Silvestrov – Requiem für Larissa
Solists; Chor des Bayerischen Rundfunks; Münchner Rundfunkorcheste; Andres Mustonen
BR Klassik BRK900344 (naxos.com/CatalogueDetail/?id=900344)

Valentin Silvestrov, Ukraine’s best-known living composer, wrote Requiem for Larissa in 1999 in response to the sudden death of his wife, Larissa Bondarenko. It’s a work of devastating beauty. 

Musical references to Silvestrov’s life with Bondarenko, a musicologist, reveal how deeply personal this work is. Yet it pulls us into the sweep of historical events. This new release, still just its second recording, was made in 2011. Today, with the attacks on the 85-year-old composer’s beloved homeland by Russia, Silvestrov’s Requiem resonates even more deeply. And the significance of this recording grows.

The searing fourth movement, Goodbye, O World, O Earth, Farewell directly recalls the fifth song from Silvestrov’s mesmerizing cycle for baritone and piano, Silent Songs. Here it’s a tenor who sings the poignant lament, set to an excerpt from The Dream by Ukraine’s national bard, 19th-century poet Taras Shevchenko. Andreas Hirtreiter communicates the composer’s pain and longing while heeding his constraints on interpretive flourishes.

The remaining six movements are set to sacred texts from the Latin Mass for the Dead. But Silvestrov has extracted fragments and jumbled them up. In the Agnus Dei, he revisits one of his strangest and most wonderful piano pieces, The Messenger. Invoking Mozart in style and spirit, it arrives mysteriously, an enigmatic dispatch bringing consolations from another world.  

A stirring performance by the Bavarian Radio Choir and the Munich Radio Orchestra under the adventurous Estonian conductor Andres Mustonen puts Silvestrov’s evocative harmonic shifts and uncanny colours into urgent focus.

Edie Hill; Michael Gilbertson – Born
The Crossing; Donald Nally
Navona Records nv6449 (navonarecords.com/catalog/nv6449)

When classical radio stations seem agog with a cappella choral music who can fault them? After all, listening to human voices singing in multi-layered harmony sans instrūmentum is, indeed, irresistible. But when you are led to believe that the world of a cappella music is Voces 8 and, seemingly, no one else, surely something is amiss? I mean what about The Crossing directed by the masterful Donald Nally? What indeed…! 

Consider the album titled Born featuring the work of the same name bookended by Returning – both by Michael Gilbertson – with a revenant interpretation of Edie Hill’s Spectral Spirits nestling in between. The two latter works have been commissioned specially for The Crossing, who return the favour with a magical performance from start to finish.

Gilbertson’s work is a mystical and transcendent fit for this mighty vocal ensemble. Nally and the singers navigate both works with absolute mastery. Born is an appropriately meditative unravelling of the evanescence of life. The gossamer-like Returning weaves epic narratives inspired by David and Jonathan. Hill’s Spectral Spirits dwell in light and dark. Perhaps they even summon the spectral shadow of Gérard Grisey.

Nally lets this music unfold with sumptuous expansiveness throughout. The polyphonic lines gracefully reveal themselves in this opulent recording. The singers of The Crossing produce a rich and wonderfully balanced sound, marvellous depth in the basses and a delectable fluidity in the sopranos. Truly this is a choir of great distinction.

Between Worlds
Donna Brown; Margaret Maria
Centrediscs CMCCD 30522 (cmccanada.org/shop/cd-cmccd-30522)

Between Worlds is a collaboration between composer-cellist Margaret Maria and soprano-poet Donna Brown. With poems set specifically to music and others adapted into music to fit a theme, the creators tell us that this project “uses words and music to explore the tension between Thanatos and Eros via a symbolic journey from Sunset to Sunrise.” 

In a series of eight movements set for soprano and cello orchestra, Sunrise, Fall, Lady Moon, Snakes and Demons, Caught Between Worlds, To Grasp Time, Sunset and One, aim to awaken listeners to their inner and higher states of consciousness, make sense of the world, and, ultimately, search for light and peace with an open heart. 

The movements each display styles and techniques that vary greatly, the voice moves from spoken (Sunset) and declamatory to complex extended vocals, while the cello(s) are at times thin, scattered and sparse (Sunrise, Sunset) or veer into more complex extended instrumental techniques (Snakes and Demons) and playing ponticello (Fall). The cello orchestra is created by Maria who overdubs the different cello parts.

Donna Brown teaches voice at the Conservatoire de Musique de Montréal and her recordings have won several awards. Margaret Maria is a graduate of the Curtis Institute of Music and has played on numerous Canadian and international stages. Between Worlds received its world premiere in 2019 by the Ottawa Chamber Orchestra with a full complement of strings.

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Romances Inciertos – Un autre Orlando
Nino Laisné; François Chaignaud
Alborada editions ALB002 (alborada-editions.com)

In 2020, choreographer/dancer/singer François Chaignaud and stage/musical director/arranger Nino Laisné, along with their four virtuoso instrumentalists, recorded this high-quality in-studio release based on their show Romances inciertos, which they have toured internationally since 2017. The three-act dance stage show has Chaignaud and instrumentalists perform on stage together. Un autre Orlando is in three Acts, each featuring a popular traditional Spanish figure respectively – warrior maiden, archangel, and gypsy – set to centuries spanning Spanish musical traditions.  

The band is a tight musical unit. Opening Act I is Laisné’s arrangement of Astor Piazzolla’s tango/pasacalle Tristeza de un doble A (1973) featuring bandoneonist Jean-Baptiste Henry’s calm rendition leading to intensity building of fast virtuosic lyrical lines above the other instruments. Act II’s Nana de Sevilla is a popular cradle song, with Romantic-flavoured instrumental improvisations using rubatos, held strings and fast lines, followed by the popular Baroque Folias, an improvisation driven by Pere Olivé’s percussion beats. Chaignaud also sings falsetto, and normal voice, in select songs like his well-placed lower-pitched vocals-to-strings backdrop by Daniel Zapico (guitar and theorbo) and François Joubert-Caillet (viola da gamba) in the Act III opening 1936 zambra, La farsa monea. Laisné’s arrangement of the popular coplas, La Tarara, closes the show featuring Chaignaud’s emotional higher-pitched vocals.

Other Spanish musical styles on display include processional marches to Sephardic laments, folk music to zarzuela, all arranged and performed to perfection. This is a successful, timeless leap from theatre stage to a 16-track audio recording!

Being Golden
Suzanne Shulman; Erica Goodman
Wolftone (shulmangoodman.bandcamp.com/album/being-golden)

Leading Canadian musicians on their respective instruments, flutist Suzanne Shulman and harpist Erica Goodman first played together in 1972. They’ve since enjoyed illustrious careers, performing with several generations of musicians. To commemorate their abiding musical friendship they commissioned Canadian-Scottish composer Eric N. Robertson to write The Rings to serve as an eight-movement centrepiece of Being Golden, their latest joint flute and harp album.

Robertson’s The Rings not only celebrates Shulman and Goodman’s 50th anniversary, but also the golden wedding anniversary of Shulman and her husband Peter. Robertson’s music features colourful arrangements of Scottish rhythms and dances such as reels and strathspeys arranged in a straightforward manner. Geometry of Love (Bells), the title of the final movement, takes an entirely different tack. The strikingly effective interpretation of change ringing (the practice of ringing a set of tuned bells in a sequence) is an outstanding track.  

The balance of the record is devoted to French repertoire for the two instruments. Eloquently composed short works by “impressionist” composers Claude Debussy and Maurice Ravel follow the retro-sounding and peppy 20th-century works by neoclassicists Jacques Bondon and Jean Françaix.
Four pensive works by Ravel defiantly alter the album’s mood, particularly the concluding Deux mélodies hébraïques. Shulman shines in a melismatic near-vocalise in Kaddisch, while the all-too-brief L’énigme éternelle questions the puzzle of existence with bi-tonal passages and a repetitive accompaniment. Is Ravel suggesting that pursuing the topic is futile? Whatever the answer, there’s much to listen to, think about and enjoy here.

Bach Concertos
L’Harmonie des saisons; Eric Milnes
ATMA ACD2 2853 (atmaclassique.com/en)

The talented combination of Quebec-born viola da gambist Mélisande Corriveau and American harpsichordist and conductor Eric Milnes is a truly fortuitous one, which 12 years ago resulted in the formation of the Baroque ensemble L’Harmonie des saisons. Founded in Granby, Québec the group has since earned considerable critical acclaim and has appeared at festivals throughout Canada, the United States, Europe and South America, and has been the recipient of two Juno and two Opus awards. This newest recording presenting an all-Bach program is further evidence of the group’s merit.

The Concerto for Two Violins BWV1043 and that for solo violin BWV1041 were probably written for a concert series Bach organized as the director of the Collegium Musicum in Leipzig. Soloists Julia Wedman (from Toronto’s Tafelmusik) and Jessy Dubé (with Wedman in the solo concerto) deliver stylish and spirited performances, the phrasing always thoughtfully articulated, while the ensemble provides a solid partnership.

The Concerto BWV1055 is most often performed on a keyboard instrument, but scholars indicate that it was probably originally scored for oboe d’amore as is heard here. There is much to admire in oboist Matthew Jennejohn’s bright and clear tone both in this concerto and in BWV1060 where he’s joined by Wedman.

Milnes takes his place at the harpsichord for the Concerto in D Major BWV1054, the third of seven Bach wrote for solo keyboard. Here, soloist and ensemble are a formidable pairing with Milnes playing with a solid assurance and the slow movement particularly well rendered.

Fine sound quality further enhances a fine performance of some familiar repertoire. Bien fait, one and all – let’s hear from you again.

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Mozart – Complete Piano Sonatas Vol.2 & 3
Orli Shaham
Canary Classics CC21 (canaryclassics.com)

For trumpeters studying and performing Western Art Music, at a certain point the extant literature of canonic repertoire gets somewhat thin. “How many times,” a classical trumpeter may ask themselves somewhat frustratedly, “do I need to perform the Brandenburg?” This is not so for pianists who have what seems like a bottomless pit of challenging, crowd-pleasing and technically instructive repertoire to mine as part of their studies or professional concertizing. As such, it is inspiring when you encounter a pianist, such as the talented and newly minted Juilliard faculty member Orli Shaham, who has taken on the yeoman’s task of releasing multiple-disc Mozart recordings in order to put her own stamp on this well-known and beloved music, and establish herself, as The Chicago Tribune noted, as a “first-rate Mozartean.” 

With her latest double-disc release, Complete Piano Sonatas Volume 2 & 3 on the Canary Classics label, listeners find the gifted musician in fine form, picking up from where she left off with volume one and setting the stage for the remaining recordings to be released next year. Exhibiting a deft touch and the sort of keen eye for specific nuance and detail that these piano sonatas require, fans of top-shelf-piano performance and solo classical repertoire will find much to enjoy here. Particular mention should be made to the beautiful sound, acoustic purity and recorded 24-bit capture of Shaham’s Steinway at Mechanics Hall in Worcester, Massachusetts. 

Fanny and Felix Mendelssohn
Kaleidoscope Chamber Collective
Chandos CHAN 20256 (chandos.net/products/catalogue/CHAN%2020256)

The sting of Richard Wagner’s bitter anti-Semitic missive had a numbing effect on the true appreciation for Felix Mendelssohn’s music. It was probably worse so for Fanny Mendelssohn who had to also deal with the patriarchy of European society, not dissimilar to the lack of recognition for Clara Schumann among other women of the period.       

The repertoire performed by the Kaleidoscope Chamber Collective proffers a snapshot of filial Mendelssohn genius. Think then of this recording of chamber works as the most recent delectable musical presentation of Mendelssohnian hors’d’ouevres; the suggestion also being that (hopefully) there is much more to come. 

Kaleidoscope give a touchingly emotional account of Fanny’s String Quartet in A-flat Major H-U 55 whose harmonic richness and subdued melancholy reveal both a debt and contrast to her brother’s exquisite way with form and structure. Her later Trio in D-Minor Op. 11 H-U 465 displays a remarkably wide range of touch and timbre especially magical in the whispered delicacy of its Lied movement.

Felix Mendelssohn’s Sextet in D Major, Op. post. 110 MWV Q 16 came a whole year before his revolutionary String Octet in E-flat Major. Like its worthy successor, what clinches the greatness of this sextet is the buoyant jubilation and tight fugal construction, which gives it a power equalled by few other finales in chamber music. This is beautifully fresh and energetic music-making from a quite extraordinary ensemble.

Notebook – Chopin & Janáček
Domenico Codispoti
Eudora Records EUD-SACD-2203 (eudorarecords.com)

As a teenager, when I was doing my best to convince myself that I liked to smoke clove cigarettes, wear vintage secondhand clothing and watch the “artsiest” of art films at the Revue, Fox or Carlton Cinemas, I remember liking Philip Kaufman’s The Unbearable Lightness of Being with Daniel Day-Lewis and Juliette Binoche. Upon initial viewing, I subsequently rushed out to get my hands on Czech beer and a well-thumbed copy of the original Milan Kundera novel, released a few years before the film. And while much was memorable about that movie, I remember being particularly struck by how effectively the film used music (almost exclusively Leoš Janáček’s On an Overgrown Path). Accordingly, it is nice to rediscover Janáček’s haunting cycle of piano pieces, paired here with the 24 Preludes of Frederic Chopin, for a satisfying new release on Eudora records. 

Although their lives almost overlapped briefly – Chopin died in 1849 while Janáček was born in 1854 – they did not. That said, the extraordinary compositions and musical talents of the more famous Polish composer and those of the Czech composer and theorist are united here in the capable hands of Italian pianist Dominico Codispoti. If, as the liner notes to this terrific new recording suggest, Codispoti views himself as a kind of earthly vessel through which the music and composer intentions flow while guided by Chopin’s ghosts and demons, as well as, one supposes, Janáček’s spirit leading him down a silent street in Moravia, 2022 auditors are encouraged to listen in on these two master composers presented in this most excellent translated form.

Franz Liszt – Rhapsodies, Etudes and Transcriptions
Sophia Agranovich
Centaur Records CRC 3955 (centaurrecords.com)

Now here is a disc I would listen to over and over again, never wanting it to end. An award-winning very talented Ukrainian-American pianist, Sophia Agranovich plays Liszt as it should be played, totally imbued in Romantic spirit and with “interpretation daring to be different” and “superior musicianship” (American Record Guide). Funny, I remember British critics around the 50s who poo-pooed Liszt, held him second rate and overtly emotional. They should eat their words when they hear this performance.

This is her tenth release and entirely devoted to Liszt showing the many sides of the composer’s genius and all devilishly difficult pieces. Imagine a Budapest cafe with an ever present gypsy (Roma) band and the lead violinist coming to your table and playing his heart out for your wife or girlfriend. This is what we hear when Agranovich plays the slow middle section of Hungarian Rhapsody No.6. The style is unmistakeably Hungarian with the rubatos, hesitations, sudden eruptive accelerandos and syncopations and we even hear the tremolo of the cimbalom in the background. It’s interesting that then she chooses the slow, quiet, melodic No.13, seldom performed but in her hands probably the most beautiful of all the Hungarian Rhapsodies

This is followed by three Schubert Transcriptions, (Ständchen, Erlkönig and Die Forelle); when I was listening to the famous Ständchen (Serenade) I was so transported that I felt like exclaiming “wow, this is soo beautiful!”

Agranovich’s astounding technique is further evident in the dramatic and exciting Mazeppa of the Transcendental Etudes based on the story of a Ukrainian nobleman punished by being dragged by a wild horse across the steppes. We hear the lightning flashes of the whip and the syncopated galloping rhythm in this immensely difficult piece, which provides a fitting end to this unique, opulent and rewarding new issue.

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Maurice Ravel – Concertos pour piano; Mélodies
Cédric Tiberghien, Stéphane Degout, Les Siècles, François-Xavier Roth
Harmonia Mundi HMM902612 (store.harmoniamundi.com/release/305358)

This interesting new recording of Ravel’s piano music has already earned Gramophone magazine’s Recording of the Month. It includes Ravel’s two piano concertos as well as that composer’s rarely heard songs showing his all-encompassing genius. Not only a composer for orchestra, opera, ballets and the piano, he was also a brilliant orchestrator, pianist and even a songwriter par excellence.

The journey begins with the “marvellous” Piano Concerto in G Major (so described by Francis Poulenc, who actually played the orchestral part when the concerto was first performed on two pianos at a private salon), one of the first truly modern 20th-century concertos. Sparkling and buoyant with jazzy elements, it is superbly performed by pianist Cédric Tiberghien who is already having a brilliant career here and in Europe. The conductor is the very busy Francois-Xavier Roth, by now a very important musical figure in charge of two orchestras and guest conductor of several others. Noteworthy is the fact that the piano is an authentic Pleyel from 1892!

In the dark-hued Piano Concerto for the Left Hand in D Major, it’s amazing how much bravura and complexity a single hand can accomplish. Its single movement begins in a mysterious atmosphere, moving from darkness into light (à la Liszt), with one incisive and versatile theme that develops with a strong rhythmic drive, literally exploding triumphantly at the end.

The two concertos serve as bookends for three song cycles, including one which I find as a curiosity, Deux mélodies hébraīques. The Kaddisch with its emotionally charged Hebrew text, but music entirely by Ravel, is a prayer of mourning usually heard in the synagogue; the other, in Yiddish, L’énigme éternelle, posits the question of existence (!), an enigma for which there is no answer, that finds beautiful expression in baritone Stéphane Degout’s moving interpretation.

Mahler – Symphony No.4
Sabine Devieilhe; Les Siecles; Francois-Xavier Roth
Harmonia Mundi HMM905357 (store.harmoniamundi.com)

The French conductor François-Xavier Roth is in great demand these days, and for good reason. Recently appointed music director of the peerless Gürzenich-Orchester in Cologne and principal guest conductor of the London Symphony Orchestra, among his notable accomplishments was his founding of the Les Siècles orchestra in 2003, featuring instruments appropriate to the period of composition of a given era. Their 2013 rendition of the original version of Stravinsky’s Rite of Spring garnered immense praise. 

They now turn their attention for the second time to the music of Mahler. The excellent program notes include an interview with Roth, an overview of the work, and a scrupulous listing of the exact models of the wind instruments employed. The piercing sound of the wind instruments and the beefy sound of the period Viennese horns are particularly impressive, much more assertive and biting than our homogenized contemporary models. The string section employs gut strings and plays without vibrato, bringing an unaccustomed serenity to the slow third movement. Combined with Roth’s Apollonian interpretation, the complex counterpoint of the work benefits greatly. The mixing of the album is superb and Sabine Devieilhe’s interpretation of the vocal finale is admirable. 

My only reservation about this performance concerns an occasional lack of nuance, noticeably so in the uncanny second movement scherzo, which struck me as more of a generic waltz as opposed to the idiomatic micro-adjustments of the authentic Ländler tempo George Szell imparts in his classic 1967 recording. This symphony is the most compact and classical in Mahler’s oeuvre and remains the most accessible entry point for Mahler neophytes. Not to be missed!

Bruckner – Symphony No.4
London Symphony Orchestra; Sir Simon Rattle
LSO Live LSO0875 (lso.co.uk)

I’ve seen Sir Simon Rattle conduct many times thanks to my subscription to the Berlin Philharmonic’s Digital Concert Hall and always admired his energy jumping to the podium full of excitement, eager anticipation and love for the music to come. In 2018 Rattle retired from his post in Berlin and now is back in England as the head of the London Symphony, arguably the finest of the five London orchestras.

The “Romantic” Symphony No.4 is obviously his favorite Bruckner and as I listen to this new super audio recording I must confess that I’d love to have been present at the concert at the Barbican Hall resounding with the genuine bloom of his Bruckner. “The entire evening was a Brucknerian labour of love” says The Guardian.  

Rattle has a no-nonsense approach as if he would say: let’s get on with it! He is totally relaxed, lets the music flow naturally at a brisk tempo, entirely logical with the architectonic structure always kept in mind. There are sections when the music becomes nearly inaudible from which the melody slowly emerges. The following crescendo is masterfully handled. It builds in stages with minor climaxes along the way, deliberately holding back at key moments so the ending becomes truly majestic. There is an overarching epic sweep this symphony needs. 

I must give a big credit to the first (solo) horn. At the beginning, its beautifully sustained pianissimo over an underlying tremolo in the strings produces a magical effect. The horns also feature heavily in the third movement, the Hunt Scherzo, as they start out barely audible from a primeval mist with a gradual crescendo; and when the trumpets join in the sound becomes crystal clear fortissimo and simply gorgeous. In Rattle’s hand the symphony becomes truly Romantic!

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Two Sides
Barokkbandið Brák
Sono Luminus SLE-70026/2 (sonoluminus.com)

It is not uncommon to find obvious and straightforward album titles within the classical music genre, leaving no doubt as to what a listener can and should expect. If one tallied up all the releases titled Beethoven: The Nine Symphonies, these recordings would make up an entire collection of their own. While it is only an entry point to the contents contained therein, a creatively titled recording can engage and entice a prospective listener, drawing them in with the promise of a unique artistic experience.

Such is the case with Icelandic period-instrument ensemble Barokkbandið Brák and their debut album Two Sides, a title which, at first glance, most clearly refers to its two discs of music. Upon reviewing its contents however, it becomes clear that Two Sides reflects the diverse nature of this extraordinary group, which has achieved renown in the interpretation of Renaissance and Baroque music but also as a commissioner of new music for period instruments.

This sense of discovery in music old and new permeates every selection on this recording, notably through the world premiere recording of the Violin Concerto in G by Swedish Baroque composer Johan Joachim Agrell and new commissions from Icelandic composers Þráinn Hjálmarsson, Bergrún Snæbjörnsdóttir, and Kristinn Kristinsson.

What is most remarkable about this entire double album is the way in which every piece of music is treated individually, performed at the highest level with convincing interpretations. Whether the Agrell Concerto premiere, Vivaldi’s enthralling Concerto for 2 Violins & Cello in D Minor, or any one of the commissioned works, nothing seems unfamiliar or out of place.

Two Sides is a magnificent debut from Barokkbandið Brák that will be a valuable addition to any collection, especially for those who appreciate broad and diverse repertoire within the realm of period performance.

The Americanist
Elizabeth Newkirk
Bright Shiny Things BSTC-0166 (brightshiny.ninja)

This new release of orchestral scores reduced for solo piano by Elizabeth Newkirk stakes out grounds for how American music must maintain its connection to the vernacular. Per Newkirk’s lengthy treatise in the liner notes, the mythos of America demands inclusion and recognition of popular musical idioms in the making of “serious” music. She especially points to the styles and forms developed in the African-American culture that energizes so much of today’s music. To that end, Newkirk provides three intra-bellum works that illustrate her point, all reductions of orchestral scores made by the composers themselves, and all infused with jazz and blues. 

Maurice Ravel’s reduction in some ways satisfies the way the full version can’t. In La Valse Newkirk proves herself a fine stylist, giving a more flexible version in terms of rhythm and dynamics than a conductor might ask of a full orchestra. These waltzes swoop into dips and pirouettes. (I leave it to pianists to tell me if I’m wrong about the heavy use of the sustain pedal). Gershwin’s An American in Paris is also entirely about movement. Newkirk notes that three distinct metres are assigned respectively to the American, French and British gait. (It’s so hard to believe the piece wasn’t written with Gene Kelly in mind). More than in the Ravel, I miss orchestral colours; maybe it’s just that Gershwin’s lightness needs the weight of the band, but to my mind, there’s no replacing the trumpet, the violins, the rhythm section. Their language is integral to the musical ideas.

William Grant Still’s Africa provides the substantial finale to the disc. Still’s music follows a similar aesthetic to Gershwin’s, blending Romantic tropes with blues influences. Materially, and in terms of length, it’s more substantial than the Gershwin, and more listenable, in fact. As has been noted elsewhere, there are not nearly enough recordings of his music, which makes this release so attractive. 

Newkirk’s treatise is most interesting when she leaves the rarified discussion of myth and philosophy in order to discuss how these three works fit so neatly into her thesis.