Hans Werner Henze – Das Verratene Meer
Vera Lotte Boecker; Bo Skovhus; Josh Lovell; Van Heyningen; Orchester der Wiener Staatsoper; Simone Young
Capriccio C5460 (naxosdirect.com/search/845221054605) 

The work of prolific and influential German composer Hans Werner Henze (1926-2012) is extremely varied in style, showing influences of atonality, serialism, Arabic music, neoclassicism, jazz and more. He wrote over 30 operas and theatre scores throughout his long creative life, and they received numerous international performances. Henze was also well known for his Marxist politics; he produced compositions honouring Ho Chi Minh and Che Guevara. The latter’s Hamburg premiere in 1968 sparked a riot and arrests.

Henze’s 1990 Das verratene Meer (The Betrayed Sea), an opera in two parts and 14 scenes, is based on Yukio Mishima’s 1963 novel The Sailor Who Fell from Grace with the Sea. The choice of Mishima, a Japanese fascist, by the committed leftist revolutionary Henze seems unexpected on the surface, yet there are parallels in their biographies: both were traumatized by World War II, both were openly gay and abhorred bourgeois life. Unlike Henze’s overtly political theatre works however, Das verratene Meer is rather a menacing meditation on the sea, seasons, sex and jealousy. The straightforward plot follows a widow who falls in love with a sailor. Her jealous teenage son traps the sailor with the help of his gang, and they sadistically murder him. 

This two-CD Capriccio set is based on Vienna State Opera’s latest production of the work featuring brilliant dramatic coloratura soprano Vera-Lotte Boecker as the young widow Fusako. The strong Danish baritone Bo Skovhus portrays the sailor she falls for, while the convincingly young Canadian lyric tenor, Josh Lovell, is the widow’s son.

Henze’s musical evocation of Mishima’s narrative is couched in an expressionistic Second Viennese School aesthetic. I distinctly felt the ghost of Alban Berg at several moments. Considerable angst is generated by ostinato instrumental textures and drama from the inclusion of unusual percussion instruments, including Japanese drums and clapper that hint at the world of the Japan characters.

The opera opens in the summer, the second section is set in the winter; a series of lush, sophisticated orchestral interludes evokes the seasons and the three primary characters’ inner feelings. Simone Young masterfully conducts the complex score; the Vienna Staatsoper orchestra, augmented for the occasion to vast late-Romantic proportions, is undoubtedly yet another star in this satisfying production.

Shining Shore
Three Notch’d Road – The Virginia Baroque Ensemble
Independent (tnrbaroque.org)

Early music in North America, and not in Italy, England or France? Surely not? And yet the Virginia Baroque Ensemble Three-Notch’d Road has recorded 17 pieces ranging from a broadside ballad through hymn arrangements to the dizzy heights of Handel and Purcell arrangements.

There is a haunting quality to many tracks: listen to bass Peter Walker as he solemnly declaims the anonymous but highly emotive Liberty tree, a setting of Thomas Paine’s support for the American revolutionaries. After the rigours of the War of Independence, it is little wonder that Oliver Shaw composed the invigorating Jefferson’s March. Here, Dominic Giardino breathes his enthusiasm for military music and early instruments into one of the very first forms of the clarinet. 

Then there are pieces with a deep spiritual content. The singers on the CD lend a very human quality to Jeremiah Ingalls’ Farewell Hymn with its subject of death. It is followed by a slow, stately and traditional Appalachian interpretation of I Wonder as I Wander sung by Peter Walker.

The instrumental pieces are also worthy of note. To Drive the Cold Winter Away was a great favourite in English collections; its simplicity may well have led to an aural transmission across the Atlantic – ready for Giardino’s clarinet skills. 

We hear far too little early music from the New World. This CD must surely be the start of the fightback.

David Hyun-su Kim plays Schumann
David Hyun-su Kim
Centaur Records CRC 3877 (challengerecords.com)

While early 19th-century pianos may lack the rich and sonorous tone of a modern concert grand, they can offer a greater sense of intimacy and as such, have an appeal all their own. Korean-American pianist David Hyun-su Kim has made a specialty of historically accurate performance practice, and in this recording he presents music by Robert Schumann performed on a replica of a pianoforte from the 1830s. A true Renaissance man, Kim graduated from Cornell as a Presidential Research and National Merit Scholar in chemistry. Yet a chance encounter with Beethoven piano sonatas convinced him to change direction, and following studies in the U.S. and Germany – with an acclaimed debut in Vienna – he’s now regarded as among the finest young American pianists of his generation.

Papillons, from 1831 is a charming set of 12 kaleidoscopic miniatures. Based on a novel by Jean Paul Richter and intended to represent a masked ball, the movements flow by in quick succession. Kim delivers an elegant and polished performance, adroitly capturing the ever-contrasting moods.

The bulk of the recording comprises one of Schumann’s most renowned compositions Carnaval from 1835. Again, Kim demonstrates a true affinity for this much-loved repertoire. Movements such as Pierrot and Florestan are suitably whimsical, Chopin and Aveu, posed and introspective, while the rousing Marche des Davidsbündler is performed with great bravado.

The disc concludes with the gracious Arabesque Op.18, a fitting ending to a most satisfying recording. Kim proves without a doubt that Romantic period repertoire can sound as compelling on a pianoforte (or a replica) as it does on a modern instrument. Here’s hoping we’ll hear from this gifted young artist again in the near future.

Chopin – Piano Concertos, Chamber Versions
Emmanuel Despax; Chineke! Chamber Ensemble
Signum SIGCD700 (emmanueldespax.com/recordings-1)

Even a hundred years ago there were no radios and TVs. The phonograph had just been invented and orchestral works and concertos could only be heard at a concert hall. In order to make it accessible to the common man these had to be arranged in chamber versions or piano transcriptions to be performed at private salons or soirees where Chopin himself was often invited to play the piano part.

Following this train of thought, a brilliant young French pianist, Emmanuel Despax, already well known in Europe and according to Gramophone magazine, “A formidable talent, fleet of finger, elegant of phrase and a true keyboard colourist,” decided to do just that: he collected five string players (the Cheneke! Chamber Ensemble) to perform Chopin’s two piano concertos with the orchestra reduced to a string quintet, so what we have here is effectively a piano sextet. 

Chopin’s orchestration has been much criticized over the last centuries. Berlioz thought it rigid and superfluous, but since the piano plays almost continuously, this version with smaller forces is quite enjoyable. One nevertheless misses the power and instrumental colour of the orchestra, especially at one thrilling moment in the second movement of the Second Concerto when suddenly the mood changes. There is hushed intensity, everything quiets down into a pianissimo string tremolo with a heartbeat-like timpani and the piano enters with a dramatic melody that hasn’t been heard before. I also miss the clarion call on the horn near the end, when the prevailing F Minor key suddenly changes to major as if the radiant sun suddenly comes out and turns everything bright and beautiful.

Pogorelich Chopin
Ivo Pogorelich
Sony Classical 19439912052 (naxosdirect.com/search/19439912052)

The performance on this disc is altogether exceptional. Pianist Ivo Pogorelich takes nothing for granted in music. Nor should we in listening to him. If you know how Chopin “goes” then this almost certainly isn’t for you. Not that Pogorelich does anything wildly idiosyncratic, let alone provocatively iconoclastic, à la Glenn Gould. Rather, Pogorelich plainly understands that every interpretation is but one possibility, and he offers us a very enticing opportunity to open our minds, especially in these familiar works most burdened by tradition. 

Everywhere revelations abound, beginning with the spacious opening of  the Nocturne in C Minor Op 48/1. Pogorelich’s Nocturnes are altogether dreamy and lyrical. And in the Fantasy in F Minor Op.49 he takes us unexpectedly into another world. It’s full of glinting lights, mysterious depths, expectations, doubts and hopes like the shattered shadows of a rapturous quasi-Mendelssohn scherzo, glimpsed by moonlight in a forest. 

In sheer colour and variety, in the depth of characterization and in the exceptional range and refinement of pianism, Pogorelich imparts a power and majestic stature to Chopin’s Piano Sonata No.3 in B Minor Op.58. In its component parts the pianist displays urbanity and lyricism that is truly seductive and persuasive, which in itself is an object lesson in the very essence of style. The Scherzo is played with buoyant, aristocratic grace, psychological ambiguity and insolent virtuosity; Chopin as few pianists could even hope to try.

The Art of Chopin
Alan Hobbins
Maestro Music Company MMCD05 (alanhobbins.com)

Canada seems to produce many first-rate pianists one after another: Hewitt, Lisiecki and Fialkowska, not to mention the immortal Glenn Gould! Into this august circle now endeavors to step Alan Hobbins. A pianist of Jamaican descent, Hobbins graduated from The Royal Conservatory and later studied at Juilliard. His teachers included the late great Leon Fleisher and Chopin specialist Marek Jablonski. Since then he has given many concerts in Toronto and New York to great critical acclaim. I met him several times in the 80s (he being my daughters’ piano teacher) and was invited to his debut concert. I was particularly impressed with his special affinity to the music of his homeland and American jazz.

Chopin is definitely his favourite composer and this is Hobbins’ third recording devoted entirely to his work. It’s a wonderful collection skilfully selected to give a good cross section of Chopin’s most beloved and immensely difficult pieces. He masters all the challenges with superb technical skill. Above all he brings “a subtlety of expression to every phrase, single chord or a note” raves one newspaper.

From the program of Scherzos, Nocturnes and Impromptus, some of my favorites are the majestic Nocturne in D-flat Major with its grand melody. This is followed later by a masterly performance of the Scherzo No.2 in B-flat Minor that opens with those powerful chords from which a beautiful, emotionally charged melody emerges followed by that peaceful meditative mid-section and the magnificent super bravura coda. 

And dare I mention the explosive, tremendously passionate, heroic Nocturne in C Minor that makes me shiver every time I hear it?  This is truly grand-scale pianism with the ebb and flow of emotion superbly controlled.

Listen to 'The Art of Chopin' Now in the Listening Room

Tchaikovsky Symphonies
Tonhalle-Orchester Zurich; Paavo Järvi
ALPHA 778 (naxosdirect.com/search/alpha778) 

I have been a longtime admirer of the conductor Paavo Järvi since the release of his live Beethoven cycle with the Kammerphilharmonie, Bremen of September 2009. At that time, I was very impressed by his ability to beautifully balance the orchestra.

Now we have a box set of Tchaikovsky symphonies together with various orchestral works and here it is again, the orchestra balanced so well that every instrument is clearly audible, still in its natural balance without being spot lit. This five-CD set from Alpha Classics has been so well recorded that you can map out the entire orchestra, the Tonhalle-Orchester Zurich, of which Järvi is music director. His presentation of these works is more thoughtful and sensitive than some other recorded versions from the likes of Karajan, Mravinsky et al, but no less powerful. 

Symphony No.1 “Winter Daydreams” is eloquently gentle and Symphony No.2 “The Little Russian, positively optimistic, patriotic and joyful. We move through the power and cumulative intensity of the Third “Polish” to the power of the Fourth and unbounded exuberance and positive optimism of the Fifth to the overwhelming sadness and ultimate resignation of the final movement of the Sixth Symphony, “Pathétique”.

The six orchestral works accompanying the symphonies include Francesca Da Rimini, Capriccio Italien, two pieces from Eugene Onegin, the Waltz and the Polonaise, as well as Romeo and Juliet and the Festival Coronation March. All enjoy the same meticulous attention to detail that we now expect from Järvi.

After a lifetime of listening to these works conducted by so many others, this recording may very well be my preferred version. Here the music unfolds as a narrative. It flows. These are well-considered new readings that may have you rethinking certain passages and perhaps reappreciating others. The five discs are also available separately.

Mahler – Symphony No.4
Chen Reiss; Czech Philharmonic; Semyon Bychkov
PentaTone PTC5186972 (naxosdirect.com/search/ptc5186972)

Four decades have passed since the Czech Philharmonic completed their first edition of the complete Mahler symphonies under Václav Neumann in 1982. Mahler was born in Bohemia and raised in Moravia (born in 1860 during the Hapsburg era, he considered himself an Austrian and spoke mainly German) so this first instalment of a new cycle can be considered a festive homecoming for a favourite son. Mahler’s Fourth Symphony is relatively compact in comparison to its gargantuan predecessors in the so-called “Wunderhorn” cycle of symphonies inspired by the 19th-century collection of folk-song texts known as The Youth’s Magic Horn, portions of which Mahler had previously set to music. Despite this economy of means, the symphony’s mischievous antics, ironic stance and complex structure confounded the critics of his time. Today it is regarded as one of his most accessible works.
Mahler himself once observed, “The real art of conducting consists in transitions.” Mahler’s own constantly shape-shifting music teems with kaleidoscopic tempo fluctuations which not every conductor can interpret convincingly. Bychkov’s mastery in this regard marks him as a genuine Mahlerian. The finale of the symphony features Israeli soprano Chen Reiss in an ingenuous rendition of the song Das himmlische Leben from which this work was spawned. 

The distinctive sound of the Czech Philharmonic is gorgeously captured in this Pentatone production; the strings are lustrous, the winds and brass incisive and the dynamic range is vast. Recorded in August 2020 from the confines of a shuttered Dvořák Hall in Prague, this is a very auspicious start to what promises to be an exceptional Mahler cycle.

Ebenbild
Juri Vallentin; Trio d’Iroise; Bernward Lohr; Caroline Junghanns
PASCHEN Records PR 220072 (paschenrecords.de/katalog/pr220072/)

Only to be described as unique and colourfully unconventional, the newly released album Ebenbild, featuring oboist Juri Vallentin and the Trio d’Iroise, is a blend of recited song text, choruses by J.S. Bach, as well as five pieces from various eras and styles all married together with one common theme: J.S Bach’s O Haupt voll Blut und Wunden (O Sacred Head, Sore Wounded). 

Originally derived from the madrigal Mein Gmüth ist mir verwirret (My mind’s confused within me) by Hans Leo Hassler (1564-1612), this theme was repeatedly used by Bach throughout his life in many works, including the St. Matthew Passion and the Christmas Oratorio. Arranged for oboe quartet, the album begins with the original madrigal and then is followed by the recited text of the first stanza, a chorus using the theme from one of Bach’s works and then the Sonata da camera in G minor O Haupt voll Blut und Wunden by Johann Gottlieb Janitsch. The album continues in this format with four other recited stanzas, four choruses and four works: Frederick Kelly’s Romance from the String Trio in B Minor, Charles Bochsa’s middle movements from two of his oboe quartets, Four Preludes to Infinity by Theo Verbey and the unfinished final fugue written by J.S. Bach shortly before his death.

The performances by Vallentin and Trio d’Iroise are virtuosic and thoughtful, showing a range of musical knowledge and sensitivity. A polished gem, this album is truly a heightened experience.

Undersong
Simone Dinnerstein
Orange Mountain Music OMM 0156 (orangemountainmusic.com) 

A lyrical rubato-laden, eminently shapely Les Barricades Mystérieuses by Couperin opens Simone Dinnerstein’s solo piano recital Undersong, brilliantly captured in the warmth of this recording by Orange Mountain Music. But arch-Romantic Robert Schumann’s Arabesque, Op.18, with its rippling arpeggios and translucent glissandi that follows will likely take your breath away. 

The pianism is impressively nuanced throughout the program. Dinnerstein displays her strong rhythmic backbone with the bubbling lilt of Philip Glass’ Mad Rush but it is, to my mind, at any rate, Schumann’s Kreisleriana Op.16 that is the apogee of this recording. Rarely has the restless romance of this work been captured with greater imagination. Its heavenly, mercurial luminescence is tempered by the pianist’s intellectual rigour through its eight dazzling vignettes. 

Dinnerstein has long been one of the most articulate pianists in the world, remaining technically sound and musically eloquent no matter what the repertoire. Her Satie and Glass is a case in point. On the latter’s Mad Rush she tames the composer’s abrupt changes in tempo and performs the piece with a strong sense of dance braving its knuckle-busting challenges with a kick in her step. 

Her interpretation of Satie’s Gnossienne No.3 is eloquent and direct, quite without impediment or undue idiosyncrasy, yet musical to the core. Meanwhile, she approaches Couperin and Schumann with uncommon refinement of colour and texture. All of this makes for a disc to die for.

Night Light
Lara Deutsch; Phil Chiu
Leaf Music LM249 (leaf-music.ca)

Kudos to Leaf Music of Halifax for its confidence in these young musicians, flutist Lara Deutsch and pianist Philip Chiu. The program is built around the theme of dreams, which opens such possibilities, for example, including a work by Franz Schubert – Introduction and Variations on Trockne Blumen – in a program of music by contemporary composers. 

The disc opens with Takashi Yoshimatsu’s Digital Bird Suite, Op.15, the opening movement of which, Bird-phobia, described by Deutsch as “fiendishly challenging,” is at the nightmare end of the dream spectrum, but shows both consummate command of her instrument and her partner’s uncanny ability, despite the formidable challenges of his own part, always to be in sync with her. In the contrasting lyrical second movement, A Bird in the Twilight, their exquisite phrasing and consistent sensitivity to each other lift the notes off the page.

The dreamlike atmosphere is perhaps most eloquently expressed in the first movement of Jocelyn Morlock’s I Conversed with You in a Dream, which traverses the gamut from lyrical reverie to reality-defying pyrotechnics.

In the Schubert, Chiu reveals himself as a lieder collaborative pianist of stature, convincingly telling the story and revealing the atmosphere of the music. For example, his playing of the repeated quarter and two eighth note motif at the very beginning is full of eerie foreboding; you know at once that this is not going to end well!

Individually and as a duo Deutsch and Chiu are consummate interpreters, who move with the music, so to speak, and reveal the meaning behind the notes.

Listen to 'Night Light' Now in the Listening Room

Michael Oesterle – Quatuors
Quatuor Bozzini
Collection Quatuor Bozzini CQB2229 (actuellecd.com)

Tom Johnson – Combinations
Quatuor Bozzini
Collection Quatuor Bozzini CQB 2230 (actuellecd.com)

Quatuor Bozzini has energetically championed the newest in classical music since 1999 in their Montreal hometown, on tour and on outstanding albums. Their mission is to cultivate risk-taking music, evident in the creation of an impressive commissioning program of over 400 pieces. Frequent collaborations with other musicians and cross-disciplinary projects have been another career feature. An example of an unusual collaboration, one that I took part in, happened in 2012 with the development of new concert repertoire with Toronto’s Evergreen Club Contemporary Gamelan, performed live and subsequently released on the album Higgs’ Ocean. The title track, scored for string quartet and gamelan degung, was by prolific mid-career Canadian composer Michael Oesterle.

Oesterle’s mature compositional style balances two late-20th- and early-21st-century streams: American minimalism and European postmodernism. The latter comes through in his exploitation of sonorities, formal, timbral and harmonic sophistication, allusions to historical Euro musics and an identifiable Oesterlean lyricism. This album’s four substantial string quartets offer an appealing balance between musical straightforwardness and complexity. Oesterle often generates drama from the friction between the idiomatic and the completely unexpected.

Daydream Mechanics (2001), which evokes the “awkward adventures of childhood when the backyard seemed as full of disturbing possibilities as any uncharted territory,” offers an example of Oesterle’s use of extra-musical inspiration. On the other hand the composer describes his Three Pieces for String Quartet as “three short pieces [composed with] modules drawn from a system of triangular numerical sequences….” I however hear surprisingly Renaissance- and Baroque-infused character homages to the three animals Oesterle titles each movement after: kingfisher, orangutan and orb weaver. 

American-born composer and longtime French resident, Tom Johnson (b.1939), served as The Village Voice’s influential music critic from 1971 to 1983 covering the era’s exciting new classical music scene. The first to apply the term “minimalist music,” Johnson’s personal compositional style leans toward minimalist formalism. Quatuor Bozzini has collected his complete works for string quartet covering four compositions from 1994 to 2009 on this album. 

Dwelling on mathematic sequences and permutations of a limited core musical material, in Johnson’s hands the musical whole emerges satisfyingly greater than the sum of its lean components and intellectual procedures. Each relatively brief movement vibrates like a sonic poem. For example, the opening six-note motif of Johnson’s Tilework for String Quartet (2003) is transformed through his exploration of the myriad ways in which lines are “tiled using six-note rhythms,” relying on a computerized list of rhythmic canons. The composer helpfully adds, “Of course, composers, performers, and listeners don’t have to know all of this, just as we don’t need to master counterpoint to appreciate a Bach fugue… [because] music allows us to directly perceive things that we could never grasp intellectually.”

Performed senza vibrato, Quatuor Bozzini renders these scores with virtuoso precision along with warmth and a subtle lyricism, a winning combination I grew to appreciate after repeated listening.

to you through
India Gailey
Redshift Records (indiayeshe.com)

Halifax-based cellist India Gailey’s first album includes a diverse mixture of contemporary composers, including a McGill colleague and a work of her own. Though sometimes sounding improvised, each piece is fully scored for cello, some with voice and occasionally multitracked with electronics. Gailey’s album flows like poetry, and she includes in her CD booklet descriptions of each track as a collection of thoughts and photographs that reads more like a journal, giving the collection almost a gallery setting, as if you could walk room by room to experience each work. Gailey’s writing includes personal reflections on her own feelings of place, being uprooted by the pandemic, emotions of disconnection and loneliness, the difference between a material home and feeling at home, and letting go of the perpetual search for a place to land.

While the album is an excellent introduction to Gailey’s breadth of skill as a cellist, the most outstanding tracks for me were the more recent works: compositions by Fjóla Evans, Yaz Lancaster and Anne Leilehua Lanzilotti. Gailey’s own 2020 composition Ghost, for acoustic cello and voice, is a delicate lament for the destruction of the Earth inspired by the Australian bush fires. Michael Gordon’s 2004 Light is Calling, written after the destruction of 9/11, is outstanding. Making use of stereo panning and seven layers of electronics plus cello, it encapsulates the climate of moving somewhere while staying rooted in place, much like our recent years, and ends with a sublimely organic deconstruction. If I could have a soundtrack playing the next time I am surfing a standing wave in a canoe, this would be it.

Mark Ellestad – Discreet Angel
Cristián Alvear; Mark Ellestad; Apartment House
Another Timbre at185 (anothertimbre.com)

Hesitancy, or possibly abstract detachment, might describe the communicative mode of Mark Ellestad’s Discreet Angel. Instead of passages, we are presented with spaces between notes, plucked one or two at a time by guitarist Cristián Alvear. At just over 20 minutes in length, this is the second longest work presented. I’m reminded of Linda C. Smith’s music, or Martin Arnold’s. A more active middle section buoys one along on something more like a quiet brookside walk in a treed ravine, following the sleepy spring dawn.

Sigrid features Ellestad performing this short work on Hardanger fiddle and pump organ. Disagreement between pitches seems almost to be the point of the thing, the reed organ tuned one way and the fiddle strings another. Underlying the plain chorale is the ceaseless counter rhythm of the foot pedals, pumping the organ’s bellows full. Imagine Ellestad bowing and pedalling simultaneously while elbowing the organ keys (or more likely overdubbing). It’s pretty and quirky.

In the Mirror of this Night, a duet for violin and cello, weighs in at nearly 46 minutes. Opening in a misterioso unison (well, in octaves) passage, the chant-like melody spins beautifully in tune, senza vibrato, then begins to refract into parallel pitches, sounding sometimes almost like the pump organ. It’s a workout for the attention span, or a soundtrack for meditation.

Canadian Ellestad (b.1954) abandoned composing for nearly 20 years; he wrote these pieces in the 1980s and 90s but never recorded them to his satisfaction. He’s now brought them to light, encouraged by the quality of performance of his collaborators. Kudos especially to Mira Benjamin (violin) and Anton Lukoszevieze (cello, as well as the cover art).

All Worlds, All Times
Windsync
Bright Shiny Things BST-0167 (brightshiny.ninja)

It’s not every day woodwind quintet music will make you want to get up and dance. Seize this disc and the day, says me. Opening things, Theia from Apollo by Marc Mellits, almost literally bops from the get-go. The piece is moon-themed – modern and ancient references abound – but mostly it all feels like a set list of a really good and interesting dance band. If rhythm is their strong suit, pitch is not. The second movement, Sea of Tranquility, opens with intonation issues so glaring one is left wondering whether it’s intentionally spectral, but I doubt it. It’s a flaw that could have been addressed prior to releasing the recording. Chords do not settle, unisons clash. But carping aside, the music itself is just so darned chipper. The finale, Moonwalk, scoots along; if this was the pace those first moonwalkers took, I’m an Olympic sprinter. Toe-tapping fun. 

Composer and percussionist Ivan Trevino joins the ensemble for his Song Book Vol.3, and the dancing just gets better. The titles refer to singer-songwriters: St. Annie (St. Vincent) is really sweet. Byrne (David) captures that enigmatic manchild’s spirit. Jónsi (Birgisson, of Sigur Rós from Iceland) is better than the original, and Thom (Yorke) is, of course, the coolest.

Miguel del Aguila’s Wind Quintet No.2 matches the character of the rest of the disc, but it has less depth and seems more gimmicky. It’s nice to hear the voices of the instrumentalists chant alongside the flute melody in Back in Time, the first movement. (They sing in tune!)