Hans Rott – Orchestral Works Vol.1
Gurzenich Orchester Köln; Christopher Ward
Capriccio C5408 (naxosdirect.com/search/c5408) 

Hans Rott – Orchestral Works Vol.2
Gurzenich Orchester Köln; Christopher Ward
Capriccio C5414 (naxosdirect.com/search/c5414)

Languishing in total obscurity for over a century, the music of Hans Rott (1858-1884) first came to light through Gerhard Samuel’s 1989 Cincinnati Philharmonia Orchestra recording of his Symphony in E Major. Rott’s surviving works date from his time as a student at the Vienna Conservatory, where his classmates included Gustav Mahler and Hugo Wolf. Mahler in particular treasured him, proclaiming “He and I seem to me like two fruits from the same tree, brought forth by the same soil, nourished by the same air.” Curiously, fugitive thematic references to Rott’s works are echoed in Mahler’s earlier symphonies. Alas, Rott’s fate was not a happy one. The aesthetics of his day were wracked by a cultural war between the progressive advocates of Wagner’s “music of the future” and the traditionalists, devotees of the absolute music of Brahms. Rott, as revealed in this comprehensive survey, would seem to fall between these two camps, but was rejected for his Wagnerian tendencies when submitting his works to competitions. In 1880 he brought his symphony to Brahms himself for his assessment and was rudely told he had no talent whatsoever. This sent him over the edge; not long after he boarded a train on his way to take up a demeaning provincial job as an organist when he spotted a man in the carriage about to light a cigar. He threatened him with a pistol, screaming that Brahms had packed the train with dynamite! Hauled off by the authorities, he spent the last years of his life in an insane asylum, where he died of tuberculosis at the age of 25.

The first volume of these recordings includes a number of Rott’s lesser-known works. There are two overtures, a Prelude to Julius Caesar and the premiere recording of a reconstruction of his Hamlet Overture, along with movements from two unfinished orchestral suites. Stylistically Rott covers a wide ground; yes, there are more than a few stentorian Wagnerian passages, but they are filtered through the lens of his organ teacher Anton Bruckner, his sole advocate amongst the notoriously reactionary Conservatory faculty. The most substantial work is the closing Pastorale Prelude, which ends, somewhat incongruously, with an elaborate fugue. 

The second volume saves the best for last. The E Major Symphony remains an astonishing achievement, falling just short of the mark due to its rambling finale, reminiscent of (wait for it…) Brahms! It is his most celebrated work, having been recorded a dozen times to date. A three-movement Symphony for String Orchestra in A-flat Major follows, the prim and proper serenades of a 16-year-old tyro aiming to please. The volume concludes with another premiere of sorts, the Symphonic Movement in E Major, an earlier version of the opening of the Symphony. 

These two volumes, impressively played by the distinguished Gürzenich orchestra, sensitively interpreted by the young English conductor Christopher Ward, and expertly recorded by the Capriccio team, are a must-have item for all enthusiasts of this unjustly neglected composer.

Vaughan Williams – Symphonies 4 & 6
London Symphony Orchestra; Sir Antonio Pappano
LSO Live LSO0867D (lsolive.lso.co.uk) 

Vaughan Williams – Symphony No.5
BBC Symphony Orchestra; Martyn Brabbins
Hyperion CDA68325 (hyperion-records.co.uk) 

The latest release on the LSO Live label, recordings where the orchestra is the major stakeholder, features two symphonies by Ralph Vaughan Williams. 

Many diehard fans of the Fourth Symphony will point to the 1937 recording, conducted with relentless fury by the composer himself, as the gold standard, but for me, the benchmark recording of this symphony (and, indeed, all of the others) is that of Sir Adrian Boult, who worked closely with RVW for several decades. Pappano’s interpretation equals and at times surpasses these, bringing an appropriate anger and relentlessness to this groundbreaking work.

The same can be said of Pappano’s interpretation of the Sixth Symphony. Composed in four distinct movements without pause, from its opening notes to its life-changing sempre pianissimo finale, you get the feeling that you are hearing a monumental and important symphony from the 20th century. And you are!

The London Symphony Orchestra is no stranger to the works of Vaughan Williams, having recorded the entire cycle of nine symphonies on more than one occasion – the 1970s cycle by André Previn being the most celebrated. And as these are live performances, there is a resulting excitement to the playing that can’t be matched in studio recordings.

I have one small quibble with the otherwise excellent booklet notes: the alternating triads that close the epilogue of the Sixth Symphony are E Minor and E-flat Major sonorities, not E Minor and E Major as noted.

The release of the Fifth Symphony is part of a projected complete cycle of Vaughan Williams symphonies by Martyn Brabbins and the BBC Symphony Orchestra on the Hyperion label. Brabbins clearly loves this piece and under his baton the themes seem to unfold in a natural, organic way – unhurried, yet with a careful eye on the overall structure of the entire work. The orchestra’s winds sparkle in the second movement and its strings luxuriate in the beauty of the third movement Romanza. Brabbins deftly handles the architecture of the finale, making the cyclical return of the opening seem inevitable and treating the work’s closing pages more like a benediction than a mere coda.

Since the Fifth Symphony contains themes originally composed for RVW’s then-unfinished opera, The Pilgrim’s Progress, it seems appropriate to include music from that on this release. The scenes are mostly incidental music, and they don’t hold together as a concert work for me, but as a RVW enthusiast, I am very glad to get to hear music from a work that preoccupied him for over 40 years of his long life.

Hindemith – Chamber Music for Horn
Louis-Philippe Marsolais; David Jalbert; Pentaèdre
ATMA ACD2 2822 (atmaclassique.com/en) 

Paul Hindemith was a fascinating figure in 20th-century music, a prolific composer, conductor and theorist whose writings are still used to teach students in conservatories and universities around the world. A gifted violinist and violist, Hindemith was able to play almost every instrument in the orchestra, as well as the organ and piano, as he attempted to learn an instrument and its workings through practice before composing for it. Much of Hindemith’s work is written in a non-tonal style in which there is nonetheless a clearly defined central pitch; this is not atonal music by any means, but rather a modernist modality that is unique and immediately distinguishable as Hindemith’s own musical language.

Chamber Music for Horn features five unique works and a range of instrumentations, each featuring at least one horn, including the remarkable Concerto for Horn and Orchestra, admirably arranged for horn (Louis-Philippe Marsolais), wind ensemble (Pentaèdre) and piano (David Jalbert) by Simon Bourget; and the strikingly beautiful Sonata for Four Horns. This latter work is a masterful example of Hindemith’s ingenious skill, using the four horn “voices” to create different moods and characters in exceedingly successful ways.

The intricacies of Hindemith’s writing require constant precise tuning and rhythmic precision, and this disc abounds with both. Timbres are robust throughout and always impeccably tuned, allowing the resonance of each instrument to reach its full potential, while rhythms are crisp and accurate. Whether a Hindemith neophyte or a seasoned listener, this recording is highly recommended as an exploration of Hindemith’s musical style, even if it contains only a small portion of this master’s many works.

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Alain Lefèvre – Opus 7 Préludes
Alain Lefèvre
Warner Classics 9029540078 (alainlefevre.com/composer)

Charismatic Alain Lefèvre is a perfect composer and pianist in his seventh release featuring seven piano preludes, six of which were recorded in spring 2019 in his native Quebec.

Composing and then performing one’s own works must be exceedingly gratifying. Lefèvre started his career as a pianist, reaching international acclaim. The liner notes state he started composing in the late 1970s and first recorded his compositions in 1999. He accurately describes himself compositionally as a storyteller.  

No.1 Force fragile is reminiscent of Romantic-style music with a waltz opening, sparkling high notes, contrasting lower pitches, runs against melodic held notes and loud, percussive, yet surprisingly, never-banging notes building to a happy story finale. No.3 Amour fou utilizes subtle touches of contemporary harmonic shifts, shorter repeated melodic phrases, rubato, and an unexpected triple-time faster programmatic section with staccato chords and melodies with turns, all recounting the search for true (not crazy/fou) love. No.5 Aux portes du destin, composed for a Syrian friend with cancer, is a dramatic grief-laden major/minor tonality piece enveloped by melodic high single notes, and at the ending creating a tinkle of hope. No.7 Mati, for piano and bouzouki (Thanasis Polykandriotis), was composed after a tragic 2018 fire in Mati, Greece. Recorded in Athens, the bouzouki’s plucked strings and piano-hammered keys create a unique sound, especially during quasi-unison duets, melodic conversations with bouzouki high notes.

Lefèvre’s Opus 7 Préludes are colourful, multi-character “best-selling” piano stories!

The Lost Clock
Rose Bolton
Important Records/Cassauna (imprec.com/cassauna)

The undulating hypnotica of Canadian composer Rose Bolton’s latest release demonstrates mastery of colour and form as filtered through the electronic realm. In the four tracks that comprise the album, titled The Lost Clock, the listener is captivated throughout introspective drones and pulses all layered in a foundation of sonic alchemy. 

The first piece, Unsettled Souls, is a short gem infused with mysterious bells that somehow haunt and comfort simultaneously. The almost 13-minute title work has a mood of wonderful anguish much like hidden corrosion under a brilliant surface. The third piece, Starless Night, is comprised of a warm blanket of electronic molasses over which jagged and unknown sound sources create a liminal experience of otherworldliness and real-world mechanics. The Heaven Mirror, the concluding work, is as evocative as the title suggests. 

This music is serene and calm, but not without deep and profound poetic intention. The Lost Clock is a digital release also available on cassette on the Caussana imprint from Important Records.

Ri Ra
Dustin White
Mon Hills Records (dustinwhiteflute.com)

Early-career West Virginia flutist Dustin White has made a name exploring flutecentred intersections of Western contemporary art and Middle Eastern musics. His debut solo album, Ri Ra, treads that path; featuring seven solo works from the last 18 years for C, alto and bass flutes Montreal’s Katia Makdissi-Warren is however no mere coincidence. She is the founding artistic director of Oktoécho, an ensemble specializing in the fusion of Middle Eastern and Western musical idioms, right in line with the album’s theme. 

Most of the works chosen for were winners of a 2020 open call for scores which sought compositions by composers of Middle-Eastern descent, or music inspired by Middle-Eastern themes. White’s masterful command of the Western concert metal flute enables him to evoke the sounds of the reed nay and shabbaba, modes outside diatonic scales and Middle-Eastern forms such as taqasim, found in Arabic improvisation.

Makdissi-Warren’s beautifully wrought flute solo Dialogue du silence is a standout. Inspired by taqasim, she eloquently highlights silence in the score. It serves to punctuate melodic phrases, as portmanteaux of transition and as echoes of preceding phrases. Dialogue du silence is both compelling as an emotional statement, as well as a rare example of an effective marriage of extended flute techniques pioneered by 20th-century Western composers and received Arabic flute and vocal performance practices. The score is eminently worthy of joining the roster of solo flute concert standards.

Remote Together
Catherine Lee
Redshift Records TK489 (redshiftrecords.org)

During the worldwide pandemic, Canadian oboist Catherine Lee turned this experience into a creative solo album, Remote Together. The compositions are put in a specific order to recreate the transformative experience during social isolation; loneliness to overcoming seclusion, with a new perspective on life as we know it. The album features works by Canadian and American composers from the Pacific Northwest, often incorporating the vibrant sounds of nature with the pastoral timbre of the oboe, oboe d’amore and English horn.

Although each composition brought different perspectives of the oboe family’s tonal variety, the one that really stood out was the final work Silkys, co-created in 2020 by Catherine Lee and Juniana Lanning. Silkys depicts the lifecycle of the domestic silk moth with the integration of field recordings of natural sounds. You can hear the entire metamorphosis from the very beginnings of life, crawling around as a caterpillar, to being sealed in a cocoon hearing the faint world around outside, to developing and trying new wings, to finally emerging a free moth. Lee has cleverly paired this composition with images, creating a video to enhance the experience.

Lee showcases her beautiful dark tone on all three instruments and her mastery of 20th-century techniques. Remote Together is a direct reflection of current society and nature’s ability to adapt to surrounding circumstances.

Alan Hovhaness – Selected Piano Compositions
Şahan Arzruni
Kalan 773 (kalan.com)

Drawing upon his friendship with the composer and what he describes as “stacks of handwritten manuscripts,” Armenian pianist-ethnomusicologist-media personality Şahan Arzruni performs ten works by Alan Hovhaness, several unpublished, here receiving their first recordings.

Hovhaness (1911-2000) was born in Massachusetts to an Armenian father and Scottish mother. Many of his hundreds of compositions reference Armenian historical and musical traditions. Embracing as well the melodic, rhythmic, modal and colouristic resources of other diverse cultures, Hovhaness’ music evokes ritualistic processions, incantations and dances in moods ranging from lamentation to jubilation.

This disc contains 34 tracks, nearly all under three minutes long. In the five-movement Invocations for Vahakn, Op.54, No.1, percussionist Adam Rosenblatt adds Chinese drums, Burmese gongs, cymbal, conch and thunder sheet to the suitably aggressive music. (Vahakn was an ancient Armenian war god.) Rosenblatt rejoins Arzruni in the eight-movement Sonata Hakhpat, Op.54, No.2. (The Hakhpat monastery complex in Armenia is a UNESCO World Heritage site, dating from the tenth century.) Unlike its martial companion piece, it begins with slow, bell-like chords; a pensive Pastoral and mournful Aria provide repose between mesmerizing, propulsive dances. 

Of the solo piano works, my special favourites are the quirky Suite on Greek Tunes, the sensuous Mystic Flute and the glowing, beautiful Journey into Dawn. I enjoyed the entire CD, though, along with all of Hovhaness’ music that I’ve heard throughout over 60 years of appreciative listening to it on disc. Quite simply, I’m a fan!

Eric Lyon: Giga Concerto
String Noise; Greg Saunier; International Contemporary Ensemble
New Focus Recordings FCR293 (newfocusrecordings.com/catalogue) 

Frenetic energy and whirling pastiche permeate throughout Eric Lyon’s Giga Concerto. Performed by the International Contemporary Ensemble (ICE), with guest soloists, this six-movement work is certainly a fun ride. The composer notes that the music of Brahms is decidedly “gloomy” and aims to avoid this attribute in his own music. The Giga Concerto does exactly that: the obvious polar opposite of gloom. The listener is treated to pure giddiness as Lyon enjoys many jaunty moments in each movement of the piece. The joviality of mood is unrelenting with many sarcastic string slides and punchy percussive romps. This release is truly a carnival dance in a not-to-distant land. The International Contemporary Ensemble, soloists Conrad Harris and Pauline Kim Harris (also known as the duo String Noise) and percussionist Greg Saunier execute the piece with supreme musicianship and technical mastery. The Giga Concerto is wonderfully buoyant – the perfect listen on a gloomy day.

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113 Composers Collective – Resistance/Resonance
Duo Gelland
New Focus Recordings FCR291 (newfocusrecordings.com/catalogue) 

Duo Gelland is comprised of virtuoso violinists Cecilia and Martin Gelland. In their nearly 30-year history, the duo continues to champion contemporary music to a seemingly inexhaustible degree. In the duo’s latest release titled Resistance/Resonance, members of the 133 Composers Collective were commissioned to provide the six pieces on the album.

Each piece delivers a wide-ranging approach to the violin duet from a noise-based aesthetic to shimmering landscapes produced by string harmonics. Jeremy Wagner’s Oberleitung is a jagged study in electric gestures. Michael Duffy offers contrast with airy tones and gentle threads. The nostalgia-laden Autochrome Lumière by Joshua Musikantow offers a more melodic approach matched with prickly taps of the bow on the instruments. Sam Krahn’s piece, the title track, is an engaging juxtaposition of different characters that provide interesting contrast and occasional togetherness. Difficult Ferns by Adam Zahller is a decidedly microtonal work filled with unstable and phantom imagery. The last track on the disc, cistern . anechoic . sonolucent by Tiffany M. Skidmore, creates a distant shadow aura amid slow-moving whispers – a piece that is magnificent in its understated quality. 

Duo Gelland has produced yet another astounding example of their talents, and they handle each piece with an expressive and technical mastery that is not to be missed.

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Caeli
Bára Gísladóttir; Skúli Sverrisson
Sono Luminus SLE 70020 (sonoluminus.com)

The duo of Icelandic bass players Bára Gísladóttir and Skúli Sverrisson has documented their finely tuned working relationship with Caeli. Deep explorations of sounds from Gísladóttir’s double bass are sculpted by Sverrisson’s skillful mastery of the electric version of the instrument, shaded by the subtle blues and greys of his electronics. Long expansive bowed scrapes are pushed to the edge, just hanging on before bubbling over to the world of overtones and edgy depths of deep space. 

This music is definitely not for everyone, but I found the work expressive and beautiful. More along the lines of a Deep Listening experience, it is enigmatically shy of information either on the album or the press kit, so I am going to assume they are improvisations curated and finely edited to their current state. Caeli is exquisite in its expression of layered textural nuances created between the partnership of the acoustic double bass and the electric bass and processing. This is an album that is at times darkly overbearing while simultaneously free and endless; it is without borders, almost frightening in the way one might dream about falling off the edge of a flat Earth or losing sight of the mothership while floating in space. The length of the double album only enhances the endlessness. 

With each track delicately balanced and compositionally complete, this is an album for those who are into darkly cinematic ambient sounds. Put on some good headphones, sit in the dark and enjoy the ride.

Gunnar Andreas Kristinsson – Moonbow
Siggi String Quartet; CAPUT Ensemble; Duo Harpverk
Sono Luminus DSL-92246 (sonoluminus.com)

Who’s up for some sombre Nordic music? Icelandic composer Gunnar Andreas Kristinsson’s moody compilation matches the colour palette on the CD jacket: black, white and muted earth tones. Essentially this is all chamber music, even the opening cut, Sisyfos, a concerto for clarinet and small orchestra, featuring Ingólfur Vilhjálmsson with the CAPUT Ensemble. Vilhálmsson has a wildly unconventional sound and an impressive technical range. Portraying the protagonist in the myth, his part struggles against the accompaniment: descending scales, all at varying speeds and tonalities. The soloist rolls phrase after phrase up this sonic mountainside. 

Based on an Icelandic folk song, Patterns IIb is quite playful by comparison, but it’s still serious play. Reworked from its original scoring, Kristinsson replaced the gamelan ensemble with three mallet instruments, alongside the original violin and bass clarinet.

Moonbow, for string quartet, depicts the meteorological phenomenon of an arc surrounding the moon. The opening phrases purport to mirror the arc’s shape; the musical ideas fragment and spin. Kristinsson means to depict the experience of seeing this nocturnal arc-en-ciel; one might be dreaming of flying in ever-narrowing circles upwards, reaching for the thing, then waking suddenly to silence.

Mathematical influence reappears in PASaCAgLiaB, originally a duo for harp and percussion with bass clarinet added later. Within the Baroque form, Kristinsson references the numeric pattern of Pascal’s triangle. A slow sad dance grows more and more manic, before reverting to resigned calm. It’ll take a few more listens before I can detect either a passacaglia format or a triangle.

Roots, the final work in three movements for chamber orchestra, reacquaints one with an old friend, the overtone series. It gets pretty funky, especially the third bit. Actually left me smiling!

Archetypes
Third Coast Percussion; Sérgio & Clarice Assad
Cedille CDR 90000 201 (cedillerecords.org)

For 15 years, Grammy Award-winning Third Coast Percussion has been praised for the “rare power” (The Washington Post) of its records filled with “an inspirational sense of fun and curiosity” (Minnesota Star-Tribune). The Chicago-based quartet currently serves as ensemble-in-residence at Denison University. 

On Archetypes Third Coast has invited celebrated Brazilian guitarist Sérgio Assad and his vocalist/composer/pianist daughter Clarice Assad to collaborate on an album with an intriguing conceit: to conjure up a dozen contrasting universal human archetypes in music. In 12 movements, each from three to just over five minutes, archetypal figures such as magician, jester, rebel, lover, hero and explorer take their turn at the thematic centre. 

Instrumentally and stylistically the music comfortably inhabits a double frame: contemporary percussion chamber music is infused with harmonically adventurous Latin jazz, acoustic guitar and occasional vocalise. The results of this genuine collaboration can be extraordinary. Archetypes IV:  The Lover for instance, in its restless and surprising modulations, rippling guitar and marimba arpeggios counterpointed by spare vibraphone and piano melodies floating above, seems to be reaching for something just beyond reach.

The 11 other movements evoke other moods and effects, characterized by innovative arrangements and brilliant playing. Composed by Sérgio, Clarice, members of Third Coast, or jointly, the suite flows organically, exuding musical confidence and virtuosity.

With its mix of classical and jazz elements, the 20th-century music fusion term  Archetypes is an unexpectedly delightful musical discovery.

Curtis K. Hughes – Tulpa
Boston Percussion Group; Sentient Robots; Various Artists
New Focus Recordings FCR298 (newfocusrecordings.com/catalogue) 

Curtis K. Hughes’ music is redolent of mystery, wit and adventure, set in a world that is both concrete and abstract. Its harmolodic and rhythmic architecture is expressive, and because it is inspired by the humanity around him (real and imagined) it is never still and dances in graceful movements that are often not simply balletic, but also dizzying.

The repertoire on Tulpa adds another exciting layer to the character of Hughes’ musical oeuvre, being as it is, evocative of a kind of otherworldly erudition. The title of every work represented here comes not only with an aura of rhythmic mystery but always leads the listener to a luminous musical world, often dappled with many-splendoured tone-textures. 

Beginning with the solitary majesty of flagrant, we soon find ourselves surrounded by a whole battery of percussion colourists nestling cheek by jowl in antechamber. But Hughes, being a ubiquitous master of surprise, constantly switches tonal and structural gears in the music that follows. 

Percussion instruments give way to the gravitas of the bass clarinet and moaning cellos; back again to the rich woody tones of the clarinet and piano before he turns his attention – and most definitely ours as well – to a large, grander palette in the four-part suite, tulpa. Through this, the album’s apogee, Hughes demonstrates an uncommon character which is inward looking and outward bound, woven together with melodic, harmonic and rhythmical elements, and unexpected colours and patterns sweeping through everything musical.

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A Gentle Notion
Hanick Hawley Duo
Il Pirata Records (ilpiratarecords.com/catalog-1) 

A Gentle Notion, the title work for this disc by clarinetist Richard Hawley and pianist Conor Hanick, is a short meditation by Jennifer Higdon. It’s sweetly tonal and at two minutes plus, sweetly brief as well. It sets the stage for all the works on this release. 

The duo open with Aaron Copland’s transcription of his Violin Sonata, written in what Copland refers to as his “plain period,” the early 1940s. I enjoyed wrestling with the piece myself, but to my mind it belongs on the stack of transcriptions more elegant in ideal than action: Schubert’s Arpeggione, the Franck Sonata for Violin (or flute?) and the Prokofiev Sonata for Flute (or violin?). Copland transposed it down a major third to ease high tessitura, making better use of the clarinet’s baritone voice; I hear Hawley suffer some difficulty preventing pitch from rising in the middle range, a forgivable but nagging flaw. There are also passages that are more suited to the bow than the tongue. 

Higdon’s two-movement Sonata, originally for viola, is a better fit for clarinet, maintaining the gentle mood of the title track in the opening of the first movement, and never straying far into the upper range, even as the mood darkens. The second movement has pop and energy; to my ear Higdon shows some of the tonal style of Hindemith. 

Hawley is not a showy player; elegance and understatement mark his performances. An instance of flutter tonguing in the Clarinet Sonata by Pierre Jalbert is subtle, even tidy. Joan Tower’s Wings for solo clarinet is a tour-de-force; Hawley nails it. His sound is icy smooth up high, and warm in the chalumeau. His musicality is honest and reliable. Hanick meets him on an equal footing; the duo plays with verve and excellent communication.