perhaps that’s why this disc is entitled Lab (Loop Records 1013 www.loopcollective.org). It certainly has a more extensive electronic palate than the others. Although slippery and shuddering bass guitar runs are heard infrequently throughout, Tremblay’s electronics maintain the sometimes opaque methodical pulsations which pervade the disc. A track such as The Wanderer is smooth and bouncy, built on Fincker’s chromatic clarinet runs, Bonney’s trumpet obbligatos, a shuffle drum beat and electroacoustic colouring that could be Arabic music played on an accordion. The blurry wave forms which elsewhere quiver alongside, process or complement instrumental textures such as alphorn-like vibration from Fincker’s tenor saxophone, Bonney’s brassy or muted asides and drum pops and backbeat, are more upfront on Luna Verde. Stacked horn lines, sliding bass guitar licks and percussion rebounds are accompanied by processed textures that come in-and-out of aural focus. This crackling interface concretely outlines the theme statement from the harmonized horns.

Not surprisingly of course, the stateside lure still exists and is beneficial for some musicians. Vancouver-born, Toronto-educated pianist Kris Davis, has, after a decade in New York, become one of the go-to musicians there. While the Canadians on the other CDs may provide the backdrop for improvisations, Davis not only plays on Novela (Clean Feed CF 232 CD www.cleanfeed-records.com), by Tony Malaby’s nine-piece band, but wrote all the arrangements and conducts. A career retrospective for Malaby, Davis recasts six of his original compositions to show off his tenor and soprano saxophone prowess. The extended Remolino, for example, is given a Mexicali flavour by intertwined horn lines broadened with Dan Peck’s harsh tuba snorts and drummer John Hollenbeck’s press rolls. Dramatic chording from the pianist introduces a Malaby soprano saxophone solo which reaches an elevated level of pressurized multiphonics before downshifting to moderato timbres in unison with the other horns. Before a climax of piano key plinks and a brass fanfare, the saxophonist winds his way among clanks and scrapes from the percussionist and trombonist Ben Gerstein’s brays as close harmonies are produced by alto saxophonist Michael Attias, baritone saxophonist Andrew Hadro and Joachim Badenhorst’s bass clarinet. Carefully shaping arrangements to expose distinct sound tinctures like xylophone rhythms or plunger trombone friction, Davis makes Floral and Herbaceous another highpoint. Following trumpeter Ralph Alessi’s lead and ending with a crescendo of staccato noises, the tune plays out as a duel between Malaby’s distinctive soprano reed bites and a sequence of more muted tones from the baritone saxophonist.

Whether it’s as co-leader, arranger, teacher or improviser, each of these Canadians appears to have found the proper foreign context for his or her musical development.

MatadoR - The Songs of Leonard Cohen
Patricia O’Callaghan
Marquis 81417

I was delighted when I got the nod from the DISCoveries editor to go ahead and review Patricia O’Callaghan’s newest album, MatadoR – The Songs of Leonard Cohen. Not only have I marvelled at O’Callaghan’s immense talent over the years, but I had the pleasure of attending her thrilling performance titled “Patricia O’Callaghan Sings Leonard Cohen” at last year’s Global Cabaret Festival. And I was very curious to see how it all would translate to disc.

Generally, it’s next to impossible to recreate the intimacy, immediacy, spontaneity and energy of a live performance on CD. I was utterly transfixed, watching and listening to O’Callaghan on stage. I was less so, listening to the recording; but the more I listened, the more I was drawn in. O’Callaghan’s voice (she trained as a soprano at the University of Toronto) is as rich, pliable and luminous as ever, interpreting Cohen’s songs with tremendous tenderness and a mature, worldly sensitivity and insight. Yes, the soprano nails Cohen!

It doesn’t hurt, either, that she has members of the Gryphon Trio backing her up on several tracks, as well as the fine jazz pianist, David Restivo; their collective work on Alexandra Leaving is particularly beautiful. And bassist Andrew Downing’s gorgeous arrangements are outstanding on If It Be Your Will and Anthem. But, for me, the jewel is O’Callaghan’s take on Dance Me to the End of Love. Translated into Spanish, it’s pure joy and downright sexy.

O’Callaghan co-produced MatadoR. She can be very proud of this project.

Concert Note: Patricia O’Callaghan is featured in Masques of Love – a cabaret presentation by Toronto Masque Theatre, February 3 and 4.

ChaCha
Michele Mele
Independent (www.michelemele.com)

With the release of ChaCha, composer and vocalist Michele Mele clearly illustrates not only her ineffable sweetness of soul, but a gamin wit, impeccable phrasing and mastery of the delicious musical hook. On this, her fifth (and finest) recording, Mele shines on keyboards and her pure, distinctive vocals are in full force and gorgeously recorded. For this project, brilliant producer and guitarist Greg Kavanagh has assembled a tight, groovy cadre of A-List players, including Michael Stewart on sax, Bill McBirnie on flute and guitarist Lou Bartolomucci (notably on Cabana Boy and Answer Every Question). The material on ChaCha is a tasty mix of brand new songs and several previously recorded tunes that have been given a complete (and delightful) re-imagining, such as the charming Tree Frogs (originally written for her then ten-year-old son in celebration of his love of amphibians).

Mele is a natural, highly connective and communicative performer and writer, who made quite a splash recently with her hit one-woman show “Naked on the Rocks.” Her appealing Astrud Gilberto-ish vocals are a refreshing change from the over-wrought divas all too frequently holding sway on the airwaves and in the clubs. The title track is irresistible – rhythmic, clever and sexy – and the Latin sizzler Hold Back Trigger is another stand-out, as is the lilting bossa, One Thing for Sure. Check out Michael Stewart`s potent solo on Stop Talking. This is a gem of a recording – the optimum soundtrack for a languid Sunday afternoon with the New York Times, a mimosa and the perfect company.

Onionoise
The Vegetable Orchestra
Transacoustic Research/Monkey TRES008 (www.vegetableorchestra.org)

With popular concern about fresh and organic produce as its height, Vienna’s 12-piece Vegetable Orchestra (VO) should garner kudos from environmentalists. That’s because all of the instruments the members play are painstakingly fashioned from fresh vegetables.

More than gimmickry – although most of these sound legumes can only be played once and are then turned into soup for the concert audience – these compositions and improvisations are part of the Viennese tradition of sonic experimentation that dates back to Schoenberg and Webern; although it’s more bio-degradable. Unlike self-contained serialism however, the VO’s repertoire draws from pop, concrète, noise, improvised and electronic music. Krautrock, for instance, approximates the sound of that noisy genre with distorted cabbage scrapings. Meanwhile Le Massacre du Printemps reaches a level of timbral intensity by layering repetitive percussion from a pumpkin bass drum, an eggplant clatterer, a carrot xylophone and a bell pepper hooter with parsley, leek and celeriac crackles that seem to emanate from a frying pan. The mélange finale showcases an opposing lyrical airiness propelled by radish bass flute and carrot flute.

There are other tasty interludes of sound mulching. They include Regen which suggests electronic oscillations, actually created by leek membrane pulsations as well as French bean crackles processed through a bean-tip pickup; and Brazil, whose swinging Latin-American-like maraca motion plus percussion and castanet-like resonations result from a bean shaker, eggplant clapper, celeriac bongo and leek pulses. The tune even ends with some swaying vamps from carrot xylophone and calabash bass.

High quality rather than high caloric sounds, it seems somehow appropriate that this sonic salad is served up on a CD, which after all is the same shape as a dinner plate.

In 2002 Radio Netherlands Music issued the first volume of an Anthology of the Royal Concertgebouw Orchestra, a 13-CD box of live performances from 1935 to 1950. Five future volumes were promised that would cover performances, decade by decade, to the end of the century. The projected series is now complete with Volume Six containing great performances from 1990 to 2000 (RCO 11004, 14 CDs). Artists in that first volume included Walter, Monteux, Ansermet, Mengelberg, van Beinum, Abendroth, Jochum, Karajan, Kleiber, Boult, Klemperer, Furtwangler and others, all of whom were deceased by 1990. The works were from the standard concert repertoire of the day. This final edition brings us pretty well up to date with performances by eminent maestros and soloists of the decade. The editors who selected performances for inclusion have done well as there are no second rate renditions to be heard in any of the 37 individual works presented. Collectors may be relieved to know that there is no Beethoven Fifth or Ninth, (but there is a Sixth with Sawallisch); no Brahms symphonies, no Le Sacre du Printemps or Bolero to add yet another version to a balanced collection. There are two Shostakovich symphonies, the First (Solti) and the Fifth (Kurt Sanderling); an Elgar Second (Previn); an overwhelming Mahler Fifth (Tennstedt); Sibelius Fourth (Berglund); Bluebeard’s Castle (Ivan Fischer) and scores conducted by Chailly, Dutoit, Skrowaczewski, Jansons, Flor, de Leeuw, Fournet, de Waart, Boulez, Harnoncourt, Gardiner, Rozhdestvensky, Berio, Haitink and others. Composers include Frank Martin, Dutilleux, Lutosławski, Ravel, Zemlinsky, Bartok and the list goes on. Check Archivmusic.com for the complete contents … but buy it in Canada where it’s cheaper. Not only are the performances exemplary but the recorded sound is of audiophile quality throughout, aided by the special acoustics of the Concertgebouw. The Dutch engineers have the art of recording this orchestra down pat. An impeccable, if somewhat esoteric (but not for long), collection.

Although it has been 22 years since his death in 1989, Herbert von Karajan’s entire recorded repertoire, beginning in 1939 with Tchaikovsky’s “Pathétique” symphony, is still available. He recorded the nine Beethoven symphonies four times; for EMI in the early 1950s and then a new cycle every decade with his Berlin Philharmonic for DG. When that final nine was issued, the critics had a field day comparing and twittering about the felicities of movement versus movement of the three DG cycles. His interpretations did evolve through the years culminating in the 1982-4 performances which is the cycle chosen for Beethoven: Karajan, a 13-CD set of all Karajan’s Beethoven repertoire with the Berlin Philharmonic (DG 4779830). Also included are all the overtures, all the concertos – piano (the first with Eschenbach, and Weissenberg for the rest), violin (Mutter) and the triple (Zeltser, Mutter and Ma); Wellington’s Victory; the Missa Solemnis; the Grosse Fuge, and a couple of short pieces without opus numbers. Only Fidelio is missing. This is an exceptional collection offering superb performances in state-of-the-art re-mastering at an absurdly low price that would have been unimaginable just a few years ago when, if bought separately, these discs would have left the buyer with little change from $300.

I must add that my very favourite recording, by anyone, of Beethoven’s Symphony No.9 is the Karajan/Vienna Philharmonic performance recorded in the Musikverein under very difficult, near impossible conditions in 1947. The resourceful, now legendary producer, Walter Legge, was the driving force who actually did make it happen. The astute Legge engaged Elizabeth Schwarzkopf, Elizabeth Hongen, Julius Patzak and Hans Hotter. It was by this recording that the world first heeded the young (not of the old school) Herbert von Karajan. This outstanding performance is a celebration, a triumphant and positive statement of what Beethoven is all about. (EMI CD 0724347687822).

EMI has been assembling their recordings of particular musicians, instrumentalists, ensembles and conductors and issuing performer-dedicated packages at super-budget prices. Sir John Barbirolli – The Great EMI Recordings (EMI 5099945776724) is a ten-CD set containing 36 of his best performances, conducting seven different orchestras, dating from 1957 to 1969. Collectors will be especially thrilled with these selections as Barbirolli was a superlative musician and one of the great conductors of the century. Many of these are not only his best but, arguably, the best available versions of many repertoire staples. The 1957 recordings are all with the Halle Orchestra: the Elgar Cello Concerto with Andre Navarra; Ravel’s Ma Mère l’Oye Suite; Tchaikovsky’s Symphony No.4; Vaughan Williams “London” symphony; Bax’s Garden of Fand; and Butterworth’s A Shropshire Lad. Some of the later recordings included here are La Mer, La Valse, Tchaikovsky’s Serenade for Strings, Mahler’s Symphony No.5 and Elgar’s Symphony No.1 and Enigma Variations. Janet Baker is the soloist in Les Nuits d’été by Berlioz, Mahler’s Rückert-Lieder and Elgar’s Sea Pictures. Brahms, Sibelius and Puccini are also represented. The sound is remarkably fresh.

Sir Charles Mackerras (1925-2010) was an Australian musician who left for England in 1947 to become a conductor after a jaunt as principal oboist in the Sydney Symphony Orchestra. He played oboe and cor anglais in the Sadler’s Wells orchestra and later, on a scholarship from the British Council, he studied conducting with Václav Talich in Prague. He was enamored with, and became an authority on, Czech repertoire, in addition to being a respected interpreter of music from every period. EMI’s box Charles Mackerras – Master of Orchestral Texture (5099909818927) has a delightful collection of Mackerras specialties including Mozart’s Symphony No.40 in G Minor, Dvorak’s Seventh, Janáček’s Sinfonietta, Mahler’s Fifth, Delius’ Paris – The Song of a Great City, Elgar’s Enigma Variations and some shorter showpieces including two Mackerras arrangements of Sir Arthur Sullivan: the Cello Concerto and the ballet Pineapple Poll. By the way, there is also a budget set of acclaimed performances of the nine Beethoven symphonies with Mackerras conducting the Royal Liverpool Philharmonic from EMI (CFP 7243575751 5 CDs).

John Blow - Venus and Adonis

Amanda Forsythe; Tyler Duncan; Mireille Lebel; Boston Early Music Festival; Paul O'Dette; Stephen Stubbs

CPO 777 614-2

The Boston Early Music Festival and the German Cpo label have successfully collaborated on five recording projects of early opera so far, including Conradi’s Ariadne, Charpentier’s Acteon, two by Lully - Thésée and Psyché - and this, John Blow’s little-performed masterpiece from the early 1680s, Venus and Adonis. It’s a powerful and economical piece, full of drama, humour, action and, ultimately, deep poignancy.

The performance, co-directed by the legendary lutenists Paul O’Dette and Stephen Stubbs, is as close to perfect as one could hope for. Tempos are well-chosen and the small baroque band and chorus are lively and colourful and really dive into the score with emotional intensity. BEMF has a strong Canadian connection and the two Canadian soloists – mezzo Mireille Lebel (Cupid) and baritone Tyler Duncan (Adonis) – both acquit themselves with a combination of beautiful sound and superb attention to text. The third soloist, American soprano Amanda Forsythe, is less appealing, not for lack of drama, but because her sound tends toward the relentlessly steely, not well-suited to the character of Venus. She more than redeems herself, however, in a stunning performance of Blow’s Welcome, ev’ry guest, one of three additional pieces at the end of the recording.

The accompanying booklet is packed full of interesting essays, biographies of everyone involved (even bassoonist Dominic Teresi, of Tafelmusik), full texts and translations. The photos of the original BEMF production of Venus and Adonis give some idea of what a special project this was. How lucky for us that it was recorded so exquisitely for posterity.

Concert Notes: Mireille Lebel can be heard with Tafelmusik in Koerner Hall performances of Handel’s Hercules January 19 to 22. Tyler Duncan performs in Mozart’s Requiem with the Toronto Symphony Orchestra January 18 to 22 and will give the premiere of Jeffrey Ryan’s The Whitening of the Ox with New Music Concerts at the Enwave Theatre on January 29.

Handel - Streams of Pleasure

Karina Gauvin; Marie-Nicole Lemieux; Il Complesso Barocco; Alan Curtis

Naïve V 5261

With the exception of Hercules, Alexander Balus and Theodora, the Handel oratorios on this disc clearly mark him as an Old Testament composer (in contrast with his contemporary, New Testament composer J.S. Bach). Handel composed oratorios almost exclusively in his later years and his choice of Old Testament historias such as Belshazzar, Susanna, Judas Maccabeus, Joseph and his Brethren, Joshua and Solomon offer every bit of dramatic variety as the operas he composed in his earlier career, albeit without the staging.

Just as in his operas, the oratorios offer many an opportunity to showcase both sopranos and contraltos through the use of stirring arias and duets. “Streams of Pleasure” indeed, with arias such as Crystal streams in murmurs flowing (Susanna) sung gorgeously by Karina Gauvin in all its sensuous beauty, contrasting brilliantly with the fiery Marie-Nicole Lemieux’s Fury with red sparkling eyes from Alexander Balus. Both sing with the warmest tenderness in the recording’s title love duet from Theodora and add a most regal tone in the more contrapuntal Welcome as the dawn (Solomon).

In the solo arias, both singers exploit the da capo form to the fullest with supremely virtuosic trills and ornamentations on the second round. Complesso Barocco’s superb ability to shine whilst still allowing the fullest expression of the singer is demonstrated best in the sighing pathos of violin and descending continuo parts that highlight the grief and resignation in My father (Hercules). An exquisite addition to one’s collection of Handel’s vocal music.

Concert Note: Karina Gauvin is featured in Toronto Symphony Orchestra performances of Britten’s Les Illuminations February 22 to 23 at Roy Thomson Hall.

Bach

Daniel Taylor; Tafelmusik Baroque Orchestra; Jeanne Lamon

Analekta AN 2 9878

Daniel Taylor joins Tafelmusik for two selections on their 78th recording, performing two of Bach’s four cantatas for solo alto voice. Both on texts by Darmstadt court poet, Georg Christian Lehms, BWV54, Widerstehe doch der Sünde, is from Bach’s Weimar period while the other, BWV170, Vergnügte Ruh, beliebte Seelenlust, was composed and performed in 1726 at the Thomaskirche in Leipzig. While in the exhortation to “resist sin” in Cantata 54 Bach provides a dramatic struggle complete with harmonic discord and a chromatic fugue, Cantata 170 focuses on the peace of a promised “delightful rest” in heaven. Rather than voice strictly accompanied by continuo, there is much interest in the interplay between voice, strings and particularly organ. Taylor maintains a reverential character throughout, even in the dramatic moments, focusing instead on the calm and steadfast reassurance of faith with superb tonal control that never sacrifices its sublime beauty.

The Tafelmusik orchestra is in fine form along with director Jeanne Lamon, violin and John Abberger, oboe, who are featured respectively in the Suite in A minor for violin and strings, BWV1067 and the Concerto for oboe and violin in C minor, BWV1060. The middle adagio cantabile movement in the latter allows the two soloists to engage in an exquisite musical exchange. All perform with deftness, poise and grace worthy of Bach’s enduring artistry.