Colin Fisher – Suns of the Heart
Colin Fisher
We Are Busy Bodies (colinalexanderfisher.bandcamp.com/album/suns-of-the-heart)

Enchanting. Mesmerizing. Hypnagogic. Enveloping. Warm. Stunning. Of course, stunning is what happens when the finished product we are left with is itself a love letter to the artistic process that birthed it. The facts (from Bandcamp): multi-instrumentalist Colin Fisher and engineer David Psutka went into the studio, Fisher did live improvising, looping, layering and sampling, they bounced wonderful ideas off each other and this is the result. That is all I need, because despite many of these sounds being absolutely unlike anything else that has entered my ears, I oddly do not desire to know where they came from or how they were created. That they are here, that one person generated them live and that they were ultimately the result of a partnership in their current form is a gratifying enough answer in itself. 

This music has so much allure to it, so much intricacy, so much to pull from, that the limits of descriptive language immediately make themselves known. One could try – one could talk about the gut-wrenching distorted guitar melodies on Deus Absconditus sounding like the broken broadcast transmission of stomach tissue being torn apart, pitched to the melody of an uncannily familiar lullaby that has never been played before. The most warped moments sound like angels, the click-clacking of the keys on Fisher’s horn sound like heartbeats, everything feels like it’s being held up by the most fragile material, yet everything will forever remain suspended in air.

Breaking Stretch
Patricia Brennan Septet
Pyroclastic Records PR35 (pyroclasticrecords.com/release/breaking-stretch)

Having demonstrated her skills in solo and quartet settings, Mexican-American vibraphonist/marimba player Patricia Brennan ups her game further by adding a horn section and electronics to her highly rhythmic program. The voltage boost is used sparingly, mostly to extend the brassiness of Adam O’Farrill’s trumpet leads and add oscillating whizzes to the mallet instruments. However, layering trumpet and saxophonists Jon Irabagon and Mark Shim’s reed riffs broaden the foundation of Brennan’s compositions further, defined by the billowing crunch of Kim Cass’ bass, Marcus Gilmore’s drums and Mauricio Herrera’s percussion.

Unlike a standard Latin-Jazz romp, refined writing and arrangement means that, for instance, on the title tune an emotional tenor saxophone break surges into multiphonics while doubled with metal bar pops that eventually dominate the sound field on top of unrelentless idiophone smacks. Or on Five Suns, O’Farrill’s mariachi-like blasts evoke similar cries from Irabagon’s alto sax, both balancing on wave form squeezes and unvarying hand percussion.

Earendel, the final track, wraps up the session with slackening horn bites and slurs which put finer points on the initial sympathetic electro-acoustic double bass and vibes harmonies. This too pinpoints the program’s dexterity, since, especially when she resonates woody marimba echoes, Brennan, and to a lesser extent Cass’ string solos, evoke relaxed sequences which frame in bolder relief more frenetic motifs. 

Without making her nine compositions too dainty or too dissident, the expanded band helps stretch Brennan’s musical approach in a sophisticated fashion.

Golden City
Miguel Zenon
Miel Music (miguelzenon.bandcamp.com/album/golden-city)

Grammy-winning alto saxophonist, producer and composer Miguel Zenon has just released his 16th recording as leader, an epic suite inspired by the diverse culture and political evolution of San Francisco – stretching from pre-Spanish Colonialism to the contemporary tech boom of today’s Silicon Valley, commissioned by SF Jazz and the Hewlett Foundation. The creation of this historically significant project propelled Zenon into extensive research that embraced explorations into the Indigenous Mexican population of California, the infamous 1882 Gold Rush, Asian migration, prison camps filled with ethnic Japanese American citizens and more. The recording is comprised of ten interconnected movements, and Zenon’s talented line-up is superb. 

First up is Sacred Land, a stirring, brass-laden tribute to the Indigenous Ohlone people, whose proud descendants are still living among us today. Diego Urcola’s trombone solo here scales the potent musical landscape, bringing to mind our ancient, shared DNA. Acts of Exclusion is an unsettling piece that disrupts the very question of human life and security. Informed by the Chinese Exclusion Act of 1882 (which prohibited the immigration of Chinese laborers into the United States) Zenon’s solo reflects the injustice and immorality of such an act – musically twisting in the wind above raging political forces. The heartfelt ballad, 9066, revisits the shameful incarceration of nearly 120,000 Japanese Americans, two thirds of whom were U.S. citizens. Matt Mitchell’s stark piano lines in counterpoint with Chris Tordini’s facile bass encapsulate aspects of this horrific expression of xenophobia and paranoia. 

The closing track, Golden is a powerful, bitter-sweet post-lude inspired by the concept of “The Golden Ratio,” and is not only a superb display of brass dynamism, but also places focus on the incomparable rhythm section of Mitchell, Tordini and Dan Weiss.

Brian Landrus plays Ellington & Strayhorn
Brian Landus
Blue Land Records BL202301 (brianlandrus.com/albums/brian-landrus-plays-ellington-and-strayhorn-download)

There are precious few musicians who have the taste, skill and creative vision of low woodwind specialist Brian Landrus. With the release of his latest creation, not only has Landrus selected 14 sumptuous compositions from the immortal Duke Ellington and his frequent collaborator Billy Strayhorn, but he has also manifested his own embodiment of Ellington’s lush orchestral sound – replete with stunning arrangements featuring his performances on his cornucopia of instruments, including baritone and bass saxophones, bass and contra alto clarinets, piccolo, C melody as well as alto and bass flutes. Joining Landus here are noted guitarist Dave Stryker, accomplished bassist Jay Anderson and iconic drummer Billy Hart. This fine complement of collaborators (including two guest arrangers) accompany Landrus on his journey through some of the most complex compositions in the history of jazz.

The opener is the rarely performed Agra. Exotic percussion from Hart and mystical reed lines plumb the lower depths and also transport the listener into the outer stratosphere with perfectly placed, flute driven tonal clusters. An absolute standout is Chelsea Bridge. Composed by Strayhorn, this haunting melodic line floats through bop modalities and extended woodwind lines in contiguous synergy with a fine, swinging baritone solo. Also superb is A Flower is a Lovesome Thing, on which Stryker renders a moving guitar solo rife with sensitivity and intriguing harmonic choices, all the while substantiated by Anderson’s sonorous, satisfying bass lines. Also exceptional are the Bossa Nova infused Daydream, and the closer, Sophisticated Lady, which finds Landrus alone, with his unique bass saxophone interpretation.

Fine production, timelessness of the compositions, innovative arrangements and musicianship par excellence make this one of the most original and compelling jazz recordings of the year.

Inside Colours Live
Julie Sassoon; Lothar Ohlmeier; Mia Ohlmeier
Jazz Werkstatt JW 244 (jazzwerkstatt.eu/jw-244-inside-colours-front-rgb)

Musical families are no novelty; neither are family bands. Yet this two CD set allows us to hear the slight redefinition of one clan’s band as progeny adds burgeoning talent to an established group. British pianist Julie Sassoon, who composed all 13 tracks here, has lived for many years in Berlin with her German husband, tenor and soprano saxophonist/bass clarinetist Lothar Ohlmeier. Working together or singly in other groups, they’ve been praised for their sophisticated music that stretches conventions while avoiding sonic tumult. As a duo they aptly demonstrate that skill with a set of languid, meditative and impressionistic performances recorded during a live concert in Regensburg that make up the first CD. 

Recently the duo has expanded to a trio, as their 19-year-old daughter Mia Ohlmeier has become an accomplished drummer. The second CD, recorded at the Berliner Philharmonie, was at that point the largest venue at which the three played together. Perhaps it’s because of Mia’s rhythmic instrument or perhaps her youthful exuberance, but the five trio tunes appear more energetic. Sonic provocation is mixed with pastoral themes. Sassoon’s textures are sometimes more vigorous as she hums along with her thoughtful keyboard improvisations, and Ohlmeier more often than elsewhere sticks to lower tones as he projects thick tenor saxophone slurs and sinewy bass clarinet smears.

This is a notable introduction to the group. Future releases will hopefully fully define the partnership as will discs with Mia sans famille.

Crazy Talk
Howard Gladstone
Sonic Peace Music SP000221 (howardgladstone.bandcamp.com/album/crazy-talk)

Toronto-based singer-songwriter Howard Gladstone’s eighth release is a 12-track recording showcasing his mature clear vocals, poetic storytelling lyrics in jazz to world to folk to rock music. He is joined by his core band members bassist Bob Cohen and guitarist/co-composer/co-producer Tony Quarrington, frequent pianist/vocalist Laura Fernandez and six other musicians.

Title track Crazy Talk, co-written with Quarrington, is a subtle tribute to Patsy Cline, the Beatles and Robbie Robertson. This lighthearted, jazzy country tune features a Quarrington guitar solo, Cohen bass solo, Fernandez back up vocals and Gladstone singing his witty lyrics like “That’s crazy talk… but then again, I’m crazy too.”  

Latin/world music references resonate in Little Bird where Jacob Gorzhaltsan’s birdlike flute trills, tweets and high pitched melodies accompany Gladstone. Oh, the Waters is multi-section with colourful guitar and accordion echoing. Irish Rain is a rollicking Irish drinking song held together by drum taps and Gladstone’s classic vocals. 

Longtime fans and new listeners alike should enjoy this hopeful, timeless Gladstone release.

Listen to 'Crazy Talk' Now in the Listening Room

Digno, Sophisticado Y Elegante
Jay Danley
Independent (jaydanley.bandcamp.com/album/digno-sophisticado-y-elegante)

Canadian composer and musician Jay Danley is a multi-instrumentalist with a passion for Cuban music. He has performed with Jane Bunnett, members of Buena Vista Social Club, and can be heard on recordings by Hilario Duran.

On Digno, Sophisticado Y Elegante, Danley takes you in spirit to eastern Cuba, where 19th century Spanish and African-influenced music and dance come together in a collection of original compositions that feature the tres, a three-course string instrument central to the Son Cubano tradition. On this ambitious self-produced instrumental recording Danley plays all the instruments.

 In the slow dance opening track, Adiós Al Ayer (Goodbye to Yesterday) the delicate sound of the tres almost whispers as it recalls times past, and is reminiscent of the ache felt when listening to Duran’s interpretation of Mirame Así (Look at Me Like This), on which Danley plays. El Pasado Seacabo (The Past Is Over) takes us further into rural Cuba charming us with its graceful melody. This is small-setting music that is never rushed nor calls attention to itself. 

On Guapachou Danley exceeds expectations by featuring the tres with a jazz improviser’s virtuosity. The tres follows multiple lines flying chromatically over the slow-moving chords. The single take tres solo is masterful. At the same time, amidst all this music mastery, one is left nostalgic for a time when the limitations of sampled horns and multitrack home recording was not required to bring engaging new music to the world.

Kanzafula – Afro Iraqi Sufi Music
Ahmed Moneka
Lula World Records LWR042A (ahmedmoneka.com)

Since being forced to flee Baghdad as a refugee after acting in a gay rights film in 2015, Iraqi actor and artist Ahmed Moneka has continued to share his bright light in film, art and music. His first album Kanzafula reflects his African, Iraqi-Arabic history to his eventual landing in Toronto, using poetic lyrics to describe his journey through three wars in Iraq and his continued activism. With his smokey, expressive vocals, Moneka gives his all to these songs, a flavourful collection of Arabic melodies infused with Afro grooves, soul, jazz and rock. The album wishes for love and peace during the often-fraught experiences from home countries at war, but even with the heaviness of some of the lyrics, the album remains joyous and uplifting. 

The song Aman opens the album with a rock/funk vibe, asking us to keep safety and connection to our hearts, and to spread hope and love. Chil Mali Wali is a traditional Iraqi song in a melodic maqam, a protest song of British colonization from the 1920s. The song Sea is inspired by Afro-Arabic rhythm that defies sitting still. Khitar: ‘The Guest’ is a song dedicated to Indigenous Canadians and features Moneka’s silky bass vocals and jazz-flavoured chorus and solos from the band. 90 Days shares Moneka’s love of his home Iraq when he returns for a short period to work and is a gem of solo voice and instrumental. Oh Mother is a great blend of Maqam and rock and feels like party music, where Treed Trooh? is a funky slow meditation on separation. The album closes with Sidi Mansure, a traditional Tunisian ecstatic trance song that really drives one to dance. 

Each track of the album is captivating, even without the lyrics, but the reward of reading the translations only deepens their reach, and solos from the top-notch band really bring them home.

Michael Cloud Duguay – Succeeder
MC Duguay; Various Artists
Watch That Ends the Night (michaelcloudduguay.bandcamp.com/album/succeeder)

Glorious and gorgeous, Succeeder lives up to its name as it includes a community of musicians to make Michael Cloud Duguay’s songwriting and compositions explode in sonic splendour. The liner notes on Bandcamp (and on the artist’s website) provide a fascinating history of these songs and Duguay’s musical and life journey and I will not attempt a summary except to say it all makes for a rich and diverse background to this unique production. 

A Very Fine Start begins the album with the rhythm section and a warm pedal steel providing a beautiful backdrop along with a female background singer. Amidst the lyrics about family and circumstances instruments are added, including a fine baritone sax solo, over the evocative soundscapes. Someone Else’s Blues has a funkier and soulful up-tempo beat with a horn section and harmony vocalists. Port Hope begins more delicately with a tremolo guitar, pedal steel and arpeggiated piano backing things up. There are 17 performers listed and the instruments include drums, bass, piano, vocalists, pedal steel, saxophones, percussion, guitar, flutes, jaw harp, accordion, hurdy-gurdy and pocket trumpet to list only a few. I would like the vocals to be mixed more clearly, but it is also fascinating how they blend into the orchestration and emerge as spots of insight. 

The artist’s website declares “the album continues to mine the sumptuous, expansive rootsiness of Duguay’s earlier albums, yet also gestures toward the more outward experimentation of several of his upcoming projects through its careful, yearning ambiences.” I cannot improve on that description because the feeling of Succeeder with its evocative ambiences, its blending of folk, jazz and experimental idioms, and the joy of the Peterborough musicians who helped create this work are all important to its expansiveness. Please sit in a quiet place and let this album embrace you for a sumptuous 45 minutes.

Global Canvas
Ron Korb
Humbledragon Entertainment HD2024 (ronkorb.com/globalcanvas-cd)

Flutist, Ron Korb, has made a brilliant career, performing on not only the usual Boehm flute but also on an array of flutes and related instruments from other cultures, which is what makes him such an extraordinary musician. I can say without exaggeration that he has mastered an extraordinary number of instruments, all of which are of the flute family, but which are all different and present unique problems. In addition to the usual flute and bass flute, which figures prominently on this recording, Ron plays an oriental bamboo flute and several other oriental instruments.

Korb is joined by 19 musicians playing an assortment of western and oriental instruments, which add an extensive and highly unusual orchestration in which contrast has a striking role, as in track eight (Kindness), which begins with Ron playing the melody on the bawu, a side-blown Chinese reed instrument that sounds a bit like a clarinet, after which this same melody is repeated on the erhu, a 2- string Chinese bowed string instrument. In track three, (Desire), Korb begins with a contemplative melody on the bass flute and is joined unexpectedly by the tabla (Indian drum). He even delves into the absence of orchestration in track 16 (Peace Flute), an unaccompanied bass flute solo, in which the resonant bass sonority provides all that is needed.

Also featured are several Latin jazz tracks on which Korb uses a Boehm flute and to which Cuban-Canadian pianist Hilario Duran makes significant contributions.

Confluence of Raga Guitars
Joel Veena; Matthew Grasso
Independent (bit.ly/ragaguitars)

It’s probable the guitar was first introduced to South Asia in the 16th century via the Portuguese colony of Goa. The next guitar wave to arrive there was the Hawaiian (lap steel) guitar, a key sound in the commercially successful and influential touring Hawaiian music and dance troupes of the 1920s and later decades. In the 1960s Brij Bhushan Kabra adapted the guitar to play Hindustani (North Indian) classical music, lap steel style. Performing concerts and releasing numerous LPs, Kabra and his students’ innovations have long been accepted by the Hindustani music world. 

Confluence of Raga Guitars showcases the latest evolution of Indian guitar construction and its related raga-based music performance practice. Eloquently played by Matthew Grasso (Tantrakari guitar) and Joel “Veena” Eisenkramer (Indian slide guitar), two American guitarists who have dedicated themselves to playing in the Hindustani classical tradition, the album explores three ragas. 

Their presentation has several novel features. While the ragas are rendered in a traditional way, each focuses on an alaap (where the outline of the raga is melodically explored without meter), and jor (where melodies pick up speed and rhythmic activity). Typically, the following section is the gat (bandish) which introduces a theme within a tala, usually accompanied by tabla. Interestingly, however, the musicians have chosen not to include a gat section. This keeps the listener’s attention tightly focused on the dialogue between the two guitars, highlighting their distinctive approaches to melody, tone production and timbral diversity. For example, Grasso’s Tantrakari guitar uses nylon strings, plus steel sympathetic strings and a specially tuned fingerboard. On the other hand, Eisenkramer’s new Indian slide guitar is an evolution of the instrument design long ago adopted into Hindustani music. His glissando microtonal ornaments and expressive affect contrast markedly with Grasso’s more Spanish guitar-sounding fingerstyle approach, dramatically enlivening the album’s dialectical duet (jugalbandi).

Listen to 'Confluence of Raga Guitars' Now in the Listening Room

Although a rudimentary version of the modern piano was built in the late 17th century, keyboards of some sort go back a few centuries before that, and the polyphonic potential of the keyboard has been of interest since that time. The 21st century has multiplied the number of keyboards and techniques that can be used, with processing, sampling and electronics adding more avenues to explore. While centred on single keyboards of many kinds, each of these discs captures unique variations on this idea and practice.

Probably the most traditional of these non-traditional sessions is A Body as Listening (Clean Feed CF 664 CD cleanfeedrecords.bandcamp.com/album/a-body-as-listening) by Portuguese pianist Joana Sá. Adding electronics, samples and objects to her keyboard improvisations she uses the add-ons cannily, never allowing them to supersede the acoustic themes, but allowing them to amplify her playing. From the first notes, which create a careful theme elaboration, her instrumental command means that at the same time as she’s advancing variations with adagio low-pitched echoes and higher pitched prestissimo tinkles, signal processed beeps and peeps become more audible. As a backdrop these intermittent wave forms may permeate the exposition, but never mute advancing new simple melodies. Busier and stinging, the additional sound samples reinforce her strategy of alternating pedal-point pressure, amplified full keyboard crashes and elevated note jangling. Completing the session with A Body as Listening III the narrative includes other timbral deviations, both electronic and acoustic, encompassing foot tapping, forearm keyboard crashes as well as pre-recorded bell-ringing and vocal choir fragments. These outline quieter and more enigmatic piano variations that define this modern modification of a piano concerto.

Taking the idea of keyboards as mini orchestras still further, Briton Paul Taylor created a more than 59-minute program for the Newcastle Festival of Jazz and Improvised music with Interludes (New Jazz and Improvised Music NEWJAIm 18 paulstephentaylor.bandcamp.com/album/interludes). The work not only harmonized his improvisations on piano, organ and other keyboards with programmed and live timbral interludes, but also added Jonathan Bradley’s carillon score interpretation. Those bell-like reverberations are integrated or interjected at points underlining or challenging Taylor’s presto pianism or the reedy or brassy pitches created by organ ranks. As these wave form shakes and stops vary the timbre, pitch and volume of the sounds, the equivalent of strings, reeds and brass instrumental suggestions are heard. At approximately the one-third mark a lyrical piano interlude outlines a new theme, which too is toughened with bell-pealing, mallet-like plops and a combination carillon-organ drone. The buzz hangs in the air even as keyboard motifs ranging from elevated clips to pedal point patterns arise and stretch the sequence still further. A crescendo of merged organ stops advance a string section-like sweep that in tandem with mellotron-like asides and measured piano chording put into bolder relief the improvised nature of the evolving sounds. Besides removing ecclesiastical memories from the carillon and organ, processing highlights electrified keyboard and acoustic piano riffs which introduce a final sequence. Crucially though, metallic carillon reverberations, shrill electronic buzzes and bell-like shakes replicate the Interlude’s introductory sequence.

Another variation on these transformations mutates keyboard impulses to such an extent that they almost negate expected piano-like tones. Instead, output becomes that of an isolated modulation source. That’s what Montreal’s Karoline LeBlanc does on Edge Once Fractured (Arito-afeito 013 karolineleblanc.bandcamp.com/album/edged-once-fractured) as she extracts improvised timbres from a piano, pipe organ and harpsichord. These sonorities are blended with other pulses she sources from wood rattles, a seashell horn, a bulbul tarang (14-string Indian banjo) and taal or miniature clash cymbals. When further melded with anomalous tones from Paulo J Ferreira Lopes’ gongs, tin plates, springs, cymbals and bells, the result is a sound collage, which makes up the single 32-minute track of this session. Although the only identifiable piano pattern is audible in the penultimate minutes before knife-like string echoes and spring whammies conclude the piece, occasional tremolo pipe organ resonations and the noises of metal objects quivering on inner keyboard strings are more common. Emphasising string strums and key-stopping, her brighter contributions, and an occasional silent interlude, set up contrapuntal challenges to Lopes’ timed vibrations. Consisting in equal parts of tin plate reverberations, gong and bell pealing, spring ricochets and serrated metal tones plus an occasional horn blast or sharp whistle, the subsequent echoing tones create an idiosyncratic narrative that taken as a whole is as flexible as it’s fluid.

American keyboardist Thollem performs a similar keyboard reconstitution on Worlds in a Life 2 (ESP 5071 espdisk.com/thollem). But he does so during nine tracks using his Wavestate or sequencing synthesizer to mutate recorded samples of music he made on piano and organ alongside Pauline Oliveros’ MIDI accordion, Nels Cline’s guitar and effects, William Parker’s double bass, Michael Wimberly’s drums and Terry Riley’s vocals. The resulting shuffled and reconstructed timbral palette masks individual contributions. But the crucial development is how synthesizer and keyboards mulch, meld and modify textures into a comprehensive whole. Orchestrating instrumental motifs with a steady hand, Thollem negotiates unexpected amalgamation by juxtaposing congruent sound paths that ordinarily wouldn’t be followed. Simultaneously programmed electronics create a palimpsest of layered instrumental output that constantly judders. Visions Cells is a descriptive instance of this as the looped enhanced strings plink and twang as if part of a giant mechanized zither. Vibrating below are asides ranging from marimba-like resonations to pedal point piano pressure. Prestissimo pitches created from accordion samples seep all over Conversations On The Way’s introduction. Yet metallic cymbal stings create a cadenced response, with the mid section reconfiguration into a near-acoustic duet of drum paradiddles and methodical piano cascades. Additionally, vocal interpolations on tracks like Tongues We Think In and Chagudah don’t operate in isolation. During the second piece, yodeling timbral gymnastics and Donald Duck-like cries are flanged and submerged beneath watery gurgles. As for Tongues We Think In, the hocketed syllables and melisma are looped into a multi-voice choir as synthesized oscillations and percussion shuffles evolve beside it.

In spite of these modern advances another method to create a unique keyboard program is to go back to the future. That’s exactly what UK musician Matthew Bourne has done on Harpsichords (DISCUS 175 CD discusmusic.bandcamp.com/album/harpsichords-175cd-2024). Given three harpsichords in serious disrepair by the Leeds Conservatory he used the disintegrating facilities of this piano ancestor to generate idiosyncratic improvisations. On one disc of this two-CD set he, Glen Leach and Nika Ticciati form a sonic group grope playing simultaneously on all three decaying harpsichords. Elsewhere Bourne improvises alone on a single harpsichord. Adding the future to the past, his creative keyboard excursions are matched with live electronics and processing from Matthew Slater and Adam Martin. The fascination of the first disc is hearing how these experienced keyboardists push their disintegrating instruments away from overriding cacophony to reveal melodic interludes at high and low pitches. Making the best use of the decaying mechanism echoing, percussion-like crashes and string glissandi are highlights. On his own, Bourne deals with variations of this concept, but takes advantage of live processing to extend his initial timbres further in tempo and pitch and also provides an oscillating landscape of distended and fragmented tones. Capable of producing a pitch-perfect so-called classical harpsichord sequence as he demonstrates a couple of times, Bourne uses the instrument’s corrosion to spawn jangling patterns and pitches, then on tracks such as John and Brown Bins triggers the plectrum on the strings to nearly replicate what would be expected from a 12-string guitar. With forearm smashes and keyboard rebounds on Red Brick he evokes doorstopper-like strums as well. However, the electronic additions mean that on tracks like that one and others, processing projects a secondary keyboard sound in tandem with his live playing, Establishing the versatility of even a crumbling instrument like this one, Bourne confirms the keyboard’s traditional sound as well as its potential for distinct experimentation.

In the right hands – or is it fingers? – keyboard solos can follow all sorts of unexpected avenues of which these are just a few.

Homage to Janos – When respected Toronto architect Janos Gardonyi retired from his professional activities he began a new creative life delving deeply into digital photography, expanding and exploring a life-long love of classical music and sharing his thoughts and personal reminiscences with the WholeNote community. In October 2004 we published his first review, a CD of piano works by Leoš Janáček performed by Hakon Austbo. Two decades and 285 reviews later, we published his final words last month, an encomium to the late Lars Vogt and his recording of Mozart’s Piano Concertos Nos.9 & 24 with L’Orchestre de chambre de Paris. Janos died peacefully on September 8 at the age of 87. I will miss his memories and anecdotes, but I have a wealth of written words, and a remarkable surrealistically coloured arboreal photograph on my kitchen wall, to remember him by. Janos, you will be missed. 

In February of this year I wrote briefly about an ATMA digital-only release of Symphonie Gaspésienne by Claude Champagne (1891-1965) featuring L’Orchestre symphonique de Laval under Alain Trudel. At that time I said “Although not much attention was given to him in English Canada, where his contemporaries included Healy Willan and Sir Ernest MacMillan, Champagne was an important figure in the annals of classical music in Quebec, where his students included Violet Archer, Roger Matton, Pierre Mercure, Serge Garant and Gilles Tremblay among other notables. I was very pleased to see a new recording of Champagne’s brilliant tone poem, composed in 1944. Starting eerily in near silence, Trudel leads his orchestra through the gradually building portrait of the fabled Gaspé peninsula with dramatic turns and climaxes along the 20-minute journey.” This recording has now been supplemented with works by Hungarians born a decade before Champagne, Béla Bartók’s Dance Suite Sz.77 (1923) and Zoltan Kodály’s Dances of Galánta (1933). The Bartók is not a suite of dances as we have come to expect from the baroque model; it draws on Hungarian, Romanian and Arabic rhythms and modes to create an “imagined folklore,” often dark and dramatic. In some ways it foreshadows his late works Music for Strings, Percussion and Celesta and the Concerto for Orchestra. In contrast, Kodály’s one-movement work is much more tonal and based on actual tunes he heard performed by Roma bands while growing up in Galánta. The disc (ATMA ACD2 2867 atmaclassique.com/en/product/symphonie-gaspesienne-champagne-bartok-kodaly-prevost) concludes with Célébration (1966), a rousing and somewhat more abrasive work by modernist Quebec composer André Prevost (1934-2001), whose teachers included Jean Papineau-Couture, Clermont Pépin and Olivier Messiaen. As in the Champagne recording, the Laval orchestra rises to all the various challenges of these varied works and Trudel draws out resplendent performances from this fine 53-piece ensemble. 

Listen to 'Symphonie Gaspésienne' Now in the Listening Room

Arnold Schoenberg (1874-1951) was one of the most influential composers of the first half of the 20th century, and this year we celebrate the sesquicentennial of his birth. Juilliard String Quartet Plays Arnold Schoenberg (SONY Classical 19658827202) spans fifty years of his chamber output from the early String Quartet in D Major of 1897, thought lost until after his death, and the string sextet Verklärte Nacht (1899), through the four numbered string quartets (1904-05; 1907-08; 1927; 1936), to the Ode to Napoleon Bonaparte on a text by Lord Byron (1942) and the Trio Op.45 for violin, viola and cello (1945). The recordings themselves span four decades, from the Juilliard’s first cycle issued in 1953 to the 1993 release of Verklärte Nacht and the String Trio. During these 40 years the quartet went through a number of personnel changes, the one constant being founding first violinist Robert Mann who remained at the helm for nearly half a century from the quartet’s inception in 1949 until 1997. (The quartet remains active today, with the current “old hand” being Ronald Copes who was enlisted as second violin in 1997 when Joel Smirnoff moved from second to first chair upon the departure of Mann.) The seven-CD box set includes two recordings of the string quartets, the first as mentioned from 1953 and the second from 1977. This latter also includes the D major quartet which remained unpublished until 1966 and was unavailable at the time of the first recording. I appreciate its inclusion here as Schoenberg’s first major work (25 minutes in this performance). Although one can hear hints of things to come in it, each time I hear the final movement I do a double take thinking that some mistake has been made and a bagatelle of Dvořák has been erroneously inserted. 

In between these two quartet cycles is a 1967 album that was issued as the seventh volume of The Music of Arnold Schoenberg series which includes the Ode to Napoleon, for which the quartet is joined by pianist Glenn Gould and narrator John Horton, and the Trio Op.45 performed by Mann, violist Raphael Hillyer and cellist Claus Adam. The final disc includes Verklärte Nacht in which the quartet is joined by violist Walter Trampler and cellist Yo-Yo Ma and another performance of the trio, this time with Mann, Samuel Rhodes and Joel Krosnick. 

This important collection gives us a wealth of understanding about how Schoenberg’s writing developed from his earliest output to one of his last compositions, about how the Juilliard’s approach to his music changed over the decades and about how recording technology advanced over the same period. The booklet, which contains full recording and release information, includes a very personal essay by Schoenberg, How One Becomes Lonely, in which he discusses how he felt about the often tempestuous and derisory reactions to his music among critics and the public. It also includes an interview with the 1977 members of the Juilliard, Mann, second violinist Earl Carlyss, Rhodes and Krosnick in which they point out that although the membership had almost completely changed in the 24 years since the first recording the group had continued to perform the quartets throughout that time so there was an organic development over the years. It’s interesting to be able to compare the “youthful” and somewhat aggressive approach in the early recordings to the more mature, but still energetic performances later. 

Notwithstanding my appreciation of the booklet itself, I have a few complaints about the packaging. Within the box, each of the CDs is encased in a miniature cardboard replica of the original LP release. This is fine for the front cover art, but unfortunately the reduction results in the original program notes on the back covers being too small to read comfortably, even with a magnifying glass. It is also unfortunate that these are the only program notes provided for the individual pieces and that the Verklärte Nacht/Trio and Ode to Napoleon/Trio covers have no liner notes whatsoever, presumably because the original releases had substantial booklets not included here. Although declaimed articulately by Horton, inclusion of Byron’s text for Ode to Napoleon Bonaparte would have been an important addition, as would some discussion of the trio to give it context, especially since two different performances are presented. That being said, this is a marvelous set and I’m glad to have it. 

Last month I opined “it’s not possible to have too many recordings of Ravel’s string quartet…” and I would say the same is true for that other stand-alone French classic, Claude Debussy’s String Quartet in G Minor, Op.10. The two are most often paired together on recordings and last month’s release of the Ravel by Toronto’s Venuti Quartet was a rare exception to the rule. I recently found another when the Euclid Quartet, faculty quartet-in-residence at Indiana University South Bend, released Grieg | Debussy (Afinat Records AR2402 afinat.com). The excellent program notes acknowledge the unusual inclusion of Grieg’s String Quartet in G Minor, Op.27, completed in 1878 at the age of 35, but make a strong case for doing so. Debussy wrote his G minor work in 1893 at the age of 31 and was evidently influenced by Grieg’s quartet. They share a number of characteristics, including a motif that falls from the octave to the seventh and then the fifth, a favourite of Grieg’s, and particularly the eventual triumphant transition from G minor to G major at the conclusion of both works. I am less familiar with the Grieg, as I daresay most audiences are, although the Euclid claim it as one of their “greatest hits.” I was reminded of the incidental music to Ibsen’s Peer Gynt which Grieg composed two years earlier, and was struck by the fact that the final cadence of each movement seemed so final, as if the work were over, that I was almost surprised at the onset of each subsequent movement. Influences aside, the Debussy of only 15 years later appears to be from a different world. Grieg’s Norwegian nationalism and romantic gestures are replaced by the soft, vibrant pastels of French impressionism. The Euclid Quartet seems comfortably at home in the bombast of the former and delicacy of the latter. Another welcome addition to my collection. 

Quite a different kind of string quartet came to my attention this month, in the form of a set of collective improvisations by Richard Carr, Caleb Burhans, Clarice Jensen and Carr’s son Ben a.k.a. Carrtoons. August Light (neuma records 208 richardcarrviolinist.bandcamp.com/album/august-light) features a dozen tracks that range in style from ambient to abrasive. Carr is primarily a violinist, but is also heard on piano and, in one instance, electric guitar. Burhans is a violist and Jensen a cellist with Carrtoons adding electric bass on some of the material. The overall mood is contemplative, but as mentioned there are occasional moments of aggression. Play with Fire, with its choppy cello line and raspy upper strings seemed familiar to me, but not in a derivative way. Eventually I figured out that it was reminiscent of the Kronos Quartet version of Purple Haze or perhaps Matt Haimovitz’s cello ensemble playing Kashmir. But as I say, most of the disc is a lot more mellow than that. A favourite is the haunting Vik, bringing to mind the quiet majesty of the black volcanic sand beaches near the fishing village of that name on the south shore of Iceland that I had the pleasure of visiting with my wife a dozen years ago. This is followed by At the Crossroads, another ethereal piece with Carr on piano and the strings gently enhanced with electronics. The disc opens with Standing Stone, featuring plucked strings and overlaid long notes, and seemingly ends in a similar fashion with Standing Stone Reprise almost an hour later. After more than a minute of silence however the actual final track, Desolation is a Railway Station, begins with Carrtoons’ quiet walking bass line, the “heartbeat in this nocturnal jazz noir journey.” Very effective.

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Update: In June I wrote about Russell Truesdell Presents SYNTHESIS – The String Quartet Sessions (SynthesisSQS.com), a mammoth project for which Truesdell invited 15 large ensemble jazz composers to write for the iconic classical string formation. At the time, as is often the case, I was working from digital audio files in advance of the official release. Since then I have received the full-release LP-size package containing three CDs and an old-school, full size program booklet. My initial reaction before opening the package was “how annoying, this won’t fit on my CD shelf” but, especially considering my concerns about the Juilliard Schoenberg set as noted above, I quickly realized that this was something special. What a joy to hold the booklet and be able to read the print without eye strain. Although I still get annoyed at odd-sized releases, this one has the standard dimensions of a vinyl record and will be easy to store with the LPs which still have a prominent place in my collection. So, thank you to publicist Ann Braithwaite for sending this along!

Listen to 'SYNTHESIS' Now in the Listening Room

And this just in: Just as I thought I was finished for this edition I received Glasswing, the latest from Canadian string band The Fretless (thefretless.com). Like their previous four albums, Glasswing features original compositions by the members of the band, both individually and collectively, which explore their own unique take on the traditional folk string ensemble. Added to the mix are the warm vocals of Madeleine Roger on three tracks which she co-wrote with the band. The Fretless comprise the traditional formation of a string quartet, two fiddles, viola and cello, but one thing that makes them unique is that all three fiddlers – Karrnnel Sawitsky, Trent Freeman and Ben Plotnick – each take turns in the viola chair. Eric Wright is the cellist, providing a solid bass backing to the lilting higher strings. Highlights for me include the opening quasi molto perpetuo Lost Lake by Freeman, the gentle On the Hook by Plotnick and Sawitsky, Wright’s Tree Finder with its doppler-like opening and the closer, Icarus, with Roger’s poignant vocals re-telling the story of the boy who flew too close to the sun. 

Concert note: The Fretless launch Glasswing in a cross-country tour this month. In collaboration with set designer Gillian Gallow, lighting designer Emerson Kafarowski and sound technician Karen Gwillim, the tour promises to be an immersive, multi-sensory concert experience. It kicks off in B.C. on October 3 and culminates at Toronto’s Great Hall on October 20

We invite submissions. CDs, DVDs and comments should be sent to: DISCoveries, The WholeNote c/o Music Alive, The Centre for Social Innovation, 720 Bathurst St. Toronto ON M5S 2R4 or to discoveries@thewholenote.com. 

Charms to Soothe – 19th Century Music for Guitar is the latest CD from American guitarist David Leisner. “Some of these gems are not played often,” says Leisner, “and I hope that this recording might call attention to them.” (Azica Records ACD-71638 azica.com/albums/charms-to-soothe)

Leisner was a leading figure in the rediscovery of the Austro-Hungarian composer Johann Kaspar Mertz (1806-1856), and it is works by Mertz that open and close the disc – his Nocturne Op.4 No.2 and Two Pieces from Bardenklänge Op.13 respectively. 

Leonard Schulz (1814-1860) was born in Vienna but for most of his career lived in London. Only a few of his works were published in his lifetime. His Three Etudes from L’indispensable Op.40 are brief but engaging pieces. Giulio Regondi (1822-1872) was Swiss-born but was also active in London; he is represented here by Two Etudes – No.6 in D Minor and No.8 in G Major. 

Works by two contemporary giants of the guitar form the middle of the recital, Two Etudes Op.31 No.23 in E Major and Op.6 No.11 in E Minor by Fernando Sor (1778-1839) and Four Pieces from Op.148 by Mauro Giuliani (1781-1829) complete an absolutely delightful – and yes, soothing – album. 

Shifting Ground, the debut album from the American violinist Alexi Kenney weaves together seminal works for solo violin by J. S. Bach with a collection of pieces from the 17th century to the present day. Designed to be listened to as a set, it includes premiere recordings of works by Matthew Burtner, Salina Fisher and Angélica Negrón (Bright Shiny Things BSTC-0205 brightshiny.ninja/shifting-ground).

Individual movements from the Bach Sonatas & Partitas are spread throughout a somewhat uneven programme, the Adagio from the Sonata No.1 in G Minor opening the CD and the Chaconne from the Partita No.2 in D Minor closing the disc. Baroque violin music is also represented by Nicola Matteis’ Passaggio roto from his Ayres for the Violin and the terrific Alia Fantasia by his son Nicola Matteis Junior, its constant cross-string effects a high spot of the CD. 

Three of the tracks are excellent arrangements by Kenney: Schumann’s Widmung, Op.25 No.1; Ariana Grande’s thank u, next; and a clever and intricate version of Joni Mitchell’s Blue. 

Violinist Natalia Lomeiko is in superb form, ably supported by pianist Dinara Klinton on their disc Prokofiev | Szymanowski | Schumann, described thematically as suggesting the composers’ own escapes from their personal struggles (Orchid Classics ORC100313 orchidclassics.com/releases/orc100313-natalia-lomeiko).

Clara Schumann’s Three Romances, Op.22 are perfect pieces for displaying the warmth of one’s tone, and Lomeiko makes the most of the opportunity with a performance full of big, lush playing. Robert Schumann’s Fantasy in C Major, Op.131 from the same year as Clara’s piece – 1853 – was originally for violin and orchestra and is heard here in the 1937 arrangement by Fritz Kreisler.

There are two works by Szymanowski: a sweeping, rapturous performance of the 1915 Impressionism-inspired Mythes, Op.30 and the Nocturne and Tarantella, also from 1915, with a particularly dazzling Tarantella. Prokofiev’s 5 Pieces from Cinderella complete the disc.

Terrific playing from both performers and a resonant, warm recording ambience make for an outstanding CD. 

Patrick Stoyanovich is a Pacific-Northwest-based composer, teacher and performer, and an outstanding jazz and concert pianist. On Rue Paradis several of his more recent chamber works are performed by his violinist daughter Sophia Stoyanovich, along with pianist Derek Wang and cellist Aaron Wolff (Bridge Records 9593 bridgerecords.com/products/9593?).

All of the works here are first recordings: the Romance for Violin and Piano from 2010; the Violin Sonata No.1 from 2016; the Duo for Violin and Cello “Field of Blackbirds” from 2014; and the Violin Sonata No.2 from 2020, the final moments of which feature the tender Rue Paradis theme that gives the CD its title. They’re predominantly tonal pieces that display solid craftsmanship and a satisfying dynamic and emotional range.

In her booklet notes Sophia says that her father’s compositions are not composed specifically with her in mind, but in a recent interview in the local Bainbridge Island Review both father and daughter agreed that their relationship proved essential for the music’s creation. “When you know somebody on that intimate of a basis, it really does make a musical connection and a huge difference in expression,” Patrick said. “I wrote these pieces for her, and her technique, and what she sounds like.” 

Listen to 'Rue Paradis' Now in the Listening Room

It’s always intriguing to read how artists describe the raison d’être behind their album concepts; the connection sometimes appearing quite tenuous. On their CD Awaken the Yugen Trio explores various ways of awakening that define them as a group as well as referencing the awakening of their international career (Eudora EUD-SACD-2404 eudorarecords.com/shop/catalogue/awaken).

The Haydn Piano Trio in A Major, Hob.XV:35, for instance, comprises “joy towards the new day.” In Schubert’s Sonatensatz in B-flat Major, D.28 the three opening chords resemble abrupt waking from a dream, and the Ravel Piano Trio M.67 resembles the vivid, unrestrained fantasy of our dreams and the ambivalence on waking.

The only thing that matters, though, is the music itself – how effective the recital is, and how well it’s played, and these performers score highly on both counts. The Haydn is a charming early work, cleanly played and well-balanced, and the Schubert an attractive first attempt by the 15-year-old composer. The Ravel, full of French colour and sensitivity accounts for over half of the CD, and an idiomatic performance ends an album that, in a way, also tracks the awakening of the piano trio form itself.

The Arcadia Quartet is back with the latest release in their series of the string quartets of Mieczysław Weinberg with Weinberg String Quartets Vol.4, featuring quartets Nos. 6, 13 and 15 (Chandos CHAN 20281 chandos.net/products/catalogue/CHAN%2020281).

The six-movement String Quartet No.6, Op.35 is from 1946 and its strikingly advanced language, relative to traditional Soviet works of the time, later lead to a short-lived ban by the authorities. Published in 1949 and reprinted in 1979, it was apparently only premiered in 2007. The String Quartet No.13, Op.118 from 1977 was dedicated to the Borodin Quartet who were so closely associated with the Shostakovich string quartets, and like that composer’s 13th quartet from seven years earlier is in one movement of about 15 minutes. Weinberg dispensed with expressive directions for each movement, simply indicating metronome markings.

It’s also metronome markings only in the String Quartet No.15, Op.124, a striking nine-movement work from 1979, again leaving interpretation to the performers. 

The Arcadia Quartet’s intent is to promote a body of work which has long remained overlooked, and with outstanding performances like these one has to believe that Weinberg’s 17 string quartets can justifiably stand alongside those of his friend Shostakovich.

The folk element is front and centre on American Voices, with the Pacifica Quartet continuing its exploration of American musical traditions (Cedille CDA 90000 228 cedillerecords.org/albums/american-voices).

Dvořák was a passionate advocate for a distinctly American classical sound. Although he used no known American folk melodies in his String Quartet in F Major, Op.96 “American” the work never loses its attractive rustic and folksy feel.

In recent years the music of Florence Price has been the subject of enormous exposure and universal praise, although I’m not sure that it’s always fully warranted. Her writing for string chamber ensembles, however, is outstanding, and her two-movement unfinished String Quartet in G Major from 1929 is a real gem, wistfully melodic, richly harmonized and showing a fine grip of instrumental writing. It follows the Dvořák here, and with its similar folk influences doesn’t for a moment sound out of place or inferior.

Louis Gruenberg’s Four Diversions for String Quartet, Op.32 was written in 1930, and the Jazz Age influence is evident in the brief but effectively written movements.

The CD closes with the world premiere recording of Pitch In (2023) by James Lee III, a setting of a poem that addresses the issue of food wastage and hunger. United Voices under Josephine Lee join the Pacifica in a work commissioned for the album.

Since 2015 the German GENUIN label has been awarding a special prize to a winner of their choice at the ARD International Music Competition in Munich, financing the production of a CD to be released in their ARD Music Competition Edition series. Manifesto on Love is the resulting debut album from the Barbican Quartet, First Prize winners in 2022 (GEN 24878 barbicanquartet.com).

Janáček’s String Quartet No.2 “Intimate Letters” from 1928 opens the disc. Written mere months before his death and frequently referred to as his “manifesto on love” it is essentially a love letter to his muse, the much younger Kamilla Stösslová. It’s full of nervous intensity, naked emotion, passionate outbursts and an almost painful intimacy, all beautifully captured by the Barbican.

There’s a definite Janáček feel to The Ear of Grain, the Dobrinka Tabakova work commissioned by the 2022 ARD competition as the compulsory piece and one which the performers clearly know well.

Two Schumann works – his String Quartet in A Minor No.3, Op.41 and the brief song Wenn ich ein Vöglein vär, arranged by the quartet’s violist Christoph Stenczka – complete a fine CD.

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String Quartets Nos.7-10 are presented on Pelle Gudmunsen-Holmgreen Complete String Quartets Vol.2, in exemplary performances by the Nordic String Quartet (Dacapo Records 8.226218 naxos.com/CatalogueDetail/?id=8.226218).

In view of the fact that String Quartet No.7, Parted from 1984 and String Quartet No.8, Ground from 1986 were both commissioned by the Kronos Quartet it’s somewhat surprising to see that these are world premiere recordings of the works. Parted is very modern in sound, with hints of minimalism and a good deal of downward bow pressure digging into the strings. Ground plays with a looping bass line, and was described by the composer as one of his most enchanting. 

String Quartet No.9, Last Ground for string quartet and ocean from 2006 (another Kronos collaboration) again features a ground bass, but is dominated by the opening and closing sound samples of roaring ocean waves, wind and associated wildlife. String Quartet No.10, New Ground from 2011 is an absolute delight, based on Pachelbel’s Canon ground but with an extra bar and added blues touch – and a Haydnesque joke ending!

On In Evening Light – Vasks, Schubert violinist Sebastian Bohren and the Münchener Kammerorchester under Sergej Bolkhovets present the world-premiere recording of Pēteris Vasks’ Concerto No.2 “In Evening Light” for Violin and String Orchestra (Avie AV2662 avie-records.com/releases/in-evening-light).

Composed in 2020, 23 years after his Concerto No.1 “Distant Light” the titles reveal closely-linked worlds. “Each time that I take up the symbol of light,” says the composer, “I want to show brightness returning after darkness and all of its fears.” This dualism of darkness and light is represented in the middle movement, but the third returns to the calm, deep lyricism of the first with its promise of returning light. It’s a truly beautiful work, superbly played here.

The haunting Lonely Angel – Meditation for Violin and String Orchestra from 2006 is described as a vision of an angel flying alone above humankind, filled with grief at how cruel and aggressive we are to each other. The unmuted solo violin floats above the muted string players in another immediately accessible and atmospheric work. 

Between the two is Schubert’s Rondeau brillant in B Minor, originally for violin and piano and heard here in an effective arrangement for violin and strings by Paul Suits.

The always outstanding Janine Jansen is back with her first new concerto recording in nine years with Sibelius & Prokofiev Violin Concertos, Klaus Mäkelä and the Oslo Philharmonic providing stellar accompaniment (Decca 4854748 store.deccaclassics.com/products/sibelius-prokofiev-1-violin-concertos-cd).

Jansen has as strong a bowing arm as any player I’ve seen, so a towering performance of the Sibelius Concerto in D Minor, Op.47 driven by strength and power comes as no surprise. Her stunning technique and impeccable musicianship and insight are evident throughout a wonderfully expressive, sensitive and dramatic performance, a superb opening movement followed by a beautiful slow movement and a dazzling finale. You’ll hear many excellent performances of this concerto, but it’s difficult to believe you’ll ever hear one better than this.

The standard never drops in a lovely performance of Prokofiev’s Concerto No.1 in D Major, Op.19. Completed in 1917 and not premiered until 1923, its dreamy opening movement is balanced by the fiendishly difficult Scherzo middle movement in the usual Prokofiev mixture of lyricism and cynicism.

The young Ukrainian violinist Bohdan Luts, who won the violin section of the Carl Nielsen International Competition in 2022 at the age of 17 makes his album debut with works by Dvořák, Bruch and Nielsen, with Anna Skryleva conducting the Odense Symphony Orchestra Orchid Classics ORC100301 orchidclassics.com/releases/orc100301-bohdan-luts).

Dvořák’s Concerto in A Minor, Op.53 from 1879 is a lovely work that perhaps still doesn’t really get the recognition it deserves. Luts certainly shows it in the best possible light, his commanding technique and sweet, full tone beautifully illustrating its folk nature and Romantic style.

Exactly the same can be said for the performance of Bruch’s Scottish Fantasy Op.46, an exact contemporary of the Dvořák from 1880 but a work of enduring popularity. The maturity that Luts exhibits in both concertos is impressive.

The middle work on the disc is Nielsen’s short but lovely Andante con duolo or Romance from his 2 Fantasy Pieces, Op.2. Originally written for oboe and piano, Nielsen himself played the piece on violin, and the violinist Hans Sitt eventually transcribed it for violin and orchestra.

Two major works in the cello repertoire, both originally associated with a virtuoso cellist, are featured on Dvořák and Tchaikovsky, the new CD from the young American cellist John-Henry Crawford. Martin West conducts the San Francisco Ballet Orchestra (Orchid Classics ORC100292 orchidclassics.com/releases/orc100292-john-henry-crawford-dvorak-tchaikovsky).

In writing his Variations on a Rococo Theme, Op.33 Tchaikovsky went further than merely seeking and accepting advice from the German cellist Wilhelm Fitzhagen and allowed him to make minor alterations to improve the work. Fitzhagen, however, went further, making cuts, adding repeats, re-ordering sections and even deleting one variation completely. Tchaikovsky was never comfortable with the changes, but the edition Fitzhagen published became the standard text, as heard here.

Inspired by Victor Herbert’s second cello concerto, Dvořák’s Cello Concerto in B Minor, Op.104 was written with Czech cellist Hanuš Wihan in mind, although he was unable to perform the premiere.

Crawford has a lovely tone, warm and full of colour and nuance, and a commanding technique. The challenges of the Tchaikovsky are handled with grace and agility, and he plumbs the depths of the Dvořák in a passionate and sensitive performance, West and the orchestra providing top-level support.

Art Choral Vol.1 – Renaissance
Ensemble Artchoral; Matthias Maute
ATMA ACD2 2420 (atmaclassique.com/en/product/art-choral-vol-1-renaissance)

If radio stations are to be believed the only a capella choral group worthy of airplay is Voces 8 (without doubt, a wonderful ensemble, eminently worthy of celebration under any circumstances). However, when producers of radio keep programming just one choral group (singing songs from their latest repertoire) listeners are robbed of – to quote  Pliny – “an embarrassment of riches” worthy of the airwaves wherever their reach may extend.    

The virtues of a disc such as this one – Renaissance Art Choral Vol.1 – even parts of it from time to time – serve the purpose of being infinitely greater than the educational. Presented here is music that will surely have appeal quite beyond academia. 

The disc opens with a glorious motet – Adoremus te, Christe à 4 voix – attributed to Giovanni Pierluigi Palestrina, the father of polyphony. The repertoire then traverses a breathtaking arc of motets, madrigals, chanson, anthems and lullabies sweeping across Europe, from France and Italy through England. Undertaking this musical journey we discover much music from the ecstatic mysticism of Palestrina, the chanson of Josquin des Pres to the joyful works of William Byrd and an anthem written by the celebrated Thomas Tallis.

The eloquent musicality of Ensemble Artchoral under the direction of the accomplished Matthias Maute recreate these works with eloquent emotionality and deep spirituality.

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