Three Cellos
Kenneth Kirschner
Greyfade (greyfade.com)

Recently-founded creative record label Greyfade has taken contemporary music production and financial compensation ethics to a new level; they are refusing to stream. Not on any platform will you find their presentations; they offer downloads only. As described by Greyfade’s founder Joseph Branciforte when explaining some of the reasoning behind the download-only access, he refers to the resurgence of vinyl being the most intimate, commercial-free listening experience: “…in the digital realm, we believe that the direct download model most closely mirrors this private interaction and should be the preferred mode of exchange.” By avoiding the financial dissuasions of streaming, the label is committed to an artist-led production that hopes to fairly compensate creators for their work. 

Although the hard copy of the accompanying linen-bound book was not available for this review, the PDF featured 87 pages of casually written blog-like descriptions of the process, beginning with the uncertainty of converting Kirschner’s digital composition Three Cellos to Branciforte’s painstakingly detailed transcriptions, to then being precisely interpreted by cellist Christopher Gross. The book may not be a gripping read for the average listener, but it does shed some interesting light on the process, the details and the complexities of composing and then notating from various MIDI sources. In the composer’s own words: “The primary challenge with transcribing my work is, of course, the total lack of metric structure… It’s not that the meters are strange or difficult – it’s that they’re just not there at all.”

 This album will take some gentle peeling back to reveal the qualities it hopes to share, namely the dedication and craftsmanship that was poured into this translation from digital composition to acoustic interpretation. I might have enjoyed having access to the original MIDI compositions in order to fully appreciate the transformation. The nine tracks bear similarities but repeated deep listening slowly unfolds the nuances and range of energy played with supreme skill, precision and sensitivity by cellist Gross. A standout track is Part 3, the most dynamic and accessible in form.

Melia Watras – Play/Write
Melia Watras; Various Artists
Planet M Records PMR-005 (meliawatras.com/playwrite-album)

In the midst of contemporary classical music releases that tend to bank on a cerebral approach to music, here is an album that requires listening with one’s heart. Exploring the relationship between words and music, and close collaborations with composers, performers, writers and poets, Play / Write unfolds an exquisite world in which beauty and dreams flirt with sorrow. Compositions by Melia Watras (also a superb violist), Frances White and Leilehua Lanzilotti focus on strings and involve texts by Herbert Woodward Martin, James Pritchett, Luce Irigaray and Michael Jinsoo Lim (who also plays violin) forming a close bond between what is felt and what is just implied.

The album opens with Watras’ 5 Poems of Herbert Woodward Martin (for narrator, violin and viola). Watras has a particular knack for string writing, expertly using colours and timbres to create melodic and textural vignettes that underline the flow of Martin’s wonderful poetry, spoken theatrically and amusingly by Carrie Henneman Shaw. Performances by Watras and Lim are sensuous and beautiful, particularly in Frances White’s As night falls for violin, viola, narrator and electronic sounds. This poignant piece follows the memories of the female narrator (Sheila Daniels) as she lays on her deathbed. The boundaries between a dream world and reality are dissolved with a juxtaposition of the background and foreground sounds, that is so brilliant we feel intimately involved in its setting. The music adds a visceral dimension to the beautifully simple text by James Pritchett, with string segments going in and out, conversing or lamenting, and never letting go of the intensity of the experience. Lanzelotti’s to be two for violin and viola ends the album’s sonic journey in serene surrender.

Project Earth: The Blue Chapter
Iris Trio
Centrediscs CMCCD 33924 (cmccanada.org/shop/cmccd-33924)

Newfoundland is poetry and birds and surf, rocks and accents and music. This disc, from the Iris Trio, performing the music of jazz pianist Florian Hoefner, and including the poems of Don McKay, provides a window opening into the experience of being there, reminding the listener to seek what is wild or untainted, if anything of that nature remains to be found. 

Artistic activity that attempts what Blue Chapter does, whether effectual or not, always makes me sad. Fortunately in this instance, it doesn’t also provoke grumbles; rather, I can just listen and forget that the world these artists want to help us appreciate may already be gone. Consider the lament McKay has written for the now extinct Great Auk, whose calls were described in words by naturalists; they died out before the advent of sound recording. Spoken word followed by a musical soundscape, both words and musical cries make us lament what we missed. The sadness isn’t that we don’t know what the cry was like, but that we never will. In Song for the Song of the Great Auk the pathos is undeniable. Kudos to all three players (Christine Carter on clarinet, violist Zoë Martin-Doike and pianist Anna Petrova) for their confident and calm expression. 

In his note in the liner material, McKay ruefully comments on his approximate success in staying “on cue” (“with the beat” for the musicians among us). It’s fun to imagine him struggling on the learning curve with the band, and managing at a far better rate than his self-assigned 70%. 

And there are fun tracks too, there are joyful expressions, there’s a Newfie kitchen party among the nesting birds on the islands. Forgive me for feeling Blue, but that is the colour of this chapter, the first, says the publicity material, of three. We look forward to the next two.

Walter Kaufmann – Piano Concerto No.3; Symphony No.3
Elisaveta Blumina; Rundfunk-Sinfonieorchester Berlin; David Robert Coleman
CPO 555 631-2 (cpo.de)

After fleeing Nazism in 1934, Czech-Jewish Walter Kaufmann (1907-1984) composed and conducted for radio in Bombay and films in London, then became the Winnipeg Symphony Orchestra’s first music director (1948-1957) before teaching ethnomusicology at Indiana University. When I reviewed the first-ever CD of his music (The WholeNote, September 2020), performed by Toronto’s ARC Ensemble, I wrote, “(I) hope that this superb CD will inspire more recordings of Kaufmann’s music.”

That’s exactly what happened! That CD so “fascinated” Berlin-based conductor David Robert Coleman that he decided to record four works selected from Kaufmann’s manuscripts in Indiana University’s library. Three of these works reflect Kaufmann’s studies of Indian ragas, melodies and rhythms, admiringly incorporated into his essentially European, late-Romantic compositions, just like the pieces recorded by the ARC Ensemble.

Symphony No.3 (1936) and An Indian Symphony (1943) date from Kaufmann’s years in India. Soulful woodwind solos, pulsating strings and dramatic brass and percussion recall the music of solemn Hindu rituals and jubilant dances that I heard during three trips to India. Six Indian Miniatures (1965), dominated by long-lined, wistful woodwind melodies over slowly throbbing strings and percussion, ending in boisterous revelry, testify to Kaufmann’s enduring love of India’s music. 

There’s nothing “Indian” about Kaufmann’s colourfully exuberant, Ravel-like Piano Concerto No.3 (1950), two extroverted, percussive movements framing a contemplative Andante, brilliantly performed by Elisaveta Blumina. Conductor Coleman, echoing my 2020 review, hopes this CD will help Kaufmann’s music “find the recognition it deserves.” So do I.

Ebony Chants
Paolo Marchettini
New Focus Recordings FCR402 (newfocusrecordings.com)

Ebony Chants, featuring the music of clarinetist Paolo Marchettini, is a day in the life of the second-most listenable woodwind (after bassoon). It opens with the first of Due Canti: Il canto del giorno, and closes, after much business and play, with the suitably named counterpart, Il canto della notte.

  For several works Marchettini is joined by  Meng Zhang and Ka Hei Chan on clarinet and Tommy Shermulis on bass clarinet. The parts are rotated democratically (if the listing order on the jacket indicates what it seems to). They are all excellent, and the material is mostly in brief segments lasting in the range of one to three minutes. Most delightful are his Cinque Fanfare Napoletane, which reference popular traditional melodies with affection and humour. Nothing is ever trite, although on the overly-serious side I am less of a fan of Nec Clari, a somewhat foggy multi-track overdubbing of the composer’s own playing. At over six minutes I lose attention (a product of my times, I admit), and I find his tone on bass clarinet to be less than compelling. Shermulis, by contrast, sounds terrific both as ensemble member and soloist for Entrée, a tough-sounding solo work. I’d love to hear him take a swing at Soft, Franco Donatoni’s work for the same instrument. 

Sad to say, the online jacket material includes only Marchettini’s bio details, not those of his collaborators, a detail I mentally file alongside other examples of sub-optimal digital publishing.

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Kamala Sankaram – Crescent
Kamala Sankaram; Andie Tanning; Ludovica Burtone; Joanna Mattrey; Mariel Roberts
Neuma 187 (neumarecords.org)

Listening to Crescent by Kamala Sankaram it is important not to be blinded by her use of post-production techniques and devices. Focus your attention instead on the theme of the programme: the all-too-prescient demise of humanity by its own hand raised as if in a defiant gesture aimed at mastering the fate of spaceship earth.

The programme is divided into two works – Crescent, a hypnotic and lyrical chronology of the destruction of the beautiful ecology of the planet that has forgotten its celestial creation, terrestrial beauty and artful history. Cue the poetry of W.B. Yeats here. This is en route to destruction by manufactured scientific pseudo-progress. This demise is tracked by Sankaram’s mesmerising narration of her Heat Map series, to show how over the past hundred years or so the planet is hurtling towards destruction by global warming. This part of Sankaram’s programme ends with the clairvoyant, vocal-and-percussion driven song Crescent delivered in a sotto voce wail.

The second part of the programme features Sankaram’s voice emerging through a tremendous arco introduction by a string quartet. This work is entitled 5 Rasas (rasa means essence or taste). The pregnant vibrancy of the bowed introduction redolent of bells, electronica and field recordings of the twittering songs of birds, has a mystical pastoral quality. Sankaram’s vocals emerge from this prerecorded passage like an electrifying polytonal scherzo, performed with an almost mesmeric processional rhythm.

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Takács Assad Labro
Takács Quartet; Julien Labro; Clarice Assad
Yarlung Records YAR59691 (yarlungrecords.com)

The Takács Quartet was formed almost 50 years ago in 1975 in Hungary. Now based in the United States, original member András Fejér (cello) is joined by Edward Dusinberre and Harumi Rhodes (violins) and Richard O’Neill (viola). World-renowned for their performances of traditional mainstream string quartet repertoire and some contemporary works, here they expand outside the classical realm with guests Julien Labro (bandoneon/composition) and Clarice Assad (piano/vocals/composition).

The seven compositions jump around stylistically yet still connect. Circles by Bryce Dessner begins with Labro’s calming bandoneon changing to fast florid virtuosic lines supported by contrasting strings with detached ascending/descending lines and rhythmic shots. Labro composed Meditation No.1 during the pandemic. The lyrical bandoneon plays held notes above string lines, tight conversations with strings, bellows shakes and tango stylings referencing Labro’s respect for Piazzolla and Saluzzi. 

Multi-talented Clarice Assad is represented by three works here. She composed and performs Luminous from Pendulum Suite for solo piano where the fast percussive piano start leads to modulating lines drawn from Brazilian jazz supporting her rhythmic scat-like vocalizations. Constellation is a three-movement work for piano and violin to be played in any order. The final track, Assad’s Clash, is inspired by society’s stressful social tensions. Intriguing strings at times sound like solos yet all fit together. A great mix of snippets of styles and tempi, I like the accents and string plucks making a “clash” effect, and the closing dark, grim cello and bandoneon interchanges. Intriguing works by Milton Nascimento and Kaija Saariaho are also included, making for a brilliant, wide-ranging and colourful disc.

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Messiaen – Turangalîla Symphony
Marc-André Hamelin; Nathalie Forget; Toronto Symphony Orchestra; Gustavo Gimeno
Harmonia Mundi HMM 905366 (harmoniamundi.com/en/albums/messiaen-turangalila-symphonie/)

As I was preparing this review, I learned that the long-ailing Seiji Ozawa had died in Tokyo on February 6th at the age of 88. It seems a fitting memorial then in any discussion of this centennial celebration recording from the Toronto Symphony to also honour the legacy of the musician whom Olivier Messiaen (1908–1992) described as “the greatest conductor I have known.”

Messiaen’s monumental ten-movement hymn to love was commissioned for the Boston Symphony, by Serge Koussevitzky. Leonard Bernstein, filling in for an indisposed Koussevitzky, premiered the work in 1949, though he never recorded it himself. Among Bernstein’s many conducting assistants during his legendary tenure at the New York Philharmonic a young Japanese conductor by the name of Seiji Ozawa stood out. In 1965 Bernstein called TSO managing director Walter Homburger to recommend Ozawa as an ideal candidate to replace the departing Walter Susskind. Homburger eagerly signed him up and Ozawa soon rose to international prominence, culminating in his directorship of the Boston Symphony for an unprecedented three decades. He later confided in a 1996 interview with the Globe and Mail that “Every repertoire I ever conducted in Toronto, I did for the first time in my life – Tchaikovsky, Beethoven, Mahler, everything.” 

Canada’s Centennial Commission saw fit to subsidize the landmark recording of Messiaen’s Turangalîla Symphony in 1967. It was a wise investment indeed. The acclaim this recording received promptly landed Ozawa, the Toronto Symphony and the composition itself firmly on the map of great performances. Subsequently the thoroughly hyped Ozawa eagerly suggested to Homberger that the TSO should stage a festival of Messiaen’s music. Alas, his proposal was summarily dismissed. For some reason Messiaen is a tough sell in Toronto; perhaps there is too much of a muchness about it all for some. I myself witnessed how the TSO audience trickled away in a 2008 performance (in the series “Messiaen at 100” – yet another centennial!) of this sprawling work under Peter Oundjian’s direction. Let us return to our recordings however. 

In comparison to Gimeno’s bold and impulsive interpretation, Ozawa’s tempi for all ten movements are consistently fractionally slower than their modern counterpart by an average of 30 seconds. The analog sound of the era and the rich acoustic of the Massey Hall venue lend a welcome warmth to the sound – the bass register projects wonderfully. Our modern Roy Thomson Hall is comparatively weak at those frequencies but provides greater clarity for the often dense orchestral textures. This is especially notable in Gimeno’s superbly performed fifth movement whose complicated rhythms are dispatched at a blistering pace that would have been a severe technical challenge for the musicians of the 1960s. Kudos as well to the precision of the expanded percussion section, a sterling example of what a hotbed of the percussive arts Toronto has become. 

It is also important to note that the performance is that of the revised orchestration of the work that Messiaen issued in 1990. The 2023 recording is mostly sourced from live performances and a patching session without, as far as I can tell, any digital jiggery-pokery from the Harmonia Mundi engineers. 

The Ozawa performance (originally released on vinyl in 1968) was recorded under the supervision of Messiaen himself with Yvonne Loriod as piano soloist and her sister Jeanne Loriod playing the ondes Martenot. It was remastered for a Japanese CD release in 2004 on the RCA Red Seal label and is also available on a 2016 compilation disc from Sony (88875192952). Both TSO recordings are essential components in the discography of this seminal masterpiece of the 20th century.

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Recurrence
ICOT Chamber Orchestra
Leaf Music LM256 (leaf-music.ca)

The ICOT Chamber Orchestra was founded by five Toronto-based composers and musicians of Iranian descent who set out to produce concerts that musically bridge Canadian and Iranian culture. Over the last 13 years it has produced operas, ballets and works for orchestra, chamber ensemble and voice. ICOT’s newest release Recurrence explores the many nuances of the notion of musical repetition through new compositions by Canadian composers Jordan Nobles, Nicole Lizée, Keyan Emami, Maziar Heidari and Saman Shahi. For this project ICOT consisted of strings (New Orford String Quartet), flute, clarinet, bass clarinet, upright and electric bass, piano and two percussionists. 

A notion such as repetition is an intriguing theme for a series of compositions – one which each of the composers decided to make their own via real-world lenses. Ecology, geological processes, social (in)justice, mathematics and fashion design were all themes harnessed. 

Two approaches caught my attention. Lizée cites visionary fashion designer Alexander McQueen as a direct inspiration for her Blissphemy. It reflects his work’s embrace of beauty in unexpected places and reach for artistic risks – much like the composer herself. Emami’s Kian in Rainbows is a moving musical memorial to those who died in 2022 in Iran, shot by government security forces during the crackdown on the Mahsa Amini protests. The nine-year old Kian Pirfalak was one of the victims, his memory evoking the innocence and fleeting beauty of childhood. Another sad inspiration for Kian in Rainbows: the sudden death last year of Canadian composer Jocelyn Morlock at 53.

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Primavera IV the heart
Matt Haimowitz
PentaTone Oxingale Series (theprimaveraproject.com)

I was excited to find that the new Matt Haimovitz album The Primavera Project is based on a collaboration between two great works of art and 81 contemporary composers. The dynamic and athletic cellist’s latest release is number four in a cycle of six CDs; with his vast experience in contemporary and classical music, the cellist makes this major undertaking look easy. 

The two visual works in the spotlight are Botticelli’s Renaissance Primavera (c.1480) and contemporary artist Charline von Heyl’s triptych Primavera (2020). You could just dive into the CD with no reference at all, but I would recommend starting with the website accompaniment which displays the von Heyl painting and the accompanying map of the corresponding musical chapters: The Wind, The Rabbits, The Vessel and now the fourth in the collection, The Heart. Seeds of inspiration are sprinkled on von Heyl’s painting as live hyperlinks, which then open to each playlist. A stark contrast to the Botticelli version, Von Heyl notes “Kitsch is not ironic the way I use it. Kitsch, for me, means a raw emotion that is accessible to everybody, not just somebody who knows about art. That’s where kitsch comes from to begin with: it was basically art for the people.” (evenmagazine.com/charline-von-heyl)

Haimovitz tears into every nuance of colour from the compositions, and our journey takes on many of this decade’s greatest composers and musical storytellers. Each track references a particular motif notated in either painting. Justine Chen’s playful Iridescent Gest and Nina C. Young’s pentimento for solo cello and electronics are standouts, as are Tyshawn Sorey’s edgy and cinematic Three Graces and Canadian Vincent Ho’s jazz-inspired Blindfolded Cupid (which Haimovitz pulls off as if he wrote it). The album closes with Gordon Getty’s richly melodic miniature-sonata Winter Song.

Explore the website dedicated to the project. The creative and beautiful videos include visuals of von Heyl’s work on YouTube; they bring the artwork to life, anchoring the disc within the scope of the project. Haimovitz plays with an energetic and powerful core, and a dedication to each composition that only his stunning skills could match.

Jean Derome – La chaleur de la pensee
Various Artists (including Ensemble SuperMusique)
ambiences magnetiques AM 276 CD (actuellecd.com/en/accueil)

I looked at some images from the great early surrealist artist Francisco Goya while listening to the new release of quasi-improvisatory pieces by Jean Derome. Somehow the one activity made the other more terrifying. It’s hard to express praise or admiration for this composer’s output, but the effectiveness of his creativity is undeniable. This is high-concept and/or/but high-quality artistic material. 

Derome provides a visual reference to Onze Super (petit) Totems: pictures of his own somewhat crude sculptures; protections, per the liner notes, against various evils. A through-composed sectional work, the totems are distinct sonic explorations, with one or two segues. The first one is full of mad birdsong alternating between chaotic twittering chirps and sustained chords of close treble voices, punctuated by deep huffing yells that spur the switching between those textures. 

The Tombeau de Marin Mersenne provides relief of a kind. Three movements (Tombeau, Rigaudon, Galope), materially determined by the arcane formulae of a16th century mathematician. At first blush they just seem a bit mechanical and dispassionate. Perhaps that’s the point. I’m not sure how flattered I’d be by this Tombeau if I were the ghost of Mersenne, but Derome has a fascination with the crossover of music and math. The inaptly titled Galope hobbles from slightly up-tempo to the near opposite, like a click track disturbed by the percussive interjections to continuous running hemi- or semi-quavers in the piano. 

The title track features improvisatory responses to a middle C doinked or plunked out at varying intervals, a sort of torture for any mind given to expectation. Allowing one’s thoughts to warm up around the steady pitch is a more receptive attitude. And stay away from Spanish painters.

Jürg Frey – String Quartet No.4
Quatuor Bozzini
Quatuor Bozzini CQB 2432 (quatuorbozzini.ca/en)

About his String Quartet No.4 (2021), Swiss composer Jürg Frey (b.1953) laconically observed, “My music is slow, sometimes static, often delicately shifting between standstill and movement. And yet, after more than an hour, this music has arrived at another place.” Music critic Alex Ross aptly compared Frey’s music to a “Mahler Adagio suspended in zero gravity.”

One of Canada’s leading string quartets, Bozzini specializes in contemporary music with an impressive 36 releases to date. Fostering a long and deep working relationship with Frey, their premiere recording of his sprawling five-movement Quartet No.4 is a remarkably poised musical testament to their collaboration. Beginning with whisps of sound the Bozzini morphs into a virtual, though still totally acoustic, orchestra. From pianissimo sustained string chords ghostly instrumental resemblances emerge; they sound like a French horn, harmonica, woodwinds, bandoneon and a soft pipe organ in succession. In Frey’s expansive soundscapes, timbral colour takes centre stage in the sonic field.

“… little happens – it is this atmosphere from which my music emerges and to which it always returns,” explains the composer. Listeners can choose to lay back and relax in Frey’s sound world observing the timbral transformations, the attractive chord and shifting mood changes. But then – just as we were enjoying the slowly scuttling clouds on a sunny Swiss summer day – those mysterious insistent pulsed cello pizzicati at the very end emerge to remind us of … what? … the passage of time?

Problematica
India Gailey
People Places Records (peopleplacesrecords.bandcamp.com/album/problematica)

As a huge fan of cellist India Gailey’s first album, I was lucky to be in town for the launch of her latest release Problematica (“…used for organisms whose classification can’t be decided”) at the Canadian Music Centre. I was pleasantly surprised to see that even the most heavily multi-tracked or added effects were performed solo with laptop at hand. The final product is just as polished live as it is on the album. 

A more personal work than her previous album, Gailey gathers her closest collaborators to surround herself with a musical and spiritual base which she uses to launch herself into a plural universe. Beginning with Sarah Rossy’s I Long, gorgeous ethereal, long tones expand into harmonies and voice, growing and evolving into a beautiful vocal space-out before returning to Earth, deeply grounded in self. 

Nicole Lizée’s Grotesquerie employs foot stomps, loops, vocals and breath to become, as described, “a four-minute opera” of an amusing story best read in the notes. (There is also a video on Gailey’s website.) The subtle opening of Julia Mermelstein’s Bending, breaking through layers strand upon strand of delayed and effected cello, sneaking out quietly to leave a wonderous after-vision. Joseph Glaser’s Joinery uses an interesting combination of soundwalks and nature, to culminate into a question posed to a cello made from a tree: “did it hurt?”  Andrew Noseworthy’s supremely delicate Goml_v7….Final.wav is a testament to the collaborative partnerships Gailey continues to build. Fjóla Evans’ Universal Veil is exquisitely played, beautifully layered acoustic cello. The album closes with Thanya Iyer’s — Where I can be as big as the Sun, another opportunity for Gailey to circle back to her personal grounding. The whole album is coloured in textures, harmonies and vocals that continues Gailey’s path to be open and genuine.

Wanderings
Andree-Ann Deschenes
Independent (aadpiano.com)

The peripatetic pianist Andree-Ann Deschenes, possessed of a most wonderfully restless creative instinct, has put her prodigious musicianship on the line once again. She could be forgiven, of course, for plunging herself – body and soul – into the that tumbling ocean of Brazilian rhythm. The album that results is titled Wanderings although, truth be told, this is anything but an aimless journey into the musical heartland of a country brim-full and flowing over with the most extraordinary rhythm-driven musical culture.

Displaying the mind of a wizened musical apothecary Deschenes knows exactly where to go for the ingredients that make from this music a potion so potently magical that listeners are – in one elegantly executed rippling rhythmic phrase of her left hand – permanently seduced to enter her world of “brazilliance.” This she fashions out of hands that are delicate enough to lend themselves to the wondrous colourscape of Brazilian melody and harmony – powerful enough to handle the sinewy rhythm of the forró and the maracatu, even the mysticism of capoeira. 

The pianist reveals an intimacy with the poetics of Brazilian music that often eludes even the most well-meaning musicians. Moreover, she assiduously avoids the well-worn route to Brazil, taking, instead, the road less travelled. Music such as Andanças (Cassio Vianna), Chardi Kala (Jasnam Daya Singh), Two Moons (Bianca Gismonti), Nalad Ochun (Jovino Santos Neto) – and especially – Tanguinho (André Mehmari) suggest that Deschenes bears the mark of a maverick.

American Counterpoints
Curtis Stewart; Experiential Orchestra; James Blachly
Bright Shiny Things BSTC-0200 (brightshiny.ninja)

I’m writing this quickly so I can get back to hearing the music of Julia Perry (1924-1979) and Coleridge-Taylor Perkinson (1932-2004), the two absurdly neglected Black American composers featured on American Counterpoint. Included is a brief finale from Curtis Stewart, the violin soloist for several tracks, with orchestra leader James Blachly co-curator of the album.

Both composers were recognized and successful to a degree in their lifetimes. So why does one hear about Barber and Ives and Copland and Bernstein but not Perry and Perkinson? Guess. 

It sure isn’t because they weren’t excellent at their craft. Just compare the first cut, Perkinson’s Louisiana Blues Strut: A Cakewalk with his Sinfonietta No.1 two tracks later. It would be impressive to have either piece in one’s catalogue, but having the range shown by owning both puts one in the company of the greats. With his skills in conducting and performing, the obvious comparison is with Leonard Bernstein. Two maestros, one celebrated, the other overlooked. The neo-classical Sinfonietta opens with a Sonata Allegro movement in which Perkinson deploys counterpoint that might put Copland’s to shame (but evokes Hindemith); the third movement, Rondo-Allegrf furioso, doubles down on rhythmic energy; in between he summons Romanticism à la Samuel Barber in Song Form: Largo. 

Then there’s Perry, who composed in a thoroughly modernist and individual style, had studied with Luigi Dallapiccola and Nadia Boulanger, but went largely unregarded by mid-century audiences. How audacious, to write a serious string orchestra work, Symphony in One Movement for Violas and Basses, sans violin and cello voices. Astonishing dark colour, beautiful and sad or angry utterances. All respect to Perkinson, who achieved material success as a commercial composer, but Perry’s light is brighter, or deeper. 

Fine playing by Stewart and the Experiential Orchestra. Great disc.