Joseph Bologne, Chevalier de Saint-Georges – L’Amant Anonyme
Haymarket Opera Company
Cedille CDR 90000 217 (cedillerecords.org) 

With the recent release of the film Chevalier, the life of Joseph Bologne, Chevalier de Saint-Georges, one of the small number of biracial early composers whose works were celebrated in the 18th century, has been thrust into the spotlight. Before Chevalier was on theatre screens, however, Chicago’s Haymarket Opera Company issued their world-premiere recording of Bologne’s L’Amant Anonyme, the only one of his six operas to survive to the present day.

Often called “the Black Mozart”, Bologne’s nickname has provided his music with relatively recent recognition through its celebratory comparison, but also obscured his own originality and influence. This recording clearly demonstrates that Bologne was an exceptionally gifted composer of his own accord, and that his works merit widespread rediscovery and respect, whether Mozart is nearby or not. (Bologne was highly respected and well-connected in his day – he and Mozart were neighbours in Paris, and he commissioned Haydn’s six Paris Symphonies.)

Premiered in 1780, L’Amant Anonyme is a two-act opéra comique (it contains spoken dialogue instead of recitative) that is a striking combination of Baroque and classical forms, utilizing galant styles and earlier dance forms to create an aristocratic air that is always delightfully tuneful. Indeed, this melodic genius is even more impressive when one considers that Bologne wrote this opera before any of Mozart’s major operas, reversing the conventional understanding of which composer influenced who.

No matter how perfect the composer’s intentions, music needs performers to make it come alive, and the Haymarket Opera Company does not disappoint. Both singers and orchestra are light, agile and transparent in tone, and the tempi are neither rushed nor tardy. This disc is highly recommended for all who love the early classical repertoire, and especially for those who watched Chevalier and are eager to learn more about this unsung hero.

Schubert Revisited – Lieder arranged for baritone and orchestra
Matthias Goerne; Deutsche Kammerphilharmonie Bremen
Deutsche Grammophon 483 9758 (store.deutschegrammophon.com/p51-i0028948397587) 

The fact that Franz Schubert was not – like Beethoven or Mozart – a virtuoso musician seemed to overshadow (even diminish somewhat) his greatest achievements as a composer. His unfettered gift for melody and attachment to classical forms didn’t help his cause either. However, Schubert helped shape the art of lieder like no other composer of his day, or after. For all he did to give wing to the poetry of (especially) Goethe (but also others), Schubert himself might easily lay claim to being a true lieder poet, great in every way as the writers whose poetry he set to music. 

More than anything else Schubert’s songs live and die with the talents of their performers. Like the plays of Shakespeare, the songs respond to a variety of interpretations while always needing the singer who can strike the right balance between characterisation and vocal beauty. Baritones like the great Dietrich Fischer-Dieskau, the Welshman Bryn Terfel and German-born Thomas Quasthoff mastered that and distilled the beauty of Schubert’s profound art with majesty.

The pantheon of great Schubert lieder interpreters must also include Matthias Goerne. His performance is truly masterful on Schubert Revisited – Lieder arranged for baritone and orchestra. Together with the Deutsche Kammerphilharmonie Bremen Goerne gives a particularly atmospheric and powerful performance of songs set to the poetry of Goethe, Claudius, Mayrhofer and others. Highlights include the dramatic Grenzen der Menschheit, and the wonderfully fleet-footed and joyful Gesänge des Harfners.

Puccini – Messa di Gloria & Orchestral Works
Charles Castronovo; Ludovic Tézier; Orfeo Catala; Orchestre Philharmonique du Luxembourg, Gustavo Gimeno
Harmonia Mundi HMM905367 (harmoniamundi.com/en/albums/puccini-messa-di-gloria) 

We all know Puccini is one of the greatest opera composers, but little do we know that as a student in the conservatory he dabbled in orchestral and religious music. Three of his orchestral pieces are presented here and to my surprise, embedded in one of them, Capriccio sinfonico, I found the opening pages of his first breakthrough success and masterpiece: La Bohème.

On this new Harmonia mundi recording, the chief conductor of our TSO Gustavo Gimeno with his fine Luxembourg orchestra perform these works, as well as a major choral work. The Messa di Gloria is a very ambitious youthful composition, a complete five-movement Catholic Mass for chorus and orchestra with tenor and baritone soloists. 

I was truly amazed at Puccini’s budding genius in the level of invention, evocative power and passion, but also as a future composer of opera. For example, near the beginning in the Gloria section a beautiful aria, Gratias agimus tibi (We give thanks to Thee), sung passionately by tenor soloist Charles Castronovo. Later Qui tollois peccata mundi, a march with alternating male and female choruses, is very effective, but Verdi’s influence is noticeable. (Puccini saw Aida at age 18 and was very impressed.) His great talent for the dramatic (shades of the later Tosca) emerges in the deep voices of the tragic Crucifixus but we soon are comforted by the Resurrection (Et resurrexit tertia die Secundum Scripturas) with a joyful chorus of the sopranos. The two concluding sections are radiantly beautiful. Benedictus is sung by Ludovic Tézier a master of Italian bel canto baritone, who then joins Castronovo for Agnus Dei, which in a gentle rollicking 3/4 time ends the Messa in heavenly peace.

Puccini – Turandot
Sondra Radvanovsky; Ermonela Jaho; Jonas Kaufmann; Orchestra dell’ Accademia Nazionale di Santa Cecilia; Antonio Pappano
Warner Classics 3394009 (warnerclassics.com/release/turandot) 

Where does Puccini’s genius lie? Apart from his exceptional melodic gifts it’s his tremendous versatility and ability to create atmosphere. No other composer has been capable of conjuring up a Paris waterfront, the American Wild West or contemporary Japan, all so different, with equal ease and with music that feels fully authentic. Such is the case in Turandot, Puccini’s last and sadly unfinished opera where the scene is ancient China. The music is oriental, brutal and dissonant, heavy in percussion for the inhumanly cruel despotic Imperial Court but intense, lyrical and beautifully melodic for the protagonists, two extreme elements resolved very successfully.

In this new studio recording the obvious motivating force is Maestro Pappano, his unbridled enthusiasm, deep insight, overcoming COVID limitations yet creating an optimal sound world this opera demands. It’s beautiful to watch him on YouTube wildly gesticulating to inspire the singers who respond with equal enthusiasm, body and soul.

Turandot, the ice princess, is Sondra Radvanovsky, an American-Canadian soprano of the highest calibre who copes wonderfully with this very strenuous role full of spectacular high notes in fortissimo. Her famous aria In questa Reggia is absolutely ravishing. Her hopeful lover who has to solve three riddles (shades of Oedipus Rex) otherwise he dies, is today’s leading helden tenor Jonas Kaufmann. His faultless Italian and intense bel canto is a worthy successor to the iconic, unforgettable Pavarotti who single-handedly turned the world’s attention to opera with his Nessun dorma, the opera’s most beautiful aria. The unfortunate servant girl Liu who sacrifices her life for love is Albanian mezzo soprano sensation Emanuela Jaho. Her totally engaged emotional singing is heartbreaking and a real asset to this extraordinary recording.

Man Up / Man Down
Constellation Men’s Ensemble
Sono Luminus DSL-92266 (sonoluminus.com) 

Everything about this recording is dramatic, even to the idiomatic cover, with a feather from which hangs a stone. The image and the imagery of the cover together with the quite bitterly sardonic repertoire has Promethean connotations and therein lies the ingenuity of the whole project. Not least, of course, is that the Constellation Men’s Ensemble is a truly fine all-male a cappella group, unafraid to allow the power of their voices to expose the myth of masculine power in the music of Man Up/Man Down. 

Three composers contribute to this extraordinary debut album. They are Jeffery Derus, whose composition HOME sets up the whole recording. Derus’ work takes its cue from a poem by Carl Sandberg who writes at night as he “listened… to a mother signing softly to a child restless and angry / in the darkness.” Perhaps unwittingly (or otherwise) this song sets up the Madonna and her unquiet child who grows into his uncomfortable manhood. 

This is the kind of man we encounter in Robert Maggio’s monumental, 11-part work Man Up/Man Down. Expectation and the harsh realities on man/woman inequity collide in Maggio’s work as the composer peals and chips away at the hollowness of male role modelling which – as the narrative prosody of the words tell us – has resulted in the near-destruction of contemporary body politic.  

The disc concludes with a work by David Lang. His song manifesto makes for an uplifting utopian dénouement after some brilliant, yet otherwise dark music.

J.S. Bach
András Schiff (clavichord)
ECM New Series ECM 2635/36 (ecmrecords.com) 

As the 2CD J.S. Bach – Clavichord release liner notes explain, the clavichord was Bach’s favoured domestic keyboard, its intimate sound nevertheless allowing for a wide range of expression unavailable to the harpsichord. Veteran Bach specialist, Hungarian-British pianist and conductor András Schiff, makes full use of the clavichord’s impressive nimble and expressive capabilities in this recording of six Bach works. On display is his use of shaded dynamic tiers to distinguish contrapuntal voices in the music, as well as his subtle finger vibrato produced by vertically pressing the key after sounding the note. He also sometimes introduces a nuanced rubato along with the finger vibrato, heightening the drama in the music. 

Playing a 2003 replica of a 1743 Specken clavichord, which in certain passages leans toward a pleasant lute-like timbre, Schiff gives us a convincing Bach clavichord recital comparing favourably with Menno van Delft’s recording of the keyboard partitas. Bach’s two-part Inventions and three-part Sinfonias are particularly well represented. Each of the 15 movements in a different key, these pedagogic works were originally intended for students and amateurs, yet they number among the composer’s most original and expressive keyboard compositions.

ECM’s evocatively realistic sound engineering presents the clavichord as the modest living room instrument it was designed to be, designed for private study and enjoyment. Schiff knows the clavichord and this repertoire inside out, playing with musical poise and unaffected élan.

Beethoven – The Late Sonatas
Maurizio Pollini
Deutsche Grammophon 486 3014 (deutschegrammophon.com/en/catalogue/products/beethoven-the-late-sonatas-pollini-12858) 

Having completed the recording of Beethoven’s 32 piano sonatas in 2014, renowned Italian pianist Maurizio Pollini revisits the last five with the intense yet simple approach of an artist who understands life. It is astounding that Pollini undertook the recording of such technically challenging works at the age of 80 and it is precisely this fact that makes the recording precious. Here we have an artist at the full height of life experience sharing deep mastery of his instrument via some of the most complex pieces of the piano repertoire. 

Piano Sonata Op.101 marks the beginning of the late period of Beethoven’s compositional trajectory, and it is nothing like the composer’s previous works. The essence of this sonata is freedom – freedom of form, harmony and expression. Pollini understands it well and conveys it with gusto. Piano Sonata Op.106 “Hammerklavier” remains underperformed on the concert stage even today due to the technical challenges it presents. It requires a performer with great emotional maturity, as Beethoven seems to have conjoined centuries of writing tradition with magnificent innovations of genius in this piece. Both Beethoven and Pollini, each in their own masterful way, are unapologetic of who they are as artists – vulnerable in their stance yet afraid of nothing. Pollini’s occasional faint singing in the background makes the recording come alive with immediate intimacy – this, simply, is life.

Clara Robert Johannes – Atmosphere and Mastery
Canada’s National Arts Centre Orchestra; Alexander Shelley
Analekta AN 2 8882-3 (analekta.com/en) 

Perhaps, as classical music fans, we like to think of our enjoyment of this music in a priori terms. Music for music’s sake and all that. As an extension of the better-known maxim, “l’art pour l’art,” (Art for Art’s Sake), this 19th-century declaration that art is most “true” when decoupled from extra-musical meaning or purposes (social, utilitarian etc.), provides a sort of tautological framework for our 21st-century tastes: classical music is good, because it is good music. Unlike such artifacts of mainstream culture as so-called “pop” music, whose raison d’être is a kind of didactic utilitarianism (music for dancing, music for escapism etc.), classical music, rightly or wrongly, has come to be seen as more other-worldly and elevated (some might say hifalutin). But, as we learn with Clara-Robert-Johannes, the third of a four-part recording cycle from Canada’s National Arts Centre Orchestra that mines both the Schumann/Brahms canon and their relationship, what could be more salaciously human than a potential relationship triangle marked by the entanglements of marriage, death and unrequited love? 

Performed skillfully under the direction of Alexander Shelley, this 2023 recording features some lesser-known pieces by the compositional triumvirate of Clara Schumann, Robert Schumann and Johannes Brahms that, none-the-less, represent the high-water mark of Romantic-era beauty and sophistication. With greater compositional representation given here to Clara, not simply as muse to both Robert and Brahms, but rightly acknowledging and platforming her as a compositional force of equal magnitude and import, Clara-Robert-Johannes captures the complexities of both their music and of the human condition in this gorgeously captured and fine recording.

Chopin Recital 4
Janina Fialkowska
ATMA ACD2 2803 (atmaclassique.com/en) 

Canada can be proud of having many world class pianists. The confluence of diverse cultures is a happy breeding ground putting forth pianists of different backgrounds like Poland that produced this shining example, the Grande Dame of Canadian pianism, Janina Fialkowska. She is, as said by Arthur Rubinstein, a “born interpreter of Chopin,” whose credits are too numerous to mention – including concerts all over the world, the JUNO Award, the Order of Canada – she is praised for “her musical integrity and refreshing natural approach.”

Fialkowska records exclusively with ATMA Classique and this is her 15th release and fourth Chopin album. It’s a good cross section of various genres of Chopin’s genius: Polonaises, Nocturnes, Preludes, Ballades, Valses etc. Curiously enough a few of the pieces are not of the highest difficulty and within the capabilities of any aspiring piano student of Grade 8 level, (yours truly included) so these come back to me as old friends like the defiant, heroic Military Polonaise in A Major that starts off the program or the sweet, nostalgic Nocturne Op.55 No.1 in F Minor. Both are exquisitely played. These are followed by the Berceuse in D-flat Major, one of the most beautiful things Chopin ever wrote, played with a lovely sustained soft supple legato.

The big guns however are the virtuoso pieces like the Ballade in G Minor that starts off deceptively simple but gradually gets more and more complex and difficult with a prestissimo finish. The Scherzo No.3 in C-sharp Minor is even more demanding. The strong chords at the beginning remind me of Liszt, the incessant, cascading fioratures are so delicately and precisely played and the 110-bar coda finishes the piece with a big flourish.

Franck; Vierne – First and Last
Christopher Houlihan (organ)
Azica ACD-71356 (azica.com) 

If Paul Simon’s haunting 1970 song, The Only Living Boy in New York, ever needed a companion, a potential contender might be the only French-built organ in New York. Housed in that city’s Church of the Ascension, Pascal Quoirin’s Manton Memorial Organ is not only both played and captured beautifully on this new Azica recording by the celebrated American organist Christopher Houlihan, but with my aforementioned whimsical Simon reference, perhaps the door is now open for another, this time riffing on the folk composer’s 1968 song Bookends. Wherein that earlier Simon song tells the tale of two old friends who sit together on, one assumes, a New York park bench like old friends watching the tumbleweed of newspapers blow by, Houlihan here uses César Franck and Louis Vierne to musically bookend the French Romantic tradition of organ symphonies. In fact, marble busts of the composers’ halved faces appear on the album cover like literal “first and last” bookends. 

Beginning the recording with Franck’s Grande Pièce Symphonique Op.17 (1860–62) and closing with Vierne’s Symphonie No.6, Op.39 (1930), Houlihan – the current Artist-in-Residence at Toronto’s Trinity College where he also teaches and directs the Chapel Singers – both musically and historically demonstrates the richness of possibility that can occur when a skilled technician and thoughtful artist demarcates their creativity for compelling results. Narrow and focused in scope, but sprawling and grand in ambition, Houlihan, empowered here to mine the depths of a repertoire so “dependent on the particular sonorities,” he writes, of this particular French-built instrument, has found the context, instrument and conceit necessary to make a meaningful contribution to the discographic canon of fine organ recordings. 

Listen to 'Franck; Vierne – First and Last' Now in the Listening Room

Scriabin – Poem of Ecstasy; Symphony No.2
Buffalo Philharmonic Orchestra; JoAnn Falletta
Naxos 8.574039 (bpo.org/recordings) 

Will the compositional dust ever settle on the early 20th century? Let’s hope not. What a fascinating, tempestuous time it was, what madness emerged from the studied rebellion of the Romantic period! Who knew that Liszt, of all people, would be a kind of heroic model to Alexander Scriabin (1872-1915), who tore up the book of common practice harmony and looked for colours that some would call garish, and others revelatory.

And the composers themselves, calling one another names or championing themselves and their cadre. (Okay, that sounds contemporary.) According to the liner notes on this beautiful rendering of his Poem of Ecstasy (1905-08) and Second Symphony (1901), Scriabin referred to Igor Stravinsky (ten years his junior) as “a mass of insolence and a minimum of creative power.” Dude, sour grapes? Stravinsky was calculating, but he also wrote The Firebird and The Rite of Spring.

Scriabin’s art has factions pro and con, and he probably had as much influence as Ravel did on insolent Igor. For my part, hearing the colours and wandering sensuality of phrase and gesture of the Poem, I’m back in the ballet pit, back in the 1900’s, grumpily wishing I were playing Afternoon of a Faun instead, because who is this upstart with the idea that sexual release and musical climax should be enjoyed simultaneously? At least Claude merely sought to depict it, not to have his listeners engage in it. (There is nobody more conservative than a ballet pit musician…)  

Scriabin’s tonal voice was amazing, his artistic trajectory heading into the ever-weirder, his fame unquestioned; and then he died in his 40s. Just a terribly sad fate. 

The playing is more than equal to the demands of the score, the direction sure and provocative, as the score also demands. JoAnn Falletta and the Buffalo Philharmonic have every right to be proud. If the second symphony makes you think of César Franck, well, yes. But EVER so much better.

Strauss – Also Sprach Zarathustra | Debussy – Jeux
London Symphony Orchestra; François-Xavier Roth
LSO Live LSO0833 (lsolive.lso.co.uk) 

The tone poem reached its pinnacle with the works of Richard Strauss. In fact, he once said braggingly that he could set absolutely anything to music and certainly this text that probes mankind’s place in the universe proves that point. The opening brass fanfare with the solo trumpet striking a triad C G C, (the tonic, the fifth and an octave leap) sets a tone, a motive that keeps returning and represents the big question mark, the question of existence for which there is no answer. The music then carries through all that constitutes life on earth but according to Nietzsche these are “false consolations,” distractions from the ultimate question, a “rope over the abyss” so to speak. Strauss’ melodic gifts and complex, modern orchestration shine throughout, each section different. There are some lovely highlights, like the solo violin representing Joy, but it all ends with the fatal bells ringing and everything quiets down. At the end two dissonant chords, ambiguity, tells us that there is no answer.   

The tremendous opening theme was made famous in 1968 by Stanley Kubrick in the film 2001 – A Space Odyssey, and since then it has become a favourite of conductors (notably Karajan). This latest issue is conducted by François-Xavier Roth, a very busy man all over Europe conducting several orchestras including the prestigious London Symphony, here most assuredly in top form. 

Roth is also a champion of French music, and he includes Debussy’s Jeux, a playful work which features, for example, a tennis game with the ball hit back and forth. Incidentally, the piece was a favourite of Pierre Boulez “who found in the quicksilver play of sonority, harmony and arabesque Debussy’s most sophisticated and far-reaching contribution to the artistic revolutions of the 20th century.”

Rachmaninoff – Symphony No.2
Sinfonia of London; John Wilson
Chandos CHSA5309 (chandos.net/products/catalogue/CHAN%205309)

Many music lovers are most familiar with Rachmaninoff’s Rhapsody on a Theme of Paganini, but there was a time that the most often heard and performed pieces were his Prelude in C-sharp Minor for piano and the Symphony No.2 in E Minor. This newly released CD, with John Wilson conducting the Sinfonia of London, features outstanding recordings of these two old favourites. The first ever performance of the second symphony was conducted by the composer in Saint Petersburg on February 9, 1908 and it won the Glinka Award that year, one of five Rachmaninoff received in his lifetime. 

We all know how the symphony opens, usually with a full orchestra, but Wilson has chosen to interpret the score a little differently. Instead of the dynamic sounds we’re used to, he conducts it as a more Romantic piece; perhaps it’s the balance of the strings that gives it this quality. Regardless, it didn’t take many listening sessions before I thought it sounded natural and was very comfortable with this “new-to-me” version. In truth, it sounds perfectly correct, (no shade to any other version). A sumptuous performance of the Prelude Op.3 No.2 for solo piano orchestrated by Leopold Stokowski opens the disc.  

Wilson came to prominence conducting Hollywood film scores, most notably at the Proms in London and on recordings for Chandos with the John Wilson Orchestra. More recently he has revived the Sinfonia of London, an all-star orchestra of top London musicians and has branched further afield. He is in great demand as a guest conductor in the UK and Europe, but surprisingly has appeared scarcely at all in the United States or Canada. Hopefully that will change!

Sibelius 3 & 4
Orchestre Métropolitain de Montréal; Yannick Nézet-Séguin
ATMA ACD2 2454 (atmaclassique.com/en) 

Whatever was eating Jean Sibelius, he managed to churn out a decent number of fascinating and varied symphonic works, some, more well known than others. The latter set includes the brief Third Symphony in C Major, Op.52, and the not quite as brief Fourth Symphony in (something like) A Minor Op.63. Fluid and diverse in character, they rush through a month’s worth of angst and elation in just over an hour TOTAL. None of his symphonies stretch beyond 50 minutes, and most are less than 40; it almost seems he was either too modest or too smart to restate all the moments in order, as might Bruckner or Mahler, or others adhering to classical structure without its restraint. Motif rules, but so does organic development.

There are the usual Sibelian tropes: jollity and delight in folk idioms, a sense of awe possibly induced by the Finnish landscape, grand builds to grander climaxes, and especially in opus 63, tonal freedom (not to mention dark explorations of the wandering soul). I never forget that the composer battled the bottle for most of his life.

Congratulations to the spirited and excellent Orchestre Métropolitain de Montréal, led by the supernova legend Yannick Nézet-Séguin. Were I prone to envy (yes) it would irk me to know that not only does Montreal have the Habs, but they also have two excellent symphony orchestras playing all the big repertoire, this one led by YN-S, and that other one with a similar name. The strings are particularly strong, as are the woodwind soloists, who are afforded many juicy moments. YN-S and his crew sweep us along the turbulent and gorgeous soundscapes. Bravi tutti.

Listen to 'Sibelius 3 & 4' Now in the Listening Room

Samuel Coleridge-Taylor – Piano Works
Luke Welch
Independent (lukewelch.ca) 

Samuel Coleridge-Taylor occupies an interesting place in British musical history. Born in 1875 to an Englishwoman and a Krio man from Sierra Leone who had studied medicine in London, he attended the Royal College of Music where he studied composition with Charles Villiers Stanford. By the 1890s, he was earning a reputation as a composer greatly helped by Edward Elgar – and his piece Hiawatha’s Wedding Feast premiered by Stanford in 1898, firmly secured his stature.

Included among Coleridge-Taylor’s extensive output are a number of compositions for piano and many of these are presented here on this recording performed by Toronto pianist Luke Welch. The disc is a delight!  

It opens with the five-movement Scenes from an Imaginary Ballet Op.74 (written in 1910) which immediately demonstrates Coleridge-Taylor’s affable and melodic style. These sprightly miniatures with their well-crafted phrases and inherent lyricism attest to their timeliness, as engaging today as they were a century ago.

The charming Three Humoresques Op.31 which follow are each slightly lengthier than the other compositions on the disc and demonstrate an intriguing use of harmony and chordal progressions. Throughout, Welch delivers a poised and elegant performance in keeping with the spirit of the music.

What is particularly appealing in this collection is the range of contrasting moods – for example, Intermezzo is a brief essay in pomp and ceremony while Papillon is all light-hearted exuberance demanding considerable technical skill from the performer. The Valse Suite Three Fours Op.71 from 1909 rounds out a most satisfying program.

Kudos to Mr. Welch for not only a fine performance, but also for bringing to light music that decidedly deserves greater recognition.