What Came Before Me Is Going After Me
Zihua Tan; No Hay Banda
No Hay Discos NHD 006 (zihuatan.bandcamp.com/album/what-came-before-me-is-going-after-me)

Montreal-based Zihua Tan has won many awards for his compositions worldwide, and his background as a semiconductor engineer informs his experimental sound capture design and finely articulate compositional style. 

His knowledge of amplification really shines on his debut album what came before me is going after me. Using a wide array of microphones, geophone, hydrophone and close-miking, Tan captures the finest nuances of tonalities and colours of even the most innocuous gestures, allowing his compositions to captivate without overpowering the instrumental delivery. This effect is mesmerizing and speaks to his musical philosophy of acoustic and electronic sounds being fluid and instruments being part of sonic possibilities rather than hierarchal forms as bases for sound. 

Percussionist Noam Beirstone delivers remnants present with a delicate nuance and the recording beautifully captures the work. (A video of this performance is available online and is well worth seeing, refreshingly embracing Tan’s philosophy by focusing the cameras throughout the instruments rather than on the performer.)

The second piece is the titular what came before me is going after me, a dreamy textural work in collaboration with Montréal presenter-ensemble No Hay Banda, featuring the quintet of violin, cello, voice, percussion and ondes Martenot. A work that might stretch the uninitiated to unconventional vocal sounds, Tan creates a fascinating exploration of texture and non-hierarchy of instrumentation, allowing the players to use all ways of making sound, and the listener to embark on their own personal attention unmanipulated by volume excesses or preconceived values. 

Much like the title of the work, (possibly a reference to Heraclitus, who reportedly said, “No man ever steps in the same river twice”) Tan’s creative compositions are a discovery of time and what was already there.

Nostos
Clio Theodoridis; Jonathan Nemtanu
Leaf Music LM306 (leaf-music.lnk.to/lm306)

Clio Theodorisis was born in Athens and now performs and teaches saxophone with Quebec as her base. She has won several international awards, is an ambassador for Henri Selmer Paris and performs regularly with Jonathan Nemtanu in Duo Astor. 

The liner notes for Nostos (expressing the return to one’s homeland after a long absence), state that this album’s works trace a “musical and personal odyssey. From Pedro Itturalde’s Suite Hellénique, rooted in Greek heritage, to the contemporary works of Canadian composer Mathieu Lussier, this recording tells our own story: a life between two worlds, between past and present.” 

The album begins with the five-part Ocres rouges by the French clarinetist Alexis Ciesla which “draws inspiration from Klezmer landscapes and colours.” Its Andante - Meditativo movement is sparse and beautiful. The Allegro rythmico begins with some fine percussive saxophone pad work and then launches into several thrilling passages of fast fingers and minor scale runs. Fazil Say’s Suite for Alto Saxophone showcases the full range of Theodoridis’s technique and tone. The Andante movement is a highlight of the album as the saxophone is both delicate and forceful in its treatment of the gorgeous melodic twists and ascending lines. 

Lussier’s Récit et lied, Op 31 begins with a long solo introduction that reminds us slightly of Prélude à l’après-midi d’un faune, but then moves into several other intriguing directions. The closing work, Suite Hellénique is a lively end to this diverse album. 

The performances by Theodoridis and Nemtanu are masterful and inspired as they lead us through their journey across cultures and geography.

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In Praise of Insomnia
Andy Haas
Resonant Music 022 (andyhaas.bandcamp.com/album/in-praise-of-insomnia-2026)

New York city based Canadian experimental saxophonist Andy Haas is back with a solo release. Haas’ 12 short stereo studies here (roughly 29 minutes total) are manipulated live while he is combining the saxophone, circular breathing, and nano pulsar, an electro-harmonics electronics device. It was recorded on Winter Solstice, December 21, 2025. This is such original music with detailed live and electronic sounds which deserves countless repeated listening!

The second track Long Night of Omens opens with two held single sax notes at different pitches, until both start pulsating. This idea continues with two different note short ideas with almost tonal harmonies. Sudden held notes stop and close the movement. Experimental yet very accessible. 

This Dark Land is a lower melody of held notes with some pitches slightly bent. Then comes a  sax duet with slightly different sounds at once. An almost singalong melody now until a closing decrescendo leads to a held note stop. Track 10 Sleep Less has many musical moments like ascending/descending short melodic phrases, and repeated notes with minimalistic touches. The loud repeated notes are reminiscent of an alarm clock sounding when you can’t sleep. Squeeks and short melodies to closing are reminiscent of sleepless moments.  

Haas’ musical ideas and performances here are so enchanting. He has taken troubling insomnia and musically elevated its effects with his uncomplicated live works, simultaneous layering sax playing with superimposed electronic additions in easy to listen to modern music.

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From the Soul
Frank Morelli; Wei-Yi Yang; Janna Baty; Callisto Quartet
Musica Solis MS202602 (musicasolis.com/from-the-soul-frank-morelli)

From the Soul is a collection of five chamber pieces for bassoon, three with piano, one with mezzo-soprano and one with string quartet, recorded by the American bassoonist Frank Morelli. Morelli is one of the top teachers of bassoon in North America, having taught for many years at such places as Yale, Juilliard, and even at our own Glenn Gould School, and his playing credentials include groups like the Orpheus Chamber Orchestra and the Chamber Music Society of Lincoln Center. He’s a player in demand and you can hear why on this disc: lots of fluidity on the instrument, and lots of expression. Some listeners might find the vibrato excessive, but life is short and I’ll always support the goal of more expression, not less. 

Morelli leads off the disc with Elegy for Innocence by Jeff Scott, an episodic and lyrical piece with some very pretty moments. The best music here comes from Wynton Marsalis and his 1999 jazz-infused piece Meeelaan written in three movements for bassoon and string quartet: some nice grooves, impressive turns of phrase and even some gritty moments where the normally mellow bassoon gets downright raunchy. My favourite piece on the album is Prayer, written in 2022 by Nirmali Fenn, in which the composer evokes the exotic sounds of the duduk, and the inside-the-piano effects are fascinating. The Callisto Quartet sounds cohesive and compelling on this disc, as does Morelli’s dramatic and expressive pianist Wei-Yi Yang.

Bow & Brush – 12 Scores of Nadina Tandy
Stefan Smulovitz
Redshift Records TK548 (stefansmulovitz.ca)

Vancouver multi-instrumentalist and technology artist Stefan Smulovitz is known throughout the west-coast as a diverse musician, collaborator and organiser, and founder of the ensemble Eye of Newt, a group creating live scores to enduring movies. Inspired by a series of painted images from visual artist Nadina Tandy designed to be interpreted musically, Smulovitz has released his first album Bow & Brush: 12 Scores of Nadina Tandy. Using his diverse experiences as a multi-disciplinary artist, violist, sound artist, electronic creator and improvisor, as well as the creator of his own software Kenaxis, Smulovitz gathers together a full album from what was originally a single commission from Vancouver New Music’s One Page Scores program (visual artists were invited to create a one-page visual score to be interpreted by a partnered musician). Smulovitz went on to commission 11 further visual scores from Tandy to create this album.

Suffused with electronic extensions and additional soundscapes, Smulovitz expands his colours and expressions into multitudes of hues and textures from various sources: playing acoustic violin, viola and bass, with the addition of Dvina, Enner, Lyra, Noon, Perkons, Waterphone, gongs, and layers of electronic treatments and instruments. The result is a cinematic audioscape one might describe as “ambient grunge.” The album comes with a booklet of Vancouver-born Tandy’s abstract paintings, which may enhance the listening experience and are worthy on their own. My favourite track is Maple Seed Pods, a slow, grounded course of water drifting out to a wide expanse of light.

From Dusk Till Dawn
Dobrochna Zubek; Caitlin Boyle
Redshift Records TK 570 (redshiftmusicsociety.bandcamp.com/album/from-dusk-till-dawn)

Hamilton-based violist Caitlin Boyle and Toronto-based cellist Dobrochna Zubek collaborate in 13 short pieces, most of them composed for this pairing of instruments.

Rebecca Clarke (1886-1979) was herself a virtuoso violist; her Viola Sonata ranks among today’s most-often performed, alongside the two by Brahms. Her Two Pieces, Lullaby and Grotesque, are respectively dreamy and mischievously brusque.

Before joining the modernist avant-garde, Witold Lutosławski (1913-1994) drew inspiration from traditional Polish folk melodies and dances, as heard in the five miniature pieces that make up his Bucolics for piano, here arranged by Boyle and Zubek. The fourth, a soulful, songful Andantino, is especially lovely.

The engaging pizzicato-dominated Limestone & Felt by American Caroline Shaw (b.1982) begins with unpredictable dancing syncopations before shifting to sustained, slow, pensive pulsations. (The title, writes Shaw, refers to hard and soft surfaces.)

In the duo’s arrangement, Song of Ophelia from Seven Verses of Alexander Blok, Op.127 by Dmitri Shostakovich (1906-1975), originally written for soprano Galina Vishnevskaya and her husband, cellist Mstislav Rostropovich, retains its haunting sense of sorrowful plaintiveness.

The Break of Dawn by the cellist’s father, Andrzej Zubek (b.1948), progresses gradually from darkness to light, encountering subtle touches of Gershwin and Viennese waltz along the way.

A moody Prelude, sprightly Gavotte and warm-hearted Berceuse from Eight Pieces, Op.39 by Reinhold Glière (1875-1956) end this entertaining disc. Lasting only 33 minutes, the CD left me wanting much more entertainment from this very talented pair of musicians.

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Thomas Adès – The Exterminating Angel Symphony; Violin Concerto
Leila Josefowicz; Minnesota Orchestra; Thomas Sondergard
Pentatone PCT 5187 487 (pentatonemusic.com/product/ades-the-exterminating-angel-symphony-violin-concerto)

Thomas Adès has had one of the more successful compositional careers in England for at least 25 years now, with compositions in all forms, including three operas. He has written many orchestral pieces in unconventional forms, and his style seems unpredictable, but always holds the attention with surprising musical gambits and constantly spectacular and very personal orchestration.

The Violin Concerto from 2005 has now been recorded at least three times, including an out-of-print EMI disc by violinist Anthony Marwood with the composer at the podium. This latest production, featuring the high-octane Canadian-born Leila Josephowicz accompanied by the under recorded Minnesota Orchestra with their new chef Thomas Søndergård, offers the most  compelling treatment. Slightly faster, this performance fulfills the stratospheric demands of the score which are handled with quicksilver dexterity and a deft expertise by both soloist and orchestra.

The main work here is the debut recording of the symphony Adès has extracted from his last, phantasmagorical opera, commissioned by the Met: The Exterminating Angel inspired by the eponymous surrealist film by Louis Buñuel. This symphony provides a sampling of some of the tumultuous music from the opera. The first two movements are derived from the restless orchestral background score which evades and overwhelms the listener. The last movement ends up as an almost wild waltz. The orchestral performance and recording here are focussed and very clear in the orchestra’s famous unobtrusive acoustic. This enterprising, very successful disc heralds Pentatone’s arrival to record this group and their new conductor in the cleanest most direct sound. May they continue with the enterprising repertoire.

Prophecy: Tüür; Korvits; Vasks
Ksenija Sidorova; Estonian Festival Orchestra; Paavo Järvi
Alpha Classics ALPHA1198 (outhere-music.com/en/albums/prophecy)

Prophecy, performed by renowned Estonian conductor Paavo Järvi and his Estonian Festival Orchestra comprised of his handpicked musicians, and Latvian solo accordion superstar Ksenija Sidorova, who has collaborated with Järvi for over ten years, pays tribute to Baltic Estonian and Latvian music.

Prophecy (2007) by Erkki-Sven Tüür for accordion and orchestra, a work in four movements played without pauses, explores the concept of the Seer, a person who can see the future but is often despised by the society in which they live. The opening has the orchestral holding slow soft notes and building in volume, then soft again,  blending with Sidorova’s virtuosic accordion playing. An accordion bellows shake creates dramatic rhythmic sense with loud orchestra playing.

Tõnu Kõrvits’ four movement Dances (2024) opens with I. Darkness containing quiet held notes on the accordion to short silence to contemporary dance flavoured full orchestral crescendo and upfront accordion. Closing full “band” decrescendo to soft accordion is breathtaking. II.Passacaglia is serious with big volume changes. Accessible sounds in III.Siciliana. Closing IV. Sarabande is loud with orchestra, percussion and accordion rhythmic lines to unexpected accented closing. Pēteris Vasks’ The Fruit of Silence (2007), inspired by a prayer by Mother Teresa, is arranged by George Morton for accordion, vibraphone and string orchestra. Sidorova’s beautiful musical high single note melody followed by vibraphone solo, and orchestral and accordion accompaniments are mellow, calming and reassuring. These two works were performed live in Toronto with the Toronto Symphony Orchestra, Järvi and Sidorova October 31 through November 2, 2025.

Järvi’s passionate conducting draws out tight orchestral and accordion performances in this clearly recorded release with contrasting blasting and subtle sounds. Hästi tehtud -- well done!

Arid Landscapes
Noah Franche-Nolan; Dan Pitt
Signal Chain Records SC001 (aridlandscapes.bandcamp.com/album/arid-landscapes)

As a fan of Toronto jazz guitarist Dan Pitt’s minimalist solo album Monochrome: Songs For Travel, I was richly rewarded by his new duo’s debut album Arid Landscapes with Vancouver pianist Noah Franche-Nolan. Ten tracks of deep explorations into expressive treatments of both instruments unfurl delicate nuances of artistry; the resulting partnership is so immersive I found myself at times forgetting I was listening. It’s not clear how much of the music is written vs improvised (my hunch is a lot of both). As with many creative partnerships during the COVID era the pair began by exchanging recordings online before meeting up in person, adding electronics both live and in post-production. The resulting project is a warm and enveloping creative journal leaning at times toward textural soundscapes, blossoming into a beautifully sparkling album I could not put down. 

I love the pairing of acoustic piano and guitar delays in the fantastical explorations of RTMK. Weathered could be a soundtrack for a moon-landing, feeling spontaneous yet grounded in harmonic notes and textures of the guitar’s reverse delays with acoustic piano. Summerhill‘s supremely subtle shifts in tones might be my favourite track of the album, along with the shimmering closer The Optimist. 

I’m inspired by players who have so much trust in each’s skill and alignment that it shows in their patience in each other, giving time for the development and refining of each idea. This was beautifully supported by the mastering by François Houle, keeping the authenticity of the duo’s intertwining electroacoustic rhythms and acoustic explorations perfectly balanced while ensuring the buoyancy and liveliness of this new project is clean and fresh.

Linda Catlin Smith – The Complete Piano Solos (1989-2023) Volume One: The Plains
Cheryl Duvall
Redshift Records TK565 (redshiftmusicsociety.bandcamp.com/album/linda-catlin-smith-the-complete-piano-solos-1989-2023-vol-1-the-plains)

Most music is best appreciated and understood when listened to intently and without distraction. Opportunities for such immersive and focussed listening experiences are, however, increasingly rare in our complicated and busy lives. The Plains, a single hour-long piece for solo piano composed by the American-born Canadian composer Linda Catlin Smith, comprises this entire 2025 album of the same name, is such a composition that not only benefits from such intense listening but demands it from its audience.  

Released on Redshift Records and performed here with aplomb by the Toronto-based pianist Cheryl Duvall, The Plains unfurls over some 65 exquisite minutes, drawing listener attention to the probing nature and soft intensity of this unique piece. Duvall, who has commissioned a series of hour-long compositions from Smith and other Canadian composers, clearly has the training and well-honed skill of interpreting fine contemporary music, as well as the ability to move freely across style and discipline that is needed to tackle an ambitious project such as this. 

Punctuating a relationship that began in the early 2000s when Smith was Duvall’s professor for a contemporary composition course at Wilfrid Laurier University, the process of recording The Plains inspired the pianist to take on Smith’s complete piano catalogue. As such, Vol 1. The Plains, which is available for purchase on Bandcamp, marks the initial foray, with three subsequent volumes forthcoming. Be on the lookout for those and enjoy. 

Re/String
Adam Cicchillitti; Steve Cowan; Collectif9
Leaf Music LM298 (leaf-music.ca/music/lm298)

Whoever said that nothing good ever comes from conferences clearly has not heard the music on Re/String. The CC Duo, composed of Canadian guitarists Adam Cicchillitti and Steve Cowan, joined forces in 2019 at the 21st Century Guitar Conference in Ottawa with the goal of exploring the bleeding edge of classical guitar in both performance and on record. And that they do.

 Here, on this 2025 release from Nova Scotia’s Leaf Music, the duo is joined by Montreal’s collectif9, a nine-piece string ensemble under the artistic direction of Thibault Bertin-Maghit, to creatively mine a fresh program of new musical work by a largely Canadian collection of exciting composers that includes Amy Brandon, Kelly-Marie Murphy, Patrick Roux, Bekah Simms and Harry Stafylakis. The music is both beautiful and engaging but also dark, creative, and exploratory, challenging Cicchillitti and Cowan to stretch the limits of their already considerable technique with virtuosic finger-style passages, percussive playing, alternate instrumental tunings, and cross-genre stylistic leaps that traverse the worlds of classical, rock, and even heavy metal. 

 A highly fêted group who has already been recognized with multiple awards at the prestigious Guitar Foundation of America’s International Ensemble Competition, Re/String will undoubtedly mark another creative and commercial success for this impressive duo who are committed to touring and keeping alive this vibrant collection of exciting new string music.

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Found Objects | Sound Objects
Marc-André Hamelin
Hyperion Records CDA68457 (hyperion-records.co.uk/dc.asp?dc=D_CDA68457)

I should disclose that I have been a follower of this artist for several decades, even before he came full time to Hyperion. Marc-André Hamelin has followed a process of constant refinement of his unique set of assets and musical strengths. He has a recent disc of Beethoven’s Hammerklavier sonata, and now we have a collection of thorny, magnificent items that hover beyond traditional harmony, and explore challenging new forms of pianistic expression. 

This new disc has perhaps one of the most impressive programs in recent years, and it seems to extend the challenging tone of his recent album of his own compositions, with seven pieces by six composers, many of whom are not generally familiar, plus one new item by Hamelin himself.

Frank Zappa starts the program with Ruth is Sleeping which is quite atonal and sets the tone of a searching modernism found in most of these pieces. Salvatore Martriano’s Stuck on Stella is full of pianistic surprises, but the third item Tip by John Oswald from 2021 is waywardly tonal, and it lapses into sudden snippets of hackneyed piano repertoire by composers such as Chopin and Ravel, that are woven into the texture but only as wisps of quotes that suddenly appear and dissolve without any development. This can be heard as a crossover piece, but there may be irony in the bluntness of the quotes.

In the middle place we get a John Cage piece for prepared piano, The Perilous Night, from 1944, which reduces and restricts the enormous pianistic potential to the scale of a tiny percussion ensemble, sometimes evoking a Gamelan, in simplistic rhythmic music that conjures primitive folk elements. The pianist plays percussively and is given many little rhythmic twists and changes, and there are no tunes or harmonies. 

For me the major interest is Stefan Volpe’s hyper-complex tour-de-force Passacaglia, from 1936, revised in 1971, which seems to cram in every possible compositional device which Hamelin manages with perfect expressive poise in spite of the torrent of notes. Another 14-minute complex musical organism is the Refrain by Jehudi Winer, a friend of Hamelin’s, which has a sense of very personal commitment. This piece from 2012, is one of my favourites with moments of a kind of lyricism.

The final Witches Sabbath, Hamelin’s own Hexxensabbath, seems an absolute release of fury, and frenzied dancing, and is almost a stunt in its complete abandon at banging at the piano the way I never thought possible from this always poised artist.  

The piano sound is, as usual with Hamelin, sumptuous and rich. I urge this collection for anyone who is ready for a bracing wake-up, since the program can have an eruptive effect on one’s disposition.

Songs for Glass Island
Experimental Music Unit and Camille Norment
Redshift Records TK569 (redshiftmusicsociety.bandcamp.com/album/songs-for-glass-island)

Songs for Glass Island unfolds as a continuous 50-minute soundscape divided into ten songs although the work behaves like a single evolving organism in two parts. Its conceptual spark comes from Robert Smithson’s unrealized 1969 land-art proposal to encrust Miami Islet in the Salish Sea with 100 tons of tinted glass, a project eventually abandoned due to public opposition. Rather than illustrating the idea, the artists imagine the acoustic life of such a place: the resonances and spectral ecologies that might arise from a glass-covered island.

Created by Camille Norment with Experimental Music Unit members Tina Pearson, George Tzanetakis and Paul Walde, the album immerses the listener in the raw, elemental acoustics of glass—shattered, bowed, blown, rubbed and coaxed into states that feel both organic and otherworldly.

Part I opens with a burst of shattering textures that gradually dissolve into long, breath-infused tones. Low, whale-like undulations emerge for an extended sequence, with higher gestures appearing as counterpoint. The soundscape then shifts into bell-like and whistling tones in close harmonic clusters before giving way to rougher grating timbres. Part II enters in stark contrast, with spacious, resonant bell-like tones. Gradually, short articulations gather in layers over a low-register drone, bringing this glass-born world to a close.    

Throughout, the absence of electronic processing heightens the music’s intensity. Songs for Glass Island is a rare achievement, an acoustic world of glass rendered with breathtaking imagination and precision.

From Grimsby to Milan
Gayle Young; Robert Wheeler
Farpoint Recordings fp104 (farpoint.bandcamp.com/album/from-grimbsy-to-milan)

From Grimsby to Milan is six avant-garde experimental, eclectic, at times loud/stormy, instrumental improvisations. Canadian composer, multi-instrumentalist, author and instrument designer Gayle Young (Grimsby, ON) plays her invention, the acoustic Amaranth, a microtonal zither that features 21 steel strings and 3 double-bass strings using a mix of guitar tuning pegs and triangular wooden bridges for tuning. American Robert Wheeler (Milan, OH), former Pere Ubu band synthesist, plays the electronic 1960s analogue synthesizer EML Electrocomp 101. Young and Wheeler first collaborated in a 2008 Toronto performance. This release was recorded in spring 2024 at Hamilton’s Grant Avenue Studios.

It may be difficult for some to enjoy this music but give it a try! Seaweed Slowly Shifting starts with single held notes, ripples, and high notes, then Young playing softer with pizzicato. More electronic louder held “in tune,” sometimes wobbling, notes move above string plucks and quasi melodies. Electronic drum-like banging leads to a relaxed decrescendo ending. Iceberg Star Chart starts subtly with lower held electronic notes below Young’s strums. A short silence is followed by high held notes and bangs; string strums with electronic backdrop of high notes and “watery” effect. Clear separate blending lines each match changing louder volumes making for accessible listening. Then a gradual more atonal low pitched zither solo melody. Ripple effect enters with an ascending line, electronic interjections and a sudden ending.  

These improvised duets vary from unified and close to contrasting, distant, detached tonal/atonal lines. Wheeler’s intriguing synthesizer percussion, howls, birdy chirps and sound bursts, and Young’s colourful sounds are majestic, breathtaking, attention-grabbing and smart!

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György Kurtág – Játékok
Brigitte Poulin
Leaf Music LM 302 (leaf.music/music/lm302)

Now 99 years old, György Kurtág has been writing tiny pieces for piano since 1973, gradually accumulating these miniatures into ten volumes of Játékok (“Games”). They are gaining increasing attention from major pianists, with excerpts recorded by Leif Ove Andsnes (2009) and Vikingur Ólafsson (2022). This year has now seen two releases dedicated exclusively to selections of these works: a two-disc set from Pierre-Laurent Aimard appeared in April, and October saw the release of a single-disc survey from Montreal-based Brigitte Poulin.

The 50 pieces on Poulin’s album range in length from 21 seconds to a little under three minutes, and include several world-premiere recordings. In these “Games,” Kurtág was inspired to explore sounds on the piano just as occurs with “children playing spontaneously, children for whom the piano still means a toy. They experiment with it, caress it, attack it and run their fingers over it.” Poulin is attuned to the intensity and variety Kurtág brings to these pieces, creating whole moods in just seconds of music. They range from playful to gentle, mournful to energetic, capable of communicating deep emotion in only a few moments and often in only a few notes.

Poulin’s range of sound is wide, from the most delicate pianissimi to resonant chordal clusters, fully attuned to Kurtág’s immense sound palette. She is attentive to Kurtág’s instructions when the music is notated precisely, but also creative when the composer provides only an approximate graphic notation. Listen to the sparkle of Thistles, the contrasts in Scherzo, and the quiet intensity of Quiet Talk with the Devil to get an idea of Poulin’s range and naturalness in this music. 

Whether sampled a few at a time, or taken together as a 70-minute suite, this recital is an impressive achievement that should be heard by all admirers of contemporary piano music.

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