04 Ivan LindsMy Heart Speaks
Ivan Lins
Resonance Records (resonancerecords.org/product/ivan-lins-my-heart-speaks-cd)

All of the compositions here were written by the esteemed Ivan Lins (who has penned more than 600 tunes in his illustrious 50-year career), and all arrangements are by Kuno Schmid. Lins’ dynamic core ensemble includes Josh Nelson on piano, Leo Amuedo on guitar, Carlitos Del Puerto on bass and Mauricio Zottarelli on drums and percussion, as well as the gorgeous inclusion of the Republic of Georgia’s Tbilisi Symphony Orchestra, conducted by Vakhtang Kakhidze. The recording was produced by Schmid and George Klabin and the stunning CD package itself features compelling liner notes from the eminent author and arts journalist, James Gavin.

The first selection is the sumptuous Renata Maria, which features Lins’ recognizable tenor in a lovely melodic foray, enhanced by lush symphonic string lines, a superb guitar solo by Amuedo and Lins’ palpable sense of joy. Next up is the title track, replete with a luminous Dianne Reeves sailing directly into the listener’s heart, effortlessly wielding her languid and sultry-four octave range. Congada Blues features the core ensemble, and surrounds us with a deep, percussion-enhanced tribal resonance, punctuated by a fine bass solo from Del Puerto. 

Other beauties here include the up-tempo, jazzy cooker Easy Going, the melancholy waltz, Corpos (Bodies) and Missing Miles, which features perhaps the most lush and thrilling symphonic elements on the project, as well as a superb wordless vocal from Lins and a deeply moving, muted solo from trumpeter extraordinaire, Randy Brecker. The final track, Nada Sem Voce (Nothing Without You) returns the music to the essential unit of piano and rhythm section – rendering it all the more emotional and directly communicative.

05 Poetry is BloodPoetry is Blood
Keith Garebian
Independent KGCD2301 (kgarebian@gmail.com)

Much in the same way that musical improvisation is sometimes referred to as “liquid composition,” and, conversely, composition as “frozen improvisation,” there exists a simpatico relationship to the best poetry and musical collaborations. Great poetry is indeed musical, and the best musical offerings poetic. 

Although prior to listening to the thoughtful, and thought-provoking, recording Poetry is Blood by Keith Garebian (with musical contributions from the great Ernie Tollar), my reference for successful fusions of poetry and jazz was limited to Jack Kerouac’s October in the Railroad Earth or American Haikus, where the late Beat writer’s prose is accompanied by some combination of Steve Allen, Al Cohn, and Zoot Sims. While admittedly genre non-adjacent to my aforementioned Kerouac reference, Garebian’s 2023 release, supported by a Mississauga Arts Council grant, is an equally compelling offering. Presenting 18 poems taken from some 40 contained within Garebian’s 2018 book of the same name, this recording explores both dark and introspective themes as related to the ongoing Armenian genocide. As such, engaged listeners once again bear witness to the power of art to comment upon, contextualize and humanize tragic events that, in our 24-hour news cycle, may wax and wane in our collective imagination, but are nonetheless important to be reminded of and educated about. 

Read by the author in his fine voice and accompanied by Tollar on both flute and percussion utilizing a call-and-responsive trope of effective musical communication, the recording is not an easy listen, given the sobering magnitude of the subject matter. But for those looking to expand their knowledge of this unfolding world event through deeply personal and effective poetry and creative reflection, this recording comes highly recommended. 

Trying to release more music than fits on a conventional album has been a situation artists have faced since the invention of recorded music. Although advances in technology now offer more space; exposing multiple artists’ ideas and/or exhibiting the scope of a career, call for more than one disc. That’s what these multiple disc sessions offer.

01 SupremeLoveBorn in 1942, UK saxophonist Alan Skidmore’s career has encompassed mainstream jazz with big bands and combos; studio work; R&B bands; early fusion; exploratory free music; and contemporary improvisation. Like players such as New York’s Dave Liebman and Toronto’s Pat LaBarbera, John Coltrane’s influence has been Skidmore’s touchstone. A Supreme Love (Confront Core Series Core 33 confrontrecordings.com.bandcamp.com/) shows his adaptation of the style in various settings on six CDs and 46 tracks from 1961 to 2019. If there’s one axiom that’s clear from the discs, it’s that Skidmore does his best work when challenged by other strong personalities, rather than being the focus of attention. Despite notable excursions on soprano saxophone, his most assured playing also a comes as a tenor saxophonist. While there may be a few too many tunes associated with Coltrane here, Skidmore’s are honest interpretations with flashes of originality. His ballad style on song standards can’t be faulted, but a combination of familiar material played with lugubrious sounding usually Continental big bands weighs down the performances. Two one-offs are particularly instructive. During a 1971 jam with Weather Report – keyboardist Joe Zawinul, percussionists Alphonse Mouzon and Dom Um Romao, soprano saxophonist Wayne Shorter and bassist Miroslav Vitous – his building solos help push the others towards unhyphenated pure jazz not the slicker fusion tropes dominated by keyboard tinctures the band helped to create and solidify. Seventeen years later he jammed with Elvin Jones, the drummer in Coltrane’s classic quartet on a simple blues, where he faced off against tenor saxophonist Sonny Fortune of the drummer’s working group. Propelled by Jones’ faultless beat that dovetails into an extended and propulsive solo, Skidmore demonstrates how he could have fit in Trane’s bands. Still, the most distinctive playing is in tracks featuring the all-saxophone free music SOS trio with himself, alto saxophonist Mike Osborne and baritone/soprano saxophonist John Surman; and a brief reprise with just Surman; quintet improv alongside Canadian trumpeter Kenny Wheeler in 1969 and 1980; plus fruitful individual meetings with fellow tenor saxophonist Paul Dunmall or drummer Tony Levin. Harmonized, 1974’s Country Dance by SOS shows how reed blending creates sounds both Arcadian and avant. The 1991 Skidmore-Surman three-track reunion is more coordinated, faster-paced bluesier and jazzier. The Wheeler tracks were the height of modernity in 1969 with the trumpeter more ebullient than remembered, a fiery rhythm section and the saxophonist negotiating the evolution from emotional hard bop to the ping-ponging textures of free jazz. By 1980, playing his own Just Once with a more intense rhythm team, Skidmore pushes himself further outside with bent notes and smears as Wheeler squeaks out positioned triplets, although exploratory sounds are embedded within linear evolution. Oxford Road #13 with Levin and Skidmore both initially playing percussion instruments, until Skidmore trills and snorts out the extended exposition on sax, confirms that in 1977 he was still exploring new sounds and methods. Dunmall, slightly younger than Skidmore, but whose style comes out of Coltrane as well, is emboldened by the backing of long-time associates Levin and bassist Paul Rogers on 1985’s Modal Tonic. The friendly battle includes a roistering drum detonation, features enough ferocious reed bites, wide cadenzas and soaring squeaks to satisfy any Postmodern sax fancier and climaxes with a distinctive a cappella face off with each saxist vying to outdo the other in invention. Leapfrog to 2019 and another rhythm section backs Skidmore, tenor saxophonists Ed Jones, Howard Cottle, other Trane interpreters during more than 30 minutes of intense deconstruction of two Coltrane classics. Energetic, with pianist Steve Melling’s dynamic note clipping spurring them on, dynamic motions define each player’s soloing until all reach the heights of near sonic ecstasy while maintaining the tunes’ thematic nubs. 

02 HarmosTaking place over three days in Kraków rather than multiple decades, The Small Group Formations (NotTwo MW 1027-2 Nottwo.com) is a slightly misnamed six-CD set celebrating the 50th anniversary of bassist Barry Guy’s London Jazz Composers Orchestra (LJCO).  Consisting of 17 musicians from Switzerland, Spain, Germany, Norway, France and the UK, the first four discs showcase the dazzling and intricate styles of individual LJCO members in formations ranging from duos to sextets, while the final discs are full-band performances of Guy’s compositions, Flow I and Flow II and Harmos–Kraków. Especially on the latter piece, singular reflections such as Swiss percussionist Lucas Niggli’s brace of noise makers couple with linear ruffs; German Konrad Bauer’s and Brit Alan Tomlinson’s bouncing flutters and portamento blasts; Spanish pianist Agustí Fernández’s sly comping; and UK tenor saxophonist Simon Picard’s linear routes contrasted with Swiss alto saxophonist Jürg Wickihalder’s more delicate options are expressed in solo breaks that are brief but more orchestrally integrated than in the smaller formation. Harmos–Kraków is arranged with a symphonic flair, linking the leitmotifs of the initial theme statement which appear through to compositional evolution and a restatement at the climax. Plus the additional players mean that the program includes as many passages of polyphonic connective swing as miasmatic fragmentation and exuberance. Interludes include heraldic fanfares from the six-member brass section and screaming and sway group section work from the five-person reed section. There’s slightly less intensity on the two Flow variations. But that’s before the entire group is involved in dynamic interpretations including a reed overlay of honks and smears, shuddering brass triplets and slick piano glissandi, the piece begins as a face-off between Guy’s moderated, but rugged double bass thumps and slaps and stunning string bending from violinist Phil Wachsmann involving whiny spiccato runs, pizzicato plucks and picking and a brief hoedown pivot. Overall, the set provides a complete LJCO sound picture in micro and macro forms.

03 LiveAtSimilar instrumental virtuosity, but expressed in a minimalist fashion, is what distinguishes next generation improvisers from those of the LJCO as the three-CD set Live at Plus-Etage Volume 1 (New Wave of Jazz nwoj 0060 newwaveofjazz.bandcamp.com/album/live-at-plusetage-volume-1) demonstrates. The duos of trumpeter/flugelhornist Charlotte Keeffe and drummer Andrew Lisle from the UK; double bassists Martina Verhoeven from Belgum and Portuguese Gonçalo Almeida; and the trio of Belgian guitarist Dirk Serries, UK violist Benedict Taylor and German saxophonist Stefan Keune show that collaborating improvisers are as international as always and with one CD for each configuration, all have space to display what they can do. Except for an unaccompanied interlude of cymbal vibrations and drum rumbles during the second and concluding set Lisle mostly limits himself to claves-like resonations, bass drum plops and rim shots accents. That way the figurative spotlight shines on Keeffe’s brass prestidigitation. Emphasizing non-valve movement breaths, broken-chord smears, aviary-like peeps, throaty squalls and tremolo brassiness her spikey asides don’t preclude portamento affiliation however. As much as her tongue jujutsu, swerves and swallows exposing usually unexplored inner portions of her horn’s lead pipe for unexpected tone variations each time sections are repeated, passages of near-lyrical melodies and feathery brassiness are also heard. Vaguely related to the William Tell Overture, a riff that gallops through her improvised variations during the first set is sounded again before the concert is completed adding a connective leitmotif. Contrasting arco and pizzicato techniques characterize the Verhoeven/Almeida single track as they constantly switch roles with buzzing spiccato tones from whistling screams to woody rubs met with repeated strums and lowing stops that sometimes approximate a washtub bass’ single-string thud. More sophisticated than that primitivism, the sequences include interludes of ratcheting slices, string pops, vibration of implements placed among the strings, and heightened pressure that suggests the bow is cutting through the instrument’s wood finish. During the penultimate section bell shakes and ratcheting whirs add novel patterns as stropped strings expose the highest pitches and col legno pops the lowest. Eventually billowing arco strokes are heard from both, which gradually fade from staccato to connective. Interestingly enough, the two improvisations from three players seem most separated. The transformative program includes multiple instances of almost complete silence, while, except near the conclusion where Serries unleashes a string of mandolin-like twangs, the guitarist restricts himself to connective comping. Emphasis is on how Keune’s often singular irregularly vibrated split tones and narrowed peeps meet Taylor’s equally jagged bow slices, stops and sul tasto pressure. Although the two confront one another head on at intervals, fury among the calm is commonly given over to sequential timbral elaboration. Emphasizing melodic and rhythmic ambiguity, alternating expressions include the saxophonist’s dexterous bubbling trills, tongue stops and vibrated tone scoops, while the violist’s strained glissandi and squeaky rests are as distinctive as they are numerous. Preceding and expanding on the guitarist’s one showcase, linear advancement is emphasized in a climatic motif as pointed string scrubs, reed whorls and finger-style guitar chords are patched together. 

Sometimes exemplary creativity must be expressed in larger than usual forms and these multiple sets prove that truism.

01 Eugene OneginTchaikovsky – Eugene Onegin (Glyndebourne)
Soloists; London Philharmonic Orchestra; Andrew Davis
Opus Arte OA1374D (naxos.com/Search/KeywordSearchResults/?q=OA1374D)

Glyndebourne, England’s private opera house is close to 90 years old, supported entirely by private donations. It was established in 1934 by John Christie on the principle “Not just the best we can do, but the best that can be done anywhere!” and ever since it has been a great honour for any artist to be invited as a guest of the Christie family. In 1994, they built a state-of-the-art opera theatre, and this archive production is from the very first season in 1994.

Tchaikovsky’s masterpiece, this most beautiful of Russian operas, is based on Pushkin’s epic poem which is a morality tale. Tatjana’s innocent love is rejected by a bored, high-handed Onegin but later he regrets it bitterly. Now desperately in love himself he is rejected by Tatjana who in the meantime has become rich and married into high society. During the opera Onegin because of a foolish, jealous quarrel even kills his best friend in a duel that he regrets all his life. Tatjana’s rejection is the ultimate tragedy for him. Sad story.

The director, the late Sir Graham Vick rightly concentrates on two key scenes, the two rejections and emphasizes the alienation between Onegin and Tatjana. The stage is empty except for two chairs diagonally opposite at either end, as if they don’t even want to listen to each other and hear the pronounced rejection.

Woytech Drabowitz, a mellifluous baritone is an elegant Onegin; his friend Lensky is Martin Thompson, a passionate tenor, whose famous aria before the duel is movingly sung. The crucial Letter Scene is sung passionately by Elena Prokina (Tatjana) and basso profundo Frode Olson as Prince Gremlin, who sings proudly to Onegin about how much he loves Tatjana in another highlight. All these are interspersed with the dances Tchaikovsky is so famous for, the lovely Waltz and the Mazurka in the second act and the gorgeous Polonaise in the finale. 

The London Philharmonic in the orchestra pit is conducted sensitively by Toronto’s beloved Sir Andrew Davis.

02 Ofra HarnoyElgar & Lalo Cello Concertos
Ofra Harnoy
Sony Classical 19658824342 (ofraharnoy.ca)

There’s a fascinating story behind the release of Ofra Harnoy Elgar & Lalo Cello Concertos. When Harnoy joined the international artists roster of RCA Victor Red Seal in 1987, she became the first Canadian classical instrumental soloist since Glenn Gould to gain an exclusive worldwide contract with a major record label. The Elgar was recorded with George Pehlivanian and the London Philharmonic Orchestra in April 1996 at the Abbey Road studios, but was never edited and released, apparently due to the ending of Harnoy’s association with RCA/BMG, now part of Sony Classical. 

After repeated enquiries and searches over the years the master tapes were finally located in 2022. Fortunately, notes from the sessions survived, and the original producer, Andrew Keener, was available to advise Harnoy’s husband and manager Mike Herriott, who edited the tapes in their own home studio. Ron Searles of Red Maple Sound in Toronto mastered the final edit, as well as remastering the Lalo Concerto in D Minor, a reissue of the 1995 recording with Antonio de Almeida and the Bournemouth Symphony Orchestra.

In an interview just after the recording sessions Harnoy said that the Elgar “is one of those pieces that just wrings me dry; I always end up crying.” It’s a truly beautiful performance, emotionally searching and full of warmth. There is also a direct link to Jacqueline du Pré, with whom the concerto is inextricably associated, through mutual teacher William Pleeth as well as Harnoy’s participation in a du Pré masterclass. 

Lalo’s Concerto in D Minor was recorded at the Poole Arts Centre in Dorset in May of the previous year. It’s a fine addition to a significant release.

01 Enigmatic VariationsEnigmatic Variations consists of Canadian works performed by Calgary-based violist Margaret Carey and pianist Roger Admiral (Centrediscs CMCCD 32723 cmccanada.org/product-category/recordings/Centrediscs), opening with a piece by Malcolm Forsyth (1936-2011), Steps for Viola and Piano (1978). Traditionally melodic and idiomatically well-suited to the viola, the five movements are self-explanatory: Buoyant, Strange Light, Violent, Colours and Jocular, all played adeptly by Carey and Admiral. Milton Barnes (1931-2001) is featured on three tracks, Ballade for Solo Viola (1978) and Lament and Hymn Tune Pavane for Viola and Piano (1976). Barnes was a traditionalist by nature who was schooled in the 12-tone tradition but chose to avoid avant-garde idioms in favour of tonally based expression. The pieces included here, especially Ballade, are playfully rhythmic and melodic, at times reminiscent of childhood chants and songs. 

The title of the disc is taken from a 2021 work commissioned from Sean Clarke (b.1983). Clarke and Carey both studied at Mount Royal University Conservatory and the variations are inspired by the “virtuosity, playing and teaching style” of several of their teachers and colleagues, as well as a landscape drawing by Carey featuring Canadian flora and fauna imbedded in a Peruvian Inca Cross. Apart from occasional sharp outbursts, the variations remain as dark and enigmatic as the opening theme. 

The most substantial work on this disc is the Viola Concerto Op.75 by one of the most prolific composers from Quebec, Jacques Hétu (1938-2010). Hétu composed 16 concerted works for most of the instruments usually found in an orchestra and several that are not, such as ondes Martinon, amplified guitars and marimba, plus a Rondo for cello and string orchestra and a Symphonie concertante for flute, oboe, clarinet, French horn, bassoon and strings. Not to mention four full symphonies. I don’t believe any Canadian composer has come close to this orchestral output. The Viola Concerto (performed here in a piano reduction) is in four contrasting movements. Although Admiral does a fine job with the piano accompaniment, the lush colours of Hétu’s original orchestration are a bit lost in the translation. Carey’s solo viola is however, here as throughout the disc, full and present with all the nuance we would expect. 

In response to Carey’s request for a solo viola work, Stewart Grant (b.1948) transcribed his Two PoemsBreath of Life and The Rear View Mirror – originally composed for cello (2004). The disc concludes with a second 2021 commission, A Three Dog Night by the youngest composer represented here, Benjamin Sajo (b.1988). It’s another contemplative work, with the piano and dark-hued viola line perfectly balanced. 

02 Kevin LauAnother Canadian disc that has been in frequent rotation here this past month is Kevin Lau: Under a Veil of Stars featuring the St. John | Mercer | Park Trio (Leaf Music LM273 leaf-music.ca). Born in 1988, Lau is on track to give Jacques Hétu a run for the money in orchestral output. An almost ubiquitous figure on the GTHA music scene, Lau has served as composer-in-residence or affiliate composer with the Toronto, Mississauga and Niagara Symphony Orchestras, the Banff Centre and currently, the Manitoba Chamber Orchestra. In addition, his works have been performed by the National Arts Centre, Winnipeg Symphony, Vancouver Symphony, Hamilton Philharmonic and Tampa Bay Symphony Orchestras and the National Ballet of Canada, for which he has composed two major works. This release is devoted to his chamber music, including works for piano trio and subsets thereof. 

The extended title work is in three movements that are evocatively brought to life in the music: The Stars are Never Still; Land of Poison Trees and In that Shoreless Ocean. In his intimate program note Lau describes the impetus for the work, and how it changed with the death of the dedicatee, violinist Yehonatan Berick. Berick, along with his life partner cellist Rachel Mercer and pianist Angela Park comprised the AYR Trio who commissioned the work. Lau says the three movements depict a life cycle chronicling childhood, adulthood and old age. Renowned soloist and chamber musician Scott St. John has taken on the emotionally difficult task of replacing Berick in this trio’s configuration, not only in the trio works but also in Intuitions No.2, a violin and cello duo written for Berick and Mercer, and If Life Were a Mirror for violin and piano. This latter work comprises reflections on Arvo Pärt’s Spiegel im Spiegel (Mirror in the Mirror), in which we hear numerous echoes of familiar tunes from Bach and other icons, “musical artifacts that reflect one another like a hall of mirrors.” The former was composed as part of a set of pieces designed to be played by partners living in the same bubble during the pandemic lockdowns, and the latter was completed just before the COVID-19 outbreak. 

The other trio works include two from 2007, Piano Trio No.1 and Timescape Variations, and A Simple Secret from 2019. The Dreamer for solo piano fills out the disc. Mercer and Park have worked together in various combinations over many years, including the piano quartet Ensemble Made in Canada, and their compatibility and intuitive partnership are on fine display here. St. John’s playing fits with these two like a glove, partly I’m sure due to Lau’s idiomatic and skilfully crafted music. A very satisfying release.

03 Gerald CohenGerald Cohen – Voyagers presents chamber music by this American composer performed by the Cassatt String Quartet with guest soloists Narek Arutyunian (clarinets) and trombonist Colin Williams (innova 090 innova.mu). Cohen (b.1960) is a Jewish cantor and professional baritone as well as a composer and his music often reflects his religious roots. Playing for Our Lives was written for the Cassatt for a 2012 concert devoted to music by composers interned at the Nazi concentration camp Terezin (Theresienstadt) near Prague. The quartet asked for a contemporary memorial and tribute to the musical life at that place, a transit camp on the road to Auschwitz and other death camps. The three movements draw on material related to Terezin: a Yiddish folk song Beryozkele (Little Birch Tree) which had also been set by Viktor Ullmann who perished in Auschwitz; a lullaby from Hans Krasa’s children’s opera Brundibar, composed and performed at Terezin; and Verdi’s Requiem, a piece championed at the camp by conductor Rafael Schachter, from which Cohen fashioned his Dies Irae (Day of Wrath). The music is at once angry, contemplative, full of angst, uplifting and haunting, ultimately ending in sublime quietude. 

The title work for clarinet and string quartet is a tribute to the Voyager spacecraft, launched in 1977 and headed to the outer reaches of the solar system. It was inspired by the music of the Voyager Golden Record, an audio time capsule intended to give extraterrestrial beings an impression of human culture on Planet Earth. Cohen “chose several of these [sound samples]: a Beethoven string quartet (Cavatina), an Indian raga (Bhairavi) and a Renaissance dance (Galliard), weaving them together in a composition that celebrates humanity’s quest to explore the universe, and the power of music to express the rich emotions and cultures of human life.” The final movement Beyond the Heliosphere brings back aspects of the first three using the Beethoven as its central element and ending with a direct quote from the Cavatina of Beethoven’s Op.130 quartet before fading out with a repeated high note from the bass clarinet “as if the signal of the Voyager keeps going, ever fainter, as it continues its interstellar voyage.” 

The disc ends with Preludes and Debka, written in 2001 for the unusual combination of trombone and string quartet. Three contrasting preludes lead to the concluding debka, a Middle Eastern dance popular in both Arab and Israeli communities, introduced by a trombone cadenza. This finale is “mostly lively and playful, eventually becoming rather wild before reprising the debka theme at the conclusion” bringing this intriguing and sometimes surprising disc to an end. 

04 Telegraph QuartetThe early 20th century was an exciting time in the development of European concert music, with a plethora of new approaches. With Divergent Paths – Schoenberg & Ravel (Azica ACD-71360 azica.com) the Telegraph Quartet has embarked on a project to present and juxtapose some of these diverse directions. Although born one year apart, Ravel (1875-1937) and Schoenberg (1874-1951) could in many ways not be farther apart, and the same could be said of the quartets presented here, written around the same time (1902 and 1907 respectively). The excellent and extensive liner notes claim that this is the first time the two have been recorded together, and point out that they rarely, if ever, appear on the same concert program. Following in the footsteps of Debussy’s quartet of a decade earlier, Ravel’s is the epitome of French Impressionism while Schoenberg’s expanded tonality points the way to his later development of the 12-note system adopted by the Second Viennese School; together they paint a telling portrait of the changing times. Although there is some sturm und drang in the vif et agité final movement of the Ravel, the overall impression is that of beauty and balance. Schoenberg’s String Quartet No.1 in D Minor, Op.7 starts stormily, in the relative minor key to Ravel’s F Major, making a good case for their pairing, but there the similarities stop. There is a lushness in the Schoenberg, especially in the third movement, but it is a much darker mood than the mostly playful Ravel. Heard now, more than a century after it was composed, the Schoenberg no longer sounds shockingly abrasive and there is even a Romantic sensibility in its quieter moments, making me wonder why it is still so infrequently heard in the concert hall. Fortunately, there are a number of historic recordings available of Schoenberg’s four quartets by the likes of the Juilliard, LaSalle, New Vienna, Schoenberg and Pražák string quartets. Hopefully this committed and thoroughly nuanced performance by the Telegraph Quartet will bring this first to a wider audience. I look forward to where they take us next in their exploration of Divergent Paths

05 Leopold van der PalsAlthough relegated to obscurity in recent decades, the prolific composer Leopold van der Pals is currently undergoing a renaissance, thanks in large part to the efforts of cellist Tobias van der Pals, the great-grandson of Leopold’s younger brother, conductor Nikolaj. Leopold was born in St Petersburg in 1884. His father was the Dutch consul there, while his Danish-born maternal grandfather was Julius Johannsen – composer, music theorist, professor at and later director of the St. Petersburg Conservatory. Music had a central role in the van der Pals home, where the composers Glazunov and Tchaikovsky were regular guests, and it was on Glazunov’s recommendation that the young Leopold began his tuition as a composer. At Rachmaninoff’s suggestion he went to study with Reinhold Glière in Berlin, under whose tutelage he completed a symphony that was accepted for performance by the Berlin Philharmonic, an auspicious beginning indeed. The outbreak of WWI forced him to leave Germany and the October Revolution in Russia meant he could not return there either. Van der Pals settled in Switzerland where he remained until his death in 1966.  

Tobias van der Pals has been immersed in his great uncle’s life and legacy for more than 20 years and in 2018 had the opportunity to move Leopold’s entire archive to Copenhagen. There are now over 700 compositions being prepared for publication by Edition Wilhelm Hansen with Tobias as editor. Following a CD of orchestral works and another of solo concertos, CPO has recently released Leopold van der Pals – String Quartets Vol.1 performed by the Van Der Pals Quartet, of which Tobias is a member (CPO 555 282-2 vanderpalsquartet.com). Van der Pals completed six quartets and the first three are included here, along with a brief late work, In Memoriam Marie Steiner. Born a decade after Ravel and Schoenberg, he too wrote his first quartet around the age of 30, beginning it shortly after his move to Switzerland. That decade seems to have made a difference in the confluence of styles, and in van der Pals’ writing we see something of a blending of the cultural differences of the elder masters. 

Although van der Pals returned to the medium at several points in his life, the first three quartets were completed within a span of a dozen years. Strangely he didn’t publish the second and only heard a fragment of it performed in his lifetime. It was given its world premiere by this ensemble in 2018. The lyrical third quartet dates from 1929 and was very well received by public and critics alike as, it seems, was all his music. This makes its disappearance during the latter part of the century even harder to fathom. Kudos to Tobias van der Pals and his colleagues and to the folks at CPO for bringing these forgotten gems to light. I am eager to hear more.

06 Amalie StalheimI had hoped to include one more disc, but I see I have run out of space so I will just give it honourable mention here. Stravinsky | Poulenc | Debussy (LAWO Classics LWC1260 lawo.no) features excellent performances by Norwegian cellist Amalie Stalheim and pianist Christian Ihle Hadland of Stravinsky’s Suite Italienne, an arrangement of Baroque-inspired dances extracted from his ballet Pulcinella, and cello sonatas by Poulenc and Debussy, the latter being one of the Impressionist master’s final works. A collection to treasure, with immaculate sound, balance and ensemble playing. 

We invite submissions. CDs, DVDs and comments should be sent to: DISCoveries, The WholeNote c/o Music Alive, The Centre for Social Innovation, 720 Bathurst St. Toronto ON M5S 2R4 or to discoveries@thewholenote.com.

01 Hilary Hahn YsayeWith the July release of her new CD Eugène Ysaÿe Six Sonatas for Violin Solo Op.27 violinist Hilary Hahn celebrates the centenary of these remarkable and challenging works, each dedicated to a younger contemporary of the aging Belgian composer (Deutsche Grammophon 00028948641765 store.deutschegrammophon.com/p51-i0028948641765/hilary-hahn/eugene-ysa-e-six-sonatas-for-violin-solo-op-27/index.html).

The impetus for their composition was Ysaÿe’s experiencing a performance of Bach’s Sonatas and Partitas by the young Joseph Szigeti in 1923. Like the Bach cycle, the Ysaÿe set starts with a G-Minor work and ends with one in E Major. Szigeti is the dedicatee of the first; Jacques Thibaud, George Enescu, Fritz Kreisler, Mathieu Crickboom and Manuel Quiroga are the other five.

Hahn spent seven years studying at the Curtis Institute with Jascha Brodsky, the last living student of Ysaÿe, so has a direct link with these sonatas. As always, her playing is remarkably strong and quite brilliant, anchored by flawless technique and a profound musicality.  

02 IridescenceThe reasoning behind the digital-only release from Leaf Music featuring Orchestre Symphonique Laval principal violist Fédéric Lambert and Orchestre Symphonique de Montréal principal double bassist Ali Kian Yazdanfar is that Iridescence – the variability in an object’s colour when you change the viewing angle – here refers to our viewing the two instruments from a different perspective (LM268 leaf-music.ca).

The duet works are Evan Chambers’ 1997 The Fisherstreet Duo, Efraín Oscher’s 2008 Escenas del Sur and the 2000 three-movement Duo for Viola and Double Bass by the Welsh composer Gareth Wood.

Each player has a solo piece, completely different in style and effect. Lambert’s is the quiet, contemplative in manus tuas, a 2009 work by Caroline Shaw based on a Thomas Tallis motet and originally written for solo cello, but Yazdanfar steals the show with the dazzling Thème Varié pour Contrebasse solo, a 1976 composition by Jean Françaix with variations built on trills, sixteenth notes, double stops, pizzicato and harmonics.

Listen to 'Iridescence' Now in the Listening Room

03 James Ehnes MythesI’m not sure exactly what the reasoning was behind the selection of works on Mythes, the latest CD from violinist James Ehnes and his regular pianist partner Andrew Armstrong, but there’s no doubting the quality of the recital of two major works and a series of encore pieces (ONYX4234 onyxclassics.com/release/james-ehnes-andrew-armstrong-mythes).

When Szymanowski wrote his Mythes Op.30 in 1915 he felt that he and the violinist Pavel Kochanski were developing a new mode of expression for the instrument. Certainly the three sensuous pieces are full of brilliantly coloured and nuanced violin effects, all superbly captured by Ehnes.

The original keyboard part for Handel’s Sonata in D Major HWV371 exists only as a figured bass line, with Armstrong here using a version that the duo has essentially adapted from various performing editions. A varied selection of seven encores completes the CD: Kreisler’s arrangements of a Tchaikovsky Chant sans paroles and Grainger’s Molly on the Shore; Heifetz’s arrangements of Rimsky-Korsakov’s Flight of the Bumblebee and Ponce’s Estrellita; James Newton Howard’s brief 133...At Least; Josef Suk’s Burleska; and the Sicilienne attributed to Maria Theresa von Paradis.

04 Mozart Capucon ArmstrongWhen pianist Kit Armstrong and violinist Renaud Capuçon played all 16 of the mature Mozart violin sonatas at the Mozart Week festival in Salzburg in 2016 Capuçon says that they “knew at once that we wanted to record them.” The result is the outstanding four CD box set of Mozart: Sonatas for Piano & Violin, works that mark Mozart’s development of the genre from keyboard sonatas with violin accompaniment to the fully fledged violin sonatas of the nineteenth century. The 12 Variations in G Major on “La bergère Célimène K359 and the 6 Variations in G Minor on “Hélas! j’ai perdu mon amant” K360 complete disc two (Deutsche Grammophon 486 4463 deutschegrammophon.com/en/catalogue/products/mozart-sonatas-for-piano-violin-capucon-armstrong-12981).

Armstrong’s booklet note perfectly describes their approach and the result: “However, we did not historicize in our playing: on the contrary, it was particularly rewarding to see beauties brought forth by later techniques blossom in Mozart’s music. When I hear Renaud render Mozart’s lyrical flights with all the sumptuousness and refinement that modern violin playing can have, I am convinced: it is beautiful, and that is what matters.”  

05 Ambroise Aubrun BachBach’s sonatas for violin and piano, predating Mozart’s by some 60 years, are essentially extensions of the Baroque trio sonata. Probably dating from 1720-23 during his time at Cöthen, they were reworked in later years but never published in his lifetime. Several contemporary manuscripts exist, but no autograph copy. They are presented on a 2CD set by violinist Ambroise Aubrun with Mireille Podeur on harpsichord on J.S. BACH Sei suonate a Cembalo certato e Violino solo (Six Sonatas for Obbligato Harpsichord and Violin BWV1014-1019) (Hortus 228-229 editionshortus.com).

The idiomatic performances are delicate and refined, perhaps a bit lacking in warmth. An excellent booklet essay by Podeur with some fascinating technical insight adds to a top-notch release.

06 Fullana Spanish LightOn Spanish Light the violinist Franscisco Fullana returns to his Andalusian roots in an outstanding recital with the Spanish pianist Alba Ventura (Orchid Classics ORC100250 orchidclassics.com).

Turina’s Violin Sonata No.2 Op.82, Sonata española from 1934 incorporates Andalusian and gypsy melodies in a work that also shows the influence of Turina’s studies in Paris. Sarasate’s Romanza andaluza is from the second volume of Spanish Dances Op.22, while his Zigeunerweisen Op.20, originally for violin and orchestra is heard in the piano arrangement made by the composer and recorded by him with one of the three Catalan composers featured here, Joan Manén (1883-1971) in 1904.

Written for Jacques Thibaud, the single movement Granados Violin Sonata H.127 is a real gem; of uncertain date, it wasn’t published until 1971. The two movements IV Oració al Maig and VI La font are from the Seis sonetos of 1921-22 by Eduardo Toldrà (1895-1962). The Manén piece is his terrific Caprice catalán No.3 Op.23.

The traditional Catalan Christmas song El cant dels ocells (Song of the Birds) adapted by Fullana from the Pablo Casals cello arrangement, ends a superb disc.

07 Hee Young Lim EstrellitaIf you like putting on a CD and just relaxing to a stream of beautifully played popular melodies then you should love Estrellita, the new album of “a selection of encores:  small but sparkling gems of the repertoire” from Korean cellist Hee-Young Lim and Chinese pianist Chuhui Liang (Orchid Classics ORC100227 orchidclassics.com).

Sandwiched between Saint-Saëns’ The Swan and Schubert’s Ave Maria are two pieces by Ravel, including the Pavane pour une infante défunte, two by Tchaikovsky, including the Souvenir d’un lieu cher, Godard’s Berceuse from Jocelyn, Amy Beach’s Romance, Rubinstein’s Melodie, the Ponce title track and pieces by Liszt, Debussy, Brahms and Ysaÿe. The Liszt, Brahms and Beach arrangements are by the cellist. BBC Music Magazine noted the warmth and expressiveness of her tone, “which is of truly rare beauty.” Indeed it is, across the full range of the instrument.

08 Butterfly LoversButterfly Lovers, the popular violin concerto at the heart of the new CD from Joshua Bell with the Singapore Chinese Orchestra under Tsung Yeh (Sony Classical 19658810972 joshuabell.com) was written in 1959 by Chen Gang and He Zhanhao, two students at the Shanghai Conservatory. Despite its use of Chinese folk melodies and pentatonic scales it was scored for a standard late-Romantic symphony orchestra, presumably to widen its appeal beyond China’s borders.

Here, though, it’s performed in a rarely heard arrangement by Yan Huichang and Ku Lap-Man for an orchestra of traditional Chinese instruments, the only Western exceptions being cellos, double basses, harp and some of the percussion section. Described as being more of a rediscovery than a mere reorchestration, it’s a remarkable listening and musical experience, making you wish – unrealistically, it must be said – that this could be the standard performing edition.

Bell and Yeh don’t stop there, however, presenting the three other works on the disc in arrangements for the same orchestra. Massenet’s Méditation from Thaïs doesn’t sound a whole lot different, but the Saint-Saëns Introduction et rondo capriccioso in A Minor Op.28 and Sarasate’s Zigeunerweisen Op.20 certainly display a quite different and fascinating tonal palette. Bell’s beautifully subtle phrasing seems to mirror the Oriental nature of the soundscape.

09 Vito PalumboAlthough it was released in January the CD Woven Lights, featuring the Violin Concerto and the Chaconne for electric violin (five strings) and electronics by Italian composer Vito Palumbo (b.1972) only recently came to my attention (BIS-2625 bis.se).

The 2015 Violin Concerto was recorded at Abbey Road Studios in September 2016 with soloist Francesco D’Orazio and the London Symphony Orchestra under Lee Reynolds. It’s a quite fascinating work, albeit difficult to describe; in the booklet notes the description is “a work of bittersweet lyricism,” the composer himself noting the echoes of Alban Berg, especially towards the end of the piece.

D’Orazio recorded the two-part Chaconne of 2019-20 in Italy in January 2021 and it is much more difficult to assess objectively. Francesco Abbrescia realizes the sampled sounds and electronics in I. Woven Lights, where the chaconne principle of variation in the opening section gradually transforms into a dialogue with initially sparse electronics that become thicker and denser, while II. The Glows in the Dark is for electric violin and 30 pre-recorded electronic violin parts, pre-recorded by the same performer. 

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10 Prism VThe Danish String Quartet completes a journey of almost eight years with PRISM V – Beethoven Webern Bach, the final volume in a series where connections are drawn from a Bach fugue through one of the five late Beethoven quartets to a quartet by a later master – “a beam of music split through Beethoven’s prism” (ECM New Series 2565 485 8469 ecmrecords.com).

Beethoven drew many melodic motifs from Bach’s Well-Tempered Clavier for his late quartets. The opening track here is the Chorale prelude Vor deinen Thron tret ich hiermit BWV668. The Beethoven is the String Quartet No.16 in F Major Op.135, and the later master is the young Anton Webern, whose richly chromatic 1905 String Quartet, written while he was studying with Arnold Schoenberg quotes the Op.135 and also shows the influence of Schoenberg’s Verklärte Nacht.

Bach’s unfinished Contrapunctus XIV from The Art of Fugue brings a superb series to a somehow perfectly appropriate conclusion. “We have worked hard on these pieces for almost a decade,” say the quartet members, “and we have done our best.” 

Their best is simply as good as you could wish to hear.

11 Takacs DvorakTwo complementary and contemporaneous works are presented on Dvořák String Quartet Op.106, Coleridge-Taylor Fantasiestücke in beautiful performances by the Takács Quartet (Hyperion CDA6813 hyperion-records.co.uk/r.asp).

Coleridge-Taylor made three trips to the United States, and his use of indigenous American melodies shows an affinity with Dvořák, who was a major influence. His 5 Fantasiestücke Op.5 though, is a competent and pleasant early work, written when he was a student at the Royal College of Music in London.

The Dvořák String Quartet No.13 in G Major Op.106 was the first composition written after his return from America in 1895 and reflects his happiness at being home again. Completing the CD is Dvořák’s Andante appassionato B40a from 1873, the original slow movement from an early A-Minor quartet listed as Op.12 and discarded when the composer revised the work. 

As always, there’s faultless, gorgeous playing from this superb ensemble.

12 Aizuri QuartetOn Earthdrawn Skies the Aizuri Quartet explores deep connections between humans and the natural world with music that “draws from the earth as it reaches upward and outward” (Azica ACD-71359 azica.com).

Hildegard von Bingen’s chant Columba aspexit is heard in Alex Fortes’ commissioned arrangement which cleverly builds through a series of solos, duets and trios to a full-group unison.

The String Quartet No.1 by the British-Jamaican composer Eleanor Alberga is described as an exploration of the cosmos, launching us into space with jagged rhythms and melodies, contemplating the star-filled sky and energetically returning to earth. 

The Armenian composer and ethnomusicologist Komitas Vardapet is represented by Sergei Aslamazian’s arrangement of five Armenian Folk Songs, and an excellent CD ends with the Sibelius String Quartet in D Minor Op.56, Voces Intimae, written in self-imposed isolation in Aiola while he tried to overcome the alcoholism that plagued him in Helsinki and reconnect with his natural surroundings.

13 Emma RushGuitarist Emma Rush grew up in Hamilton, Ontario and had a family connection to the Canadian Impressionist painter William Blair Bruce, whose paintings she saw in the homes of her grandparents and aunts. In 2020 she commissioned seven new Canadian compositions inspired by Bruce’s paintings, and her new CD A Dream of Colour – Music inspired by the paintings of William Blair Bruce is the result (emma-rush.com).

The subject paintings are beautifully reproduced in colour in the CD booklet, accompanied by a brief note by the composers – Christine Donkin, Amy Brandon, Dale Kavanagh, Craig Visser (a striking piece for guitar and tape), christina volpini, Daniel Medizadeh and Jeffrey McFadden.

Rush is an outstanding player, and her beautifully clean, sensitive and nuanced interpretations of exquisite additions to the contemporary Canadian guitar repertoire, beautifully recorded and presented, make for a terrific disc.

14 Zsofia BorosEl último aliento (The last breath), the new CD from the Hungarian guitarist Zsófia Boros features music from Argentina and the compositions of the contemporary French composer Mathias Duplessy (ECM New Series 2769 485 8302 ecmrecords.com).

There are six pieces by Duplessy: De rêve et de pluie, Le secret d’Hiroshigé, Le labyrinthe de Vermeer, Berceuse, Valse pour Camille and Perle de Rosée.  All display Duplessy’s distinctive Romanticism, a mix of traditional tonality with contemporary forms and structure.

Four Argentinian composers are featured, with Quique Sinesi’s El abrazo and Tormenta de ilusión of particular interest: for the former, Boros stretches a rubber band over the fretboard to mute the sound, and for the latter switches from guitar to ronroco, an instrument from the Andean region with ten strings in five double-courses.

Joaquin Alem’s Salir adentro, Ginastera’s Milonga and the title track by the Buenos Aires composer and guitarist Carlos Moscardini complete a CD of quiet, atmospheric music, all played with warmth, sensitivity and admirable technique.

15 Aaron Larget CaplanWe usually encounter guitarist Aaron Larget-Caplan with his New Lullaby Project CDs, but his tenth solo album, Spanish Candy reflects his work with the Spanish classical music and flamenco dance ensemble ¡Con Fuego!, which reimagines Spanish classical compositions with flamenco techniques and flavours while also adding flamenco works to the standard repertoire (Tiger Turn 888-10 alcguitar.com).

There are three pieces by Albéniz here – Zambra Granadina and Larget-Caplan’s own arrangements of Sevilla and Granada – Five Pieces by Tárrega, including Recuerdos de la Alhambra, the flamenco solo Mantilla de Feria by Esteban de Sanlúcar, and Larget-Caplan’s arrangement of Pascual Marquina’s España Cañi.

Larget-Caplan’s aim to “juxtapose the fiery passions of flamenco with the subtle colors and harmonic riches of classical music” results in an entertaining – if somewhat brief at 33 minutes – CD.

01 Art Choral 4Art Choral Vol. 4 – Classique
Ensemble ArtChoral; Matthias Maute; Ilya Poletaev
ATMA ACD2 2423 (atmaclassique.com/en)

Some choirs and their musical projects have clearly defined areas of focus. Others, such as Ensemble ArtChoral, directed by Matthias Maute, think bigger: the ArtChoral series is a unique and ambitious three-year, 11-volume project surveying the history of choral singing over six centuries, from the Renaissance to the present day. Classique, the fourth release in the series, focuses on the Classical era and contains music by Gasparini, Bierey, Haydn and Mozart, accompanied by fortepianist Ilya Poletaev. 

Much of the music on this disc was composed for liturgical use, including Johann Michael Haydn’s Agnus Dei, Bierey’s Kyrie (which is based on the first movement of Beethoven’s “Moonlight” piano sonata) and Mozart’s ubiquitous Ave Verum Corpus, as well as a set of fascinating vocal trios and quartets by Franz Joseph Haydn. This thoughtful programming provides a convincing overview of the era’s styles and sounds through smaller forms, at a time when much of the choral music being composed was large scale, such as the masses and oratorios of Haydn, Mozart and Beethoven.

Ensemble ArtChoral is in fine form throughout, and their skillful approach to this music is apparent from the first notes. Using the fortepiano as the sole source of accompaniment is a thought-provoking choice, with its unique timbre and relatively inflexible dynamic range leading to an increased attention toward expressive boundaries; the listener must reorient themselves to understand that, while they are still hearing the juxtaposition of fortes and pianos, the extremes are less pronounced than might be expected from performances with modern instruments.

It is a monumental task to summarize six centuries of anything, let alone such a vast expanse of composers and their music; Ensemble ArtChoral continues to prove that they are up to the challenge with Classique.

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02 At First LightAt First Light
Exultate Chamber Singers
Independent (exultate.net)

One of Canada’s top chamber choirs, the Exultate Chamber Singers is a Toronto-based ensemble dedicated to showcasing new Canadian choral music through commissioning and programming. While there are some who consider all music of the 20th century to be contemporary, Exultate commits itself to music that is truly contemporary, as demonstrated with their recent recording At First Light.

Consisting of eight works written by Canadian composers between 2018 and 2021 – seven of which were commissioned by Exultate – At First Light provides a glimpse into some of the wonderful music being written by both emerging and established composers in our country. There is a wide range of compositional diversity here, with texts taken from many sources including Malay lyricist Mohamad Fairuz bin Mohamad Tauhid, the Lebanese-American Kahlil Gibran, as well as Shakespeare and Yeats, set by an equally diverse range of composers.

Unlike the “modernist” music of Schoenberg and Stockhausen, this modern music is largely tonal, with a freedom of technique and expression that has been gathered and distilled from centuries of musical history and returned to its listeners in new, creative forms. Ethereal harmonic textures are the primary musical vernacular here, but each composer’s individual approach ensures that each work is unique unto itself. Whether Matthew Emery’s brief yet profound Be Still, My Heart, Mari Alice Conrad’s atmospheric At First Light, or the rhythmically delightful Speak to Us of Joy by Ecuadorian Canadian Sami Anguaya, there is a variety of styles and techniques on display which provide a distinctively wide-ranging and satisfying listening experience from beginning to end.

A robust and enthusiastic exposition of contemporary Canadian content, Exultate’s At First Light reminds us that there is much to celebrate here at home with regards to classical music. Although its death has been signaled many times over the last half-century, the presence of such gifted composers and interpreters indicates that there is indeed a future for this genre that will be defined not by survival, but rather by successes yet unimagined.

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03 Folly of DesireThe Folly of Desire
Ian Bostridge; Brad Mehldau
Pentatone PTC 5187 035 (pentatonemusic.com)

Since his emergence onto the international jazz scene in the early 1990s, Brad Mehldau’s evolution as a gifted, inspired artist has been nothing but breathtaking. In addition to his now legendary jazz piano chops, Mehldau has explored and extended himself into many music modalities, and with his new release, created in tandem with noted tenor vocalist and musical interpreter, Ian Bostridge, Mehldau straddles several genres here in a bewitching sojourn into this powerful song cycle that plumbs the limits of sexual freedom in a post-#MeToo political age. Taking inspiration from the poetry of Blake, Yeats, Shakespeare, Brecht, Goethe and Cummings, this 16-track, diverse program also includes jazz standards and a foray into German Lieder.

First up is The Sick Rose – languid and gossamer, Bostridge’s rich tenor encircles the potent poetry of William Blake, while Mehldau weaves a world of fog and delight through his pianistic/artistic skill. Leda and the Swan is a central theme of this song cycle, and is drawn from a Greek myth, while the text comes from Yeats, and depicts a brutal rape – the denying of free will and transfiguration of a false god for venal pleasure. Mehldau rides the roller coaster of emotion and crashes into Yeats’ deepest meaning. A highlight of the cycle is the boys I mean are not refined. The poetry of ee cummings takes a jaundiced look at amoral young men. While Mehldau again creates a profound mood and, through his incomparable vocal instrument, Bostridge wrings every last bit of meaning out of the disturbing text. A triumph of artistic sensibility and skill. 

Of special, luminous beauty are the duo’s take on These Foolish Things, and the rarely performed gem, In the Wee Small Hours of the Morning. The almost unbearable beauty of Mehldau’s piano is evident throughout, and he remains one of the most profound and original artists of his (or any) time.

04 Gayle YoungGayle Young – According to the Moon
Sarah Albu; Gayle Young
farpoint recordings fp088 (farpointrecordings.com)

Southern Ontario musician, composer, experimental instrument maker and author Gayle Young (b.1950) has been continually active since the 1970s, though it feels like recognition of her music has ramped up in the last decade. Last year’s release, As Trees Grow featured piano-centred compositions infused with field recordings of natural sounds. 

Her latest seven-track album According to the Moon, subtitled “Sarah Albu performs vocal works by Gayle Young, 1978-2021” showcases the human voice in its manifold guises. These range from extended voice techniques, spoken word and sprechstimme to classical singing and everything in between. In some works Young appears to invite Montreal-based Albu to shape her virtuoso performances on the formants and rhythms of spoken language.

In the evocative Ancient Ocean Floor (2021) the voice is supported by a field recording of a waterfall filtered through resonant tubes. The texture is further enriched by Young’s nuanced performance on the amaranth, a bowed koto-like instrument with flexible tuning of her own design.

Albu’s vocalism in Tea Story (2012) is selectively emphasized by electronic resonance filters and frequency shifters. And in Vio-Voi (1978) Geneviève Liboiron’s violin plays an effective counterpoint with Albu’s controlled soprano, demonstrating the significant role of instruments in this ostensibly vocal album.

Young’s serious maverick/experimental composer street cred is rooted in her teachers’ musical family tree which reaches back to Harry Partch, Charles Ives and beyond. The mature, sometimes challenging, works spanning four decades presented on According to the Moon amply underscore the aesthetic consistency and longevity of Young’s artistic vision and achievement.

05 RoomFullOfTeethRough Magic
Roomful of Teeth
New Amsterdam NWAM172 (roomfulofteeth.org)

One of the fiercest contemporary proponents of pushing the boundaries of the human voice, this group is beyond sole creativity; the level of skill and musicianship of the Grammy-winning vocal supergroup Roomful of Teeth demonstrates a cohesiveness only possible within a collective of beings who know each other very, very well. Rough Magic features premiere recordings of four works co-created with the group and simply explodes out of the gate.

From the very opening of William Britelle’s Psychedelics 1. Deep Blue (You Beat Me) the traditional harmonies are bursting with tones, lyrics and extended techniques that draw you into a world of vocal sound and texture that unless you are familiar with this premier contemporary vocal group you will likely have never heard before. In three movements, the piece explores what the composer notes as “an attempt…to reckon with a psychological breakdown that I experienced as a young adult, and to parallel that with the seemingly apocalyptic strains of our current collective state…” The movements Deep Blue (You Beat Me), I am the Watchtower and My Apothecary Light include cultural references thrown about which beautifully illustrate the chaos of memory and time.

For the opening of Eve Beglarian’s None More Than You, the composer asked the ensemble “to try to utter the most famous text about words in Western culture, the opening of the Gospel of John, using only consonants,” a fascinating opening that evolves to colours of crystalline traditional harmonies unbound and include pressure breathing that was felt throughout. Caroline Shaw’s five-movement work The Isle references Shakespeare’s stage direction in The Tempest, and makes beautiful use of Shaw’s trademark murmurs, audible breaths and shifting timbres imbuing recitations of text. Peter S. Shin’s Bits Torn From Words is simply stunning, a brilliant and vivid painting of the mental health condition of generalized anxiety disorder, painfully manifested with tentative, wavering, quivering and passionate lyrics. The composer includes the use of Korean tradition of p’ansori, a vocal technique which needs expert care to avoid vocal damage. The movement Reach Across Oceans was my favourite track of the album. 

The imaginative, playful photos and thoughtful artwork are an artful introduction to the group, and if you have a chance to look up the short video demos to several of the pieces (available on the group’s website via Vimeo) you will be rewarded with the most enjoyable micro-sized films that really blossom with the textures and lyrics. With this album Roomful of Teeth has broken even their own boundaries; this is truly a contemporary vocal ensemble whose ferocious attitude defies its delicate balance with dedication to excellence. Hold on to your hats and enjoy exploring this fantastic recording.

01 Voix HumainesAnguille sous roche (Marais; Couperin; Rameau)
Les Voix Humaines
ATMA ACD2 2858 (atmaclassique.com/en)

Monreal-based viol de gambists Susie Napper and Margaret Little formed a partnership in 1985 naming themselves Les Voix Humaines and since that time, they have earned a formidable reputation for their performances of early music chiefly by English and French composers. Over the years, the duo has been augmented by gambists Mélisande Corriveau and Felix Deak, with violinist Jessy Dubé joining the ensemble in 2021. This newest recording on the ATMA label – humorously titled Anguille sous roche – or Something Fishy – marks a departure in personnel in that Corriveau replaces Little here in duets with Napper in a program of music by Marin Marais, François Couperin and Jean-Philippe Rameau. 

The music is drawn from several sources – Couperin’s collection Les Goûts Réunis from 1724, Rameau’s only collection of chamber music published in 1741, and from various collections of Piėces de Viole by Marais. Most of the pieces are barely four minutes in length and while many of them are dance movements, others are more fanciful in nature such as Rameau’s La Coulicam (referring to the Persian conqueror Thamas Kuli Khan) and the finale, L’Anguille (the Eel).

Throughout, Napper and Corriveau produce a wonderfully resonant sound, the phrasing keenly articulated. The German poet Goethe once described chamber musicians as “having a conversation” and this is certainly the case with the intimate and intuitive approach taken by the two performers. There is nothing at all “fishy” about this recording – attractive repertoire and solid musicianship make it a welcome addition to the Baroque chamber catalogue.

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02 Sonata TramontanaSonata Tramontana
Carrie Krause; John Lenti
Black Bear Records BMM01 (baroquemusicmontana.bandcamp.com)

Sonata Tramontana, full of life and nuance, is such a refreshing take on the centuries-old repertoire it comprises. Conceived by Montana violinist Carrie Krause, it centres around intimate gestures, deep connection with nature and appreciation of life in all forms. It is the kind of music that is meant to be played in small spaces, flowery meadows or on riverbanks. Everything on this album works in synergy – from cover art and beautifully written liner notes, to the heartfelt performances.

The album features 17th-century music for violin and theorbo by Italian, Austrian and German composers Mealli, Schmelzer, Caccini, Biber, Böddecker and Castaldi, an elusive repertoire that remains relatively unknown to the wider audiences and brings vigour and bloom to what might be considered somewhat predictable in the realm of historical performances. Krause and her partner in crime, theorbo virtuoso John Lenti, are just fabulous, their performance is nothing short of beautiful. Krause has a way of bringing the most interesting, almost visceral textures out of her Baroque violin. Her ornamentations are lovely and complemented well by Lenti’s strong presence. 

Although passionate and meaningful, this music is unpretentious. Krause and Lenti tell stories, visit mountain peaks and valleys, drink from the lakes and creeks, dance in town squares, all the while balancing virtuosity and tranquility. The music glows and grows throughout the album, reaching for hidden nooks and corners, filling our ears with delight.

03 Mozart and the OrganMozart and the Organ
Anders Eidsten Dahl; Arvid Engegård; Atle Sponberg; Embrik Snerte
LAWO Classics (lawo.no)

When one thinks of Mozart, the mind can go many places, from opera to overture, sonata to symphony. One area of music with which Mozart is not often associated, however, is organ music. By all accounts, Mozart was a fine player who enjoyed the sounds of the instrument – going so far as to title it “The King of Instruments” – but the organ was not a vehicle for concertizing in Mozart’s time, instead used almost exclusively in church services.

What Mozart did write for organ falls into two categories: the first is the collection of 17 “Epistle” sonatas, chamber music written between 1772 and 1780 for masses in Salzburg, played between the reading of texts; the second is music that Mozart wrote for the “Flotenuhr” – a large grandfather clock containing a self-playing organ. There are two large-scale works from this latter category that are played quite frequently today, the Adagio and Allegro in F Minor K594 and the magnificently monumental Fantasia in F Minor K608.

Organist Anders Eidsten Dahl gives a tremendous overview of this music in Mozart and the Organ, which includes 14 of the 17 church sonatas and both K594 and K608. Recorded in the Swedish Church in Oslo, Norway featuring violinists Arvid Engegård and Atle Sponberg and bassoonist Embrik Snerte, each of the sonatas is a little gem containing its own delightful character and range of expression, compressed into a miniature form. The larger organ works are wonderfully paced and expertly interpreted, and Dahl makes Mozart’s challenging writing sound effortless and clear, especially in perilous passages where rapid and constant movement make great demands of the performer.

Mozart and the Organ is highly recommended to all who appreciate Mozart and organ music, whether together or separately. These works are masterpieces and well worth hearing, whether for the first time or the hundredth.

04 Mozart Orli ShahamMozart – Complete Piano Sonatas Vol.4
Orli Shaham
Canary Classics CC23 (canaryclassics.com)

Violinist Gil is not the only Shaham who is making waves wherever classical music is adored. His younger sister Orli has been showing the world that her steely, lyrical pianism is eminently suited to the performance of Wolfgang Amadeus Mozart. However, rather than put on a show with Mozart’s more celebrated piano music the younger Shaham is focusing her attention on Mozart’s lesser-performed sonatas en route to giving us a complete collection of the elegantly sparse works with their virtually endless supply of sparkling melodies, 

Volume 4 of the ongoing series features three of the earliest sonatas – the F Major, No.2 K280, the C Major No.1 K279 and the D Major, No.6 K284, Dürnitz. Should there be any question as to why these (early) works grace the fourth volume of Shaham’s Mozart Complete Piano Sonatas the answer lies in the simple fact that they are no less technically demanding, being as they are of great harmonic ingenuity and melodic richness, as the later sonatas.

The Allegro and (especially) the Rondeau en Polonaise: Andante movement of the Dürnitz are cases in point. The latter – in Shaham’s skilful hands – reflects a pre-eminently graceful Polish dance of Mozart’s vivid imagination. As with Volumes 1, 2 and 3 Shaham’s delicate phrasing brings out the cornucopia of Mozart’s melodic delights from end to end on this disc, but especially in the filigreed brilliance of the Dürnitz sonata.

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