In the Crystalline Vault of Heaven
Luminos Ensemble; Dr. Margot Rejskind
Leaf Music LM290 (luminosensemble.com)

Writing about second-wave feminism in 1970, Carol Hanisch either created or popularized the phrase “the personal is political.” Since that time, the aphorism has expanded in both meaning and application to point out the shared synergies and interactions that exist between political and personal issues. In many ways, the arts, such as music, have become a lightning rod for these kinds of conversations. Music makers in 2024, whether they like it or not, are making choices often read as political simply by the repertoire they choose, venues at which they perform and the ensemble company they keep.

The Luminos Ensemble, a terrific Charlottetown-based choir of 16 East Coast voices that was formed in 2017 by artistic Director Dr. Margot Rejskind, seems acutely aware of this fact. In fact, articulated on their website is a mission statement and an expansion of values that suggests that a kind of Canadian East Coast social justice (albeit one that is married to beautiful choral voices) is their very raison d’être. Living the stated value that PEI voices “deserve to be promoted and supported,” the ensemble has released a fine new recording, In the Crystalline Vault of Heaven that features several tremendous Atlantic Canadian compositional talents deserving of wider recognition. While the title track by Nova Scotia composer Derek Charke is moving indeed, the work of Prince Edward Island composers David Buley and EKR Hammell, who contribute meaningfully to this recommended recording, was particularly captivating. 

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Arvo Pärt – Odes of Repentance
Cappella Romana; Alexander Lingas
Cappella Records CR428 (cappellarecords.com)

Esteemed senior Estonian composer Arvo Pärt’s current idiomatic musical style is rooted in Gregorian chant and later European polyphonic liturgical music, yet his early career compositional language embraced 20th century serialism and then minimalism. In addition, his use of Christian liturgical texts triggered censure from Soviet cultural authorities in the 1960s, leading to a personal reckoning. After years of personal renunciation, Pärt emerged in the 1970s with a new compositional style he dubbed “tintinnabula.” 

In an unexpected twist of history, his often austere, meditative, faith-based music has found a wide audience in the decades since. He’s frequently ranked among the world’s most performed composers, particularly of choral music. And that’s what we hear on the Odes of Repentance album: a prayerful suite of choral works over 12 tracks. The selections were compiled by Alexander Lingas the music director of Portland Oregon’s Cappella Romana, a professional mixed choir known for its rigorous historically-informed performances of Orthodox church music. For example, Cappella Romana hired an Old Church Slavonic coach to aid in pronouncing that language for these performances.

Cappella Romana is an ideal match for Pärt’s sacred music. For example, The Woman with the Alabaster Box is a Gospel reading; there are also Orthodox hymns, heartfelt prayers and psalmody, all capped by Prayer after the Kanon. The album feels like a timeless liturgical service, the elegant leanness of its musical language kept in aesthetic tension and given additional meaning by the ritual lyrics and frequent short pauses for silent reflection.

Dall’Abaco and the Art of Variation
Elinor Frey; Accademia De’Dissonanti
Passacaille 1141 (passacaille.be)

While the term “supergroup” is usually applied to bands like The Traveling Wilburys and Temple of the Dog, the term also suits the Accademia de’ Dissonanti, composed of members who are each gifted performers in their own right and come together to make consistently stunning recordings.

This disc features music by Giuseppe Clemente Dall’Abaco (1710-1805), and is the premiere recording of his two cello trios and three cello sonatas. If the name is unfamiliar, that is because Dall’Abaco’s compositions are relatively new to modern audiences: The musical output of this cellist-composer has only emerged in recent decades, and its craftsmanship and charm have won over both performers and listeners alike. 

Born in Brussels, Dall’Abaco spent the majority of his childhood at the Bavarian court in Munich, where his father, composer Evaristo Felice Dall’Abaco, was employed as Kapellmeister. Throughout the 1730s and 1740s, the cellist’s reputation grew as he began to travel and perform in important European cities such as London, York, Paris and Vienna, eventually becoming renowned as Europe’s most gifted cellist.

Featuring the equally gifted (and very much alive) cellists Octavie Dostaler-Lalonde, Elinor Frey and Eva Lymenstull, as well as harpsichordist Federica Bianchi and theorbist Michele Pasotti, each work on this recording is a delight to listen to. The cello trios are rich and complex, with intertwining melodic lines and timbral blends that create fascinating polyphonic effects. The cello sonatas, with variations composed by Elinor Frey, are grin-inducing in their joviality, but never superficial.

This recording is a revelatory introduction to one of history’s “newest” composers, and a welcome return to the masterful musicians that make up early music’s own supergroup, the Accademia de’ Dissonanti.

Fantasia
Igor Levit
Sony 19658811642 (igor-levit.com)

Notated improvisatory style has been a facet of western music as far back as the Renaissance and this two-disc Sony recording simply titled Fantasia featuring pianist Igor Levit in an attractive exploration of piano repertoire following this principle spanning a 300-year period. The Russian-born soloist began his musical studies at the Salzburg Mozarteum and in 2005, was the winner of the Arthur Rubinstein International Piano Master Competition in Tel Aviv.

An arrangement of the Air from Bach’s Orchestral Suite No.3 may seem an unusual opening for a recording of music focusing on extemporization, but Levit’s interpretation is refined and understated. In contrast is the renowned Chromatic Fantasy and Fugue BWV903, very much a bravura piece of formidable invention. Levit delivers a compelling and well-balanced performance, his phrasing always clearly articulated. Even more challenging is the Piano Sonata in B Minor by Liszt, a composition of herculean difficulties. Levit is seemingly unfazed by the technical challenges and easily fashions the ever-contrasting moods into a cohesive whole.

Disc two opens with Berg’s angular and at times unsetting Piano Sonata Op.1, a fine example of his early style. Nevertheless, the magnum opus of the disc and the set itself is Busoni’s 34-minute Fantasia Contrappuntistica. The piece is truly substantial in scope and borrows from several musical styles involving a subdued and introspective opening, a complex Bach-like fugue followed by a dramatic section with dissonant chordal progressions leading to an unexpectedly quiet conclusion. Kudos to Levit for tackling this oddity and making the most of it. 

The inclusion of shorter pieces such as Liszt’s Der Doppelganger and Busoni’s Nuit de Noel further contribute to a well-balanced program.

Beethoven – Hammerklavier Sonata; Stockhausen – Klavierstück X
Marc Ponthus
Bridge Records 9584 (bridgerecords.com)

The French pianist Marc Ponthus is a fascinating individual, devoting much of his career to the performance of the 20th century’s most demanding avant-garde music. Known for presenting monographic recitals in which only compositions by Stockhausen, Boulez or Xenakis are performed, Ponthus has carved a unique niche for himself in a pianistic world overrun by repeated presentations of Mozart, Schumann and Chopin.

Not that there’s anything wrong with canonic repertoire, of course, and Ponthus demonstrates this first-hand with his latest recording, putting Beethoven’s monolithic “Hammerklavier” Sonata on the same program as Stockhausen’s landmark Klavierstück X. Aside from the fact that both works are performed on the same instrument, these pieces – composed nearly 150 years apart – are decidedly different: one is the pinnacle of classical sonata form, while the other is a masterwork of contemporary piano literature, an eruption of ordered disorder.

Ponthus’ performance of Klavierstück X is thrilling, his control of this physically and intellectually demanding score immediately apparent. (There are so many glissandi that the pianist is required to wear gloves with the fingers cut off.) Although the first impression of this music may be of chaos, every component of this music is highly prescribed and structured, and Ponthus wrestles Stockhausen’s complex ideas into a profoundly convincing performance. 

If the “Hammerklavier” receives a shorter mention here, it is only because of its status as one of Beethoven’s most renowned and striking piano works. Ponthus approaches this music like a chameleon, and it is difficult to believe that this is the same person who was tackling Klavierstück  X only a few moments prior. The rhythmic vitality of Beethoven’s writing is brought to the forefront here, and this performance is full of vigour and bravado, while never becoming a caricature of itself.

Schubert – The Complete Impromptus
Gerardo Teissonnière
Steinway & Sons 30220 (steinway.com/music-and-artists/label/Schubert-the-complete-impromptus-gerardo-teissonnière)

Impromptu means “improvised,” a genre popular in 19th-century salons. It seems to be easily dashed off in one sitting although it’s hard to believe this, given their melodic richness, level of invention and perfection of form. Schubert’s eight pieces are part of the curriculum for any aspiring piano student about grade eight and up and I tried my hand on at least three of them. My greatest accomplishment was Op.90 No.4 in A-flat Major, with those gorgeous cascades rippling down like water with a wonderful melody emerging in the left hand and a passionate Trio I loved playing. But I must admit that the difference between amateur and professional pianists being immeasurable (Somerset Maugham), so this new issue of The Complete Impromptus, all eight of them, under two opus numbers (90 & 142) by a pianist critics regard as an artist of “extraordinary musicianship and rare sensibility,” Puerto Rican-born American Gerardo Teissonnière, is most welcome. In fact, the pianist is having a remarkable career on two continents, recipient of many awards; this recording is his second one on the prestigious Steinway & Sons label.

Some of my favourites are the popular, very impressive No.2 Op.90 in E-flat Major, perpetuum mobile-like, light hearted and fast with an exquisite contrasting Impromptu. No.3, Op.90 in G-flat Major (with 6 flats) is relaxed and introspective with a harp-like mid-register in the right hand that reminds me of Schubert›s ever-present obsession with water and a fearsome undercurrent in the left hand bass.

I loved the most the ambitious Impromptu No.1 Op.90 in C Minor, with its notable key change into major in the Trio that›s absolute heaven, like a dreamy dialogue of questions and answers. No.3 in B-flat Major Op.142 is a set of lovely variations on a simple theme from Rosamunde where the level of invention is amazing. The final piece is No.4 Op.142 in F Minor, a wild rondo that sums up this set that gave me a lot of enjoyment in these bleak winter days.

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Robert Schumann – Piano Works
Llŷr Williams
Signum Classics SIGCD756 (signumrecords.com)

The name Llŷr Williams may not be an overly familiar one, but since his graduation from the Royal Academy of music, this 48-year-old pianist has quietly carved out a name for himself as a soloist, accompanist and chamber musician. Born in North Wales in 1976, he studied music at Queen’s College, Oxford before pursuing further studies at the RAM from 2003 to 2005. His recent recordings have included the complete sonatas of Beethoven and Schubert; he now turns his attention to the music of Schumann on this 2CD set.

The first disc opens with the renowned Fantasie in C Major Op.17, long regarded as one of Schumann’s greatest works. Willliams’ approach is suitably expansive and lyrical, at no time losing control of the shifting parameters within. Papillons, from 1831 is a charming set of 12 kaleidoscopic miniatures. Based on a novel by Jean Paul Richter and intended to represent a masked ball, the successive dance movements flow by in quick succession. Williams delivers an elegant and polished performance, adroitly capturing the ever-contrasting moods. Concluding the first disc is the six-movement Humoresque Op.20 from 1839, a score that has possibly never earned the reputation it deserves.

Williams continues to demonstrate a real affinity for this archly Romantic repertoire in the famed Davidsbündlertanze Op.6 which opens the second disc. The movements here are not true dances, but character pieces aptly showcasing the dualistic nature of Schumann’s personality. The four reflective Nachtstücke Op.23 were composed during a particularly stressful time in the composer’s life owing to the imminent death of his older brother. In contrast is the jovial Faschingsschwank aus Wien Op.26, a wonderful depiction of a Viennese carnival which Williams performs with much bravado, bringing the set to a most satisfying conclusion.

Album Leaf – Piano Works by Felix Mendelssohn
Sophia Agranovich
Centaur Records CRC 4038 (sophiagranovich.com)

Thanks to YouTube I feel as if I’ve seen and heard this magnificent pianist live whose new recording I am pleased to introduce. In fact I am simply mesmerized by Sophia Agranovich‘s tremendous talent, virtuosity, emotional involvement and thorough musicianship. Fanfare magazine calls her a “tigress of the keyboard” and I could listen to her for hours. Her credentials include concert pianist, recording artist, teacher, computer scientist and vice president of Merrill/ Lynch, no less. This is her 12th recording to date. 

Agranovich is no stranger to these pages – we reviewed her very impressive Liszt recital in November 2022 – and now she turns to Mendelssohn and surely doesn’t disappoint. Her virtuosity immediately becomes evident in the extremely difficult last movement Presto of the Fantasia in F-sharp Minor, a perpetuum mobile that ends the first piece. Her lightness of touch makes the piano sing at the Albumblatt in A Minor, a typical Mendelssohn Lied ohne Worte that the set is named after.

Mendelssohn was probably one of the most gifted composers who ever lived. As a child prodigy he composed a symphony for full orchestra at the age of 12! As the program continues the composer’s immense talent shines through beautiful pieces like the Caprices, a set of Variations Serieuses and the murderously difficult Etudes that rival Chopin. They are all executed in a lovely singing tone, with virtuosity and elegance.

My beloved, since childhood, Rondo Capriccioso, a favourite concert piece where I see elves dancing every time I hear it, ends the program and I cannot recommend it highly enough.

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Chopin – Ballades and Nocturnes
Jonathan Phillips
Divine Art DDX 21111 (divineartrecords.com)

What more can be said about Chopin – all too frequently referred to as the “poet of the piano?”  More than 170 years after his death, his music continues to enthrall connoisseurs and amateurs alike and this disc presenting the four Ballades and a selection of Nocturnes played by British pianist Jonathan Phillips is bound to be a welcome addition. A graduate of the Royal Northern College of Music, Phillips was winner of the National Youth Orchestra of Wales Soloist award in 1986. He has performed throughout Europe, but in 1998, began studies for a degree in philosophy, after which he was less inclined to pursue a career as a performing artist. 

Seldom is Chopin’s creativity so evident than in the four Ballades, written over a 17-year period between 1836 and 1843. Phillips’ approach is elegant and understated – his tempos are never rushed, nor does he resort to empty virtuosity, instead letting the music speak for itself. This is no more apparent than in the glorious fourth Ballade. From the calm and hesitant opening measures to the turbulent coda, Phillips is clearly in full command of this daunting repertoire, but never seeks to impress.

Of the five Nocturnes Phillps chose for this program, three – Op.9 No.2, Op.15 No.1 and Op.32 No.1 are early works, while two – Op.55 No.1 and Op.62 No.1 – were written considerably later. Phillips treats this lyrical and introspective music with a sensitive poignancy concluding the disc with a mood of true serenity. 

With his fine musicianship and impressive technique, it seems a pity that Phillips has too often forsaken the limelight, choosing instead to lead a more unassuming life with his family in the English Cotswolds. His talents most definitely deserve greater exposure.

Bruckner – Symphony No.7
London Symphony Orchestra; Sir Simon Rattle
LSO Live LSO00887 (lso.co.uk)

It is said that Otto Kitzler, a decade younger than his student Anton Bruckner, helped inspire a momentous change in his illustrious pupil. The defining moment that enabled Bruckner to find his true musical vocation was when he heard Kitzler conduct a performance of Wagner’s Tannhäuser in Linz. 

Bruckner had spent 40 years assimilating every rule of composition. However, Kitzler’s performance of Wagner led Bruckner on a voyage of discovery of Wagner that enabled him to break the rulebook he had so assiduously assimilated. Indeed Wagner, the operatic iconoclast, enabled Bruckner to create symphonic music that mirrored Wagner’s achievements as a master of music drama. 

Nowhere is the newly discovered dramaturgy more evident than in this version of Bruckner’s most enraptured Symphony No.7. It features the long radiant phrase by the cellos and the first horn, which unfolds over tremolando strings. The portentous Adagio presages Wagner’s death with the sombre, glowing tone of four Wagner tubas. The near-demonic and extreme tension generated by the violins’ restless accompaniment in the dramatic Scherzo is evocative of Bruckner’s discovery of the devastating fire that killed 386 patrons in the Ringtheater. This is followed by the near-euphoric airy pastoral character in the climax of the finale.

Sir Simon Rattle’s shaping of Bruckner’s arching phrases, the exactness of his control of the London Symphony Orchestra and the sumptuousness of the orchestral tone majestically reinforce the idea of Bruckner as a master builder.

Rachmaninoff Piano Works
Ian Gindes
Navona Records NV6582 (iangindes.com)

The twin centrepieces of Rachmaninoff Piano Works by American Ian Gindes are selections from the composer’s celebrated Preludes and Études Tableaux. These are complemented by Rachmaninoff’s arrangement of Fritz Kreisler’s Liebeslied and Zoltan Kocsis’ arrangement of Rachmaninoff’s masterwork, the Vocalise Op.34, No.14. The surprise is the finale: Jerry Goldsmith’s Alone in the World arranged by Jed Distler.

Like Chopin’s 24 Preludes, Rachmaninoff’s comprise a sequence of miniatures in every major and minor key and, as with Chopin, the self-imposed constraints inspired some of the composer’s most original ideas. This selection includes the famous C-sharp Minor Prelude Op.3 No.2 as well as a selection of four from Op.23 and one from Op.32. Melody is the less dominant element, for many of these pieces are built upon rhythmic patterns that lead towards the establishment of a melodic pattern reflecting the rhythmic pulse. 

As with the Chopin of the Ballades, Études and Preludes, the Études Tableaux take a motif or a technical challenge as their starting point, and weave poetic musical fabrics from that. Mordant, terse and visionary in their endless chromaticism, luminously simple and spectrally poignant, they are distinguished by their brevity and a new level of virtuoso pianism.

Gindes’ interpretations fall somewhere between Alexis Weissenberg’s punchy sound and Sviatoslav Richter’s tremendous performances. Gindes’ illustrious renditions reveal a visionary glow behind the eloquent, melancholy virtuosic exteriors of these Rachmaninoff masterworks.

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Shooting Star – Étoile Filante
Reverso
Alternate Side Records (ryankeberle.bandcamp.com/album/shooting-star-toile-filante)

If you are wondering how, on Étoile Filante, a trombone, a cello and a piano might come to be evocative of the musical voice of Lili Boulanger you might have no need to look further than the intrepid trio Reverso, comprising the trombone of Ryan Keberle, the cello of Vincent Courtois and the piano of Frank Woeste. But how did they succeed in recreating the ephemeral beauty of Boulanger’s music? 

The answer is quite clearly in the use of uncommon instrumental voicing to mirror the poetics of a composer’s work that once combined vocal sensuousness with spectral imagery daubed onto the darkened sonic canvas. The cello’s bow sweeps across the strings of the instrument in an alternating movement of flux and flow. Meanwhile the trombone moans – almost always pianissimo – with a deeply religious intensity pouring out in solemn, elliptical melodic lines. Meanwhile the piano provides the harmonic glue as an overwhelming sense of mystery pervades the ensuing music. 

As sculpted phrases are created from notes that leap off the staved paper dancing and pirouetting in rarefied air around us, we find ourselves in the ephemeral world – literally and figuratively speaking – of Boulanger, the younger of the two legendary French musician-sisters. 

The subtle chromaticism of Boulanger’s songful music comes brilliantly alive. These are songs without words, every bit as compellingly delicate in a Mendelssohnian way, and the music sparkles like stars shooting across a glittering soundscape.

American Spiritual
Michael Lee
Independent ML202301 (leaf-music.ca)

Although some more than others (professors, teachers, music critics, authors), we are all canon formers one way or another. While we may think that our musical decisions about what we “like” or “don’t like” is based upon our individual agency and personhood, in truth our tastes have been shaped and formed by friends, teachers, disc jockeys, books, or, increasingly, a Stockholm-based AI chatbot that algorithmically suggests playlists based upon our Spotify listening habits. Next, we in turn pass on said formed tastes to others, reinforcing our personal musical canon with our listening, artistic preferences and the concerts we choose to attend. The point of this review, however, is not to go down a Theodor Adorno-inspired Marxist rabbit hole about the illusion of choice, but rather to say that musical canons, like taste, are both fluid and malleable. And a good thing too. In the last number of years, there has been a concerted effort by symphonies, artistic societies and record labels to feature greater diversity and inclusion in their offerings, broadening the range of the artists whom they have chosen to platform.

Michael Lee, a DMA scholar, current faculty member at his alma mater  the University of Toronto, and a tremendous pianist, has taken on this responsibility of canon expansion with seriousness, aplomb and care. And, supported by an arts grant from ArtsNL (The Newfoundland and Labrador Arts Council), Lee has made a beautiful recording capturing a number of major piano works from BIPOC composers. American Spiritual seamlessly bridges European Art Music with important American Spiritual compositions of Florence Price, Margaret Bonds and the Niagara Falls-born Canadian/American composer Robert Nathaniel Dett. The 2023 recording is top shelf, and the canonic expansion to include these important compositional voices most welcome.

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Luna
Anna Lapwood (organ)
Sony Classical 19658831402 (sonyclassical.com/releases/releases-details/luna)

The pipe organ is considered by many to be a fossil: an academic, inflexible instrument that exists in large, inaccessible places and plays long, complex music – or a hymn-churning jukebox – depending on who you ask. “My grandmother played the organ at [insert small local church here]” is a line that organists hear dozens of times a year, and it is this relatively limited window of exposure that makes the organ a public relations challenge.

Enter Anna Lapwood. With over one million followers on social media, Lapwood is introducing a new international audience to the pipe organ through behind-the-scenes videos, genre-bending collaborations and open access to some of the world’s finest instruments. According to the album’s press release, “The power of social media gives the ability to demystify the outdated baggage the organ once carried along with it, throwing open the doors to new music, new possibilities, and new audiences.” 

Luna, Lapwood’s recently released recording, features 15 tracks including transcriptions of film and piano scores, as well as new music. There is a great range of material here, from the Interstellar and Pride and Prejudice soundtracks to Philip Glass, Chopin and Debussy, as well as two selections performed by Lapwood’s choir at the Chapel of Pembroke College, Cambridge. 

Much like Lapwood’s social media presence, this recording is an ideal vehicle for acquainting new audiences with the organ. The music is light and easy to listen to, expertly prepared and performed, and recorded in a way that captures the rich acoustic palate of the instrument. For experienced organophiles desiring the depth and density of Bach and Widor, it is best to look elsewhere; for those seeking an accessible and enjoyable introduction to the organ, however, there is a wealth of material here that will be utterly delightful.

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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