Artem Vedel – Twelve Sacred Choral Concerti
Luminous Voices; Spiritus Chamber Choir
Leaf Music LM244 (leaf-music.ca)

The choral concerto is a uniquely Eastern European form, arising in the Russian Empire in the 17th century and continuing to be written well into the 19th. In general terms, the choral concerto was defined by its multi-movement form and psalm-based texts, written for unaccompanied chorus and containing passages for full ensemble as well as soloists. While parallels can certainly be drawn between the choral concerto’s form and that of the Western instrumental concerto, this similarity is more coincidence than correlation, as the developments of these like-minded styles occurred largely contemporaneously.

The most renowned and oft-performed composer of choral concertos is Dimitri Bortniansky, an Italian-trained, Russian-Ukrainian musician whose 45 concertos are considered by many to be the pinnacle of the form. At the same time as Bortniansky was putting pen to paper, another Ukrainian composer was authoring his own essays in the choral concerto style, and it is these works by Artem Vedel that are the focus of Vedel: Choir Concertos Nos.1-12 & Divine Liturgy of St. John Chrysostom.

While a relatively unknown composer in modern times, Vedel was widely respected in his homeland during his lifetime and was one of the “Golden Three” composers, along with Maxim Berezovsky and Bortniansky. Vedel’s concertos are strikingly expressive yet deceptively simple, many of them written for three- or four-part chorus, and often set anguished texts from the psalms: nine of the eleven intact concertos are written in minor keys and are of a pleading, mournful nature. 

Far from being pessimistic and despite Vedel’s angsty outlook, there are moments of great beauty and striking optimism contained within each work, particularly as the texts turn to the goodness and saving power of God; these cadences are arguably some of the most delightful and satisfying in the oeuvre and are magnificently executed by the performers.

This double-disc collection is immense, containing over 150 minutes of material, all of it performed by the Calgary-based ensemble Luminous Voices. A seven-year project, this recording is a testament both to the compositional capabilities of Vedel and the musical skill of Luminous Voices and its director, Timothy Shantz.

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Mozart – Cosi Fan Tutte
Eriksmoen; Dragojevic; Schuen; Peter; Kulman; Werba; Concentus Musicus Wien; Arnold Schoenberg Choir; Nikolaus Harnoncourt
Unitel Edition 804108 (naxosdirect.com/search/804108)

Collaborations between composer and librettist always create happy results, often the composer’s best operas, e.g. between Verdi/Boito, R. Strauss/Hoffmanstahl or Wagner/Wagner (as he wrote his own librettos). This is the case with Lorenzo Da Ponte with whom Mozart produced three of his masterworks: Figaro, Don Giovanni and Cosi fan Tutte. 

Nicholas Harnoncourt’s long-cherished dream has been to conduct all three of them, one after the other, as authentically as possible, in an intimate setting with close collaboration with singers while still maintaining complete control. This is a concert performance, with bare stage, no sets or costumes. Singers sing from scores, but act and move freely, interact with each other and the emphasis is entirely on the music; the most beautiful music of the three operas according to connoisseurs.

Cosi fan Tutte means all women are fickle, deceitful (even Verdi’s Duke of Mantua sings it: La donna è mobile), a thesis proven by the philosopher Don Alfonso (Markus Werba, baritone) with an experiment on two sets of lovers Fiordiligi (Mari Ericksmoen, soprano) and Dorabella (Katija Dragojevic, mezzo) vs. Ferrando (Mauro Peter, tenor) and Guglielmo (André Schuen, baritone) in this hilarious comedy. And in the music, one beautiful piece after another. Like Fiordiligi’s angry outburst: Come scoglio immoto resta in Act One, or Ferrando’s Un aura amorosa so beautiful that even Harnoncourt sings along. Dorabella’s È amore un ladroncello is tempestuous and Gugielmo’s Donne mie la fate tanti is a swaggering boast of male pride. The clever and worldly chambermaid, Despina (Elisabeth Kulman), the interlocutor who helps Don Alfonso carry out his scheme, also sings a lovely aria Una donna a quindici anni that delights Harnoncourt and garners big applause.

“Something we had never heard before like this” says the Serbian newspaper Kurir, and that just about sums it up.

Malcolm Arnold – The Dancing Master
Vocal Soloists; BBC Concert Orchestra; John Andrews
Resonus Records RES10269 (resonusclassics.com)

London, 1952: Malcolm Arnold, Oscar-winner-to-be for The Bridge on the River Kwai, is rapidly churning out one film score after another; his friend, filmmaker Joe Mendoza, has written a screenplay based on a 1671 comedy, The Gentleman Dancing Master. For years, they’ve discussed collaborating on an opera; now, Mendoza turns the screenplay into a made-for-television opera libretto. Only two weeks after receiving Mendoza’s draft, Arnold completes the score for a one-act, 75-minute opera. Deemed “too bawdy for family audiences” by BBC executives, The Dancing Master languishes until an amateur concert performance with piano in 1962; it finally receives its first full production in 2015 in London. 

Miranda faces an unwanted marriage to her Frenchified cousin, “Monsieur” Nathaniel, arranged by her pompous father and puritanical aunt. Supported by her maid Prue, Miranda attempts to pass off her ardent but maladroit admirer Gerard as her dance instructor. Comic complications inevitably ensue.

Mendoza’s libretto (included in the booklet) boasts sharply drawn characters and abundant clever rhymes. It’s hardly “bawdy” – mildly risqué only when Prue tries to seduce Nathaniel. Arnold’s score is brightly orchestrated, poignant in Miranda’s lament, boisterous in the ensembles, unashamedly cinematic in the climax of Miranda and Gerard’s love duet, wickedly satiric in Nathaniel’s absurd serenade, clearly echoing Beckmesser’s hapless effort in Die Meistersinger’s song contest.

The Dancing Master is a melodic, laugh-inducing romp. While a more distinguished cast might have been desirable, this CD promises guaranteed operatic entertainment.

G. Graun – Chamber Music from the Court of Frederick the Great
Augusta McKay Lodge; Georgina McKay Lodge; Eva Lymenstull; David Schulenberg
Brilliant Classics BRI96289 (naxosdirect.com/search/bri96289)

Frederick the Great’s patronage of classical musicians is well known; Frederick was himself an accomplished player and composer. Surprisingly, several of these composers did not perform before the King and are therefore less well known than they should be. This CD seeks reversal of the situation.

A comment is made in the CD notes that the pieces bridge a gap between Baroque and mainstream classical music. This is borne out in Janitsch’s Allegretto which possesses a liveliness worthy of Mozart or Haydn. When it comes to Johann Gottlieb, the slightly older Graun brother, we are treated to a highly spirited Allegro scherzando from violinist Augusta McKay Lodge, echoed literally by David Schulenberg’s harpsichord playing before all instruments proceed to a real virtuoso performance of which J. S. Bach would have been proud.

It is Bach’s oldest son Wilhelm Friedemann who tutored one of the stars of this CD, Franz Benda. Benda’s Sonata for viola brings out the best of Georgina McKay Lodge’s playing. Listen, for example, to her stately and measured approach to the Adagio. Benda, in fact, moved in exalted circles, being a pupil of Wilhelm Friedemann but also having as patron one Sarah Levy, great-aunt of Felix Mendelssohn. And yet it is the Grauns who dominate the CD. Johann Gottlieb’s Trio sonata in A showcases the string playing of both McKay Lodges. All in all, this well-chosen collection demonstrates the tremendous array of talented composers Frederick the Great attracted – which paved the way for Haydn and Mozart.

Bach; Beethoven
Andrew Von Oeyen
Warner Classics 0190295020514 (vonoeyen.com)

After the silence descended over concert halls in 2020, many performing artists focused on exploring the possibilities of new sonic places through repertoire, musical approaches or unusual physical spaces. Intimate solo sessions offered these artists the opportunity for introspection and extended a salute to their audiences. According to Andrew Von Oeyen’s liner notes, his desire to turn to the repertoire that expressed the essence of current times and fortified noble feelings of resilience and perseverance resulted in this album. And what an album it is! Every piece carries a deeper meaning of our collective experiences in the times of the pandemic and Von Oeyen conveys it on both the intellectual and emotional level. The performance goes beyond his dazzling technique and splendid phrasing. It is as if he simply knows where the heart of each composition lies and he is unveiling it for the listener.

Bach’s Overture in the French Style, a quest for order and clarity, is particularly well played. Not being a Bach specialist allows Von Oeyen to hear the interweaving voices in a slightly more juxtaposed – rather than contrasting – way. Beethoven’s piano sonatas (Nos.13 and 23), embodying vitality and determination, bring in the currents of energy. The choice to end the album with Kempff’s piano arrangements of the movements from Bach’s Flute Sonata No.2 and Harpsichord Concerto No.5 are surprising but welcomed. These solitary musings of one artist are well noted and well appreciated.

Mozart – Piano Concerto No.20; Beethoven – Piano Concerto No.3
Rasa Vitkauskaite; Franz Liszt Chamber Orchestra; Anima Musicae Chamber Orchestra; Jonathan Cohler
Ongaku Records 024-129 (ongaku-records.com)

Released in honour of Beethoven’s 250th birthday anniversary, this album also honours the long and beloved tradition of the classical piano concerto. The concept is cleverly simple: choosing to record the first concertos written in a minor key by both Mozart and Beethoven allows Lithuanian pianist Rasa Vitkauskaite to explore the multitude of interrelations in the ways both composers approached piano playing and piano writing. Furthermore, her extensive and thoughtful liner notes not only offer a wealth of historical information but also aid the listener’s aural comprehension of these two masterpieces. 

Vitkauskaite’s performance is buoyant and certainly does not lack fully fledged ideas. Whether it is the poetic opening of Mozart’s concerto or the relentless dancing bounce in the concluding movement of the Beethoven, Vitkauskaite has a strong presence and willful execution. Each composer chose specific minor keys (D minor for Mozart and C minor for Beethoven) as ideal canvases for expressing tempestuous feelings and darkness, and they continued to do so in their later works. Vitkauskaite understands that darkness perfectly. She is capable of bringing forth the intensity and tension while still retaining the lyricism of the melodies. She favours her own improvisations and embellishments in the cadenzas, which makes this performance exciting as we are able to hear something new and surprising. Jonathan Cohler is a perfect collaborator to Vitkauskaite, directing both orchestras with clarity and conviction.

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Mozart – Piano Concertos Vol.3 K449 & K595
Anne-Marie McDermott; Odense Symphoniorkester; Sebastian Lang-Lessing
Bridge Records 9538 (bridge-records.com)

This Bridge recording is the third in a series of Mozart piano concertos featuring American pianist Anne-Marie McDermott with the Odense Symphony conducted by Sebastian Lang-Lessing, this time presenting Concertos No.14, K449 and No.27, K595.

A graduate of the Manhattan School of Music,  McDermott has earned a reputation as a consummate artist during the last 25 years, one who continues to appear in concert internationally both as a soloist and a chamber musician. Her first two recordings in this series were met with considerable critical acclaim and this one is equally impressive.

Written in 1784, K449 is regarded as the first of Mozart’s mature works in the genre and was the first composition to be entered into a notebook of his music he retained for the next seven years.  McDermott approaches the score with a thoughtful intelligence, her phrasing at all times carefully nuanced, while the Odense Symphony is a sensitive and formidable partner. The second movement andantino is all heartfelt lyricism while the optimistic and sprightly finale is carried out with great gusto.

Concerto No.27, Mozart’s last contribution to the concerto form, his “swan song” so to speak, was probably written between 1788 and 1789, but the manuscript is dated January 5, 1791.Once again, McDermott’s performance is wonderfully expressive, the brisker passages marked by an adept precision. Throughout, the warm strings and woodwinds under Lang-Lessing’s skilfull baton further contribute to a most satisfying performance.

While recordings of Mozart piano concertos continue to be plentiful, this one – by an exemplary soloist and orchestra, both of whom deserve greater recognition – is a welcome addition and we can look forward to further editions in the series.

MM 1785 – Mozart Momentum
Leif Ove Andsnes; Mahler Chamber Orchestra
Sony 19439742462 (naxosdirect.com/search/194397424621)

1785 was a landmark year in Mozart’s all-too-brief existence. He had finally achieved a degree of financial security, he commenced a period of tremendous creative energy and he was beginning to “push the boundaries” with respect to his musical style. This Sony two-disc set titled Mozart Momentum, is an intriguing presentation of seven works all composed that year – three piano concertos, the Piano Quartet K478, the Fantasia K475 and the Masonic Funeral Music K477 performed by Leif Ove Andsnes and the Mahler Chamber Orchestra. 

The Piano Concerto No.20 – the first of two Mozart wrote in a minor key – took some time to be fully accepted by Viennese audiences, but they ultimately embraced it wholeheartedly. The overall theme of “light triumphing over darkness” clearly foreshadows the 19th century, and Andsnes with the MCO are a formidable pairing, delivering a polished performance.

Similarly, the Concertos No.21 and 22 (the latter the first to make use of clarinets) demonstrate a buoyant confidence – tempos in the outer movements are brisk but never rushed, the cadenzas are creative and there’s a solid connection between soloist and orchestra.

For the G-Minor Quartet, Andsnes drew upon the principals from the ensemble and what a wonderfully intimate sound they produce! Here the listener is struck by the enthralling interplay of the musicians, particularly in the third movement scherzo where they engage in a true game of “cat and mouse” including a false ending before the jocular conclusion performed with great panache.

Andsnes sits on the sidelines for the brief Masonic Funeral Music but returns for the Fantasia in C Minor, a score that clearly anticipates Beethoven. 

Kudos to all concerned – this set is a treasure, bound to be enjoyed for many years to come.

The Schumann Project: Robert – Symphonic Etudes; Clara – Sonata in G Minor
Inna Faliks
MSR Classics MS 1763 (msrcd.com)

Reimagine: Beethoven & Ravel
Inna Faliks
Navona Records nv6352 (navonarecords.com/catalog/nv6352)

The name Inna Faliks may not seem familiar to music lovers today, but the credentials of this Ukrainian-born American pianist are impressive indeed. Currently head of the piano department at UCLA, Faliks has made a name for herself both as a performer and pedagogue, and has appeared in concert throughout the world including a tour of China in 2016.The recording, titled The Schuman Project, is the first in a series designed to juxtapose the music of Robert Schumann with that of his wife Clara, who for too long has had the unfortunate reputation as “a pianist who also composed.”

The 19th century wasn’t kind to women composers (or any women involved in the creative arts) and Clara was no exception. Her Piano Sonata in G Minor, which opens the disc, was an early work dating from 1841 when she was all of 22. It was composed specifically for Robert and despite her youth, there is much to admire here including solid construction and fine thematic development among the four movements. Faliks approaches the unfamiliar score with a clear understanding of the music, delivering a compelling and heartfelt performance.

Schumann’s renowned Symphonic Etudes were begun in 1834 and have long been regarded as one of the most challenging of his large-scale piano works. Faliks easily proves her grasp of the material, rising to all the technical demands. But she is no mere technician – at all times her phrasing is carefully articulated and, beginning with the mysterious opening theme, her performance is a captivating musical journey right through to the jubilant finale. 

Faliks turns her attention to very different material in the disc Reimagine: Beethoven and Ravel. Here she focuses on putting a new “spin” on standard repertoire, in this case, the Beethoven set of Bagatelles Op.126 and Ravel’s suite Gaspard de la Nuit. These were used as a basis for new compositions by modern composers such as Peter Golub, Tamir Hendelman and Richard Danielpour. Just as the Beethoven set is a study in contrasts, so are the reinterpretations. For example, the mood of the Bagatelle by Golub based on the first in the Beethoven set is pensive and contemplative, closely following that of the original, while Ian Krouse’s Etude 2a based on the second is a true perpetuum mobile. For whatever reason, Faliks didn’t include any original movements from the Ravel suite, but pieces such as Variations on a Spell by Paola Prestini are an evocative reimagining of Ondine.

These are fine recordings demonstrating two sides of a gifted artist – and recorded during a pandemic no less. We can hope to hear more from Inna Faliks in the future.

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Brahms – Symphony No.3; Serenade No.2
Budapest Festival Orchestra; Ivan Fischer
Channel Classics CCS SA 43821 (channelclassics.com/catalogue/43821)

“There is no more magnificent opening of a symphony than the first 38 bars of Brahms Third” says Ivan Fischer, and obviously he is very partial to the work. Fischer is known to pursue unjustly neglected works and restore them to mainstream repertoire. Brahms Third Symphony is certainly the dark horse, the least performed of his four. Granted, it is different from the others: it’s the shortest, terse, vivid, passionate and intensely alive. It begins with a great heroic theme in an optimistic F Major fortissimo that dominates the work, but it’s also capable of becoming soft and tender as at the end of the first movement and the very end of the symphony. 

The nickname heroic fits only the outer movements. The second is quiet and peaceful and simply glows with one beautiful melody after another. It comes to a gorgeous climax and then a hushed magical moment of dialogue between various woodwinds and the lower strings echoing one another. The third movement should be a scherzo, but it isn’t. It has a “beautiful, caressing theme, loving and slightly melancholic, but all in a mildly rocking rhythm” (Clemens Romijn). It is in 3/4 time and so catchy that it became a pop song. The last movement is intense, dramatic like a battle, heroic, but the main theme returns in a quiet, peaceful manner that ends the symphony gently.

Brahms wrote the two Serenades before he composed symphonies and I first heard them by the late, great Brahmsian István Kertséz and fell in love with them instantly. The graceful Serenade No.2 provides a nice contrast to the heroic Third Symphony, performed here in a thoroughly delightful manner by the wonderful musicians of the Budapest Festival Orchestra, the pride of Hungary and one of the top ten of the world.

Johannes Brahms – Piano Concertos
Andras Schiff; Orchestra of the Age of Enlightenment
ECM New Series 2690/91 (ecmrecords.com/shop)

Perhaps like many classical music listeners and lovers, I mainly (and perhaps limitingly) associate the Hungarian-born pianist Sir András Schiff with J.S. Bach, whose music Schiff plays beautifully, frequently and with an insight and mastery that few have equalled. Accordingly, it was a pleasure for me to dig into Schiff’s recent double-disc recording of the reimagined piano concertos of Johannes Brahms, accompanied capably by the Orchestra of the Age of Enlightenment. 

Captured following a string of highly acclaimed European concerts in the spring of 2019, the resulting recording is magical. Doing double duty as pianist and conductor, Schiff leads this unique United Kingdom-based period-piece orchestra through some of the most musical and challenging pieces in the Western art music canon (Concerto for Piano and Orchestra No.1 in D Minor, Op.15 and No.2 in B-flat Major, Op.83), mining the depths of Romantic-era dynamics and expressivity for which Brahms is revered. Further, the recording, captured at London’s Abbey Road studios, contains all of the fidelity hallmarks for which ECM Recordings has earned its blue-chip reputation over the last near half-century, exhibiting the telltale expansive sonic thumbprint of executive producer Manfred Eicher, who helps realize here a recording that captures Schiff, and the 1859 Blüthner piano on which he performs, beautifully.

Brahms – Double Concerto; Tchaikovsky – Romeo and Juliet; Liszt – Les Preludes
Lisa Batiashvili; Gautier Capuçon; Staatskapelle Dresden; Christian Thielemann
C Major 757108 (naxosdirect.com/search/757108)

Christian Thielemann had already established himself as a card-carrying, man-about-Brahms when he recorded the complete symphonies, the piano concertos with Pollini and the violin concerto with Batiashvili; DG was still attempting to develop a successor to the late Herbert von Karajan. 

Of course this concert with the Dresden Staatskapelle could be nothing less than a memorable event given the incomparable technique and sonorities of the soloists, violinist Lisa Batiashvili and cellist Gautier Capuçon, with Thielemann in command. This Blu-ray has had lots of play in the past weeks as I just had to hear, just one more time, my very favourite Brahms concerto. The encore, Il Zingaresca: Allegro giocoso, is a pleasing interplay between violin and cello by Schulhoff. The Tchaikovsky and Liszt war horses each enjoy a well-controlled, commanding performance,

Busoni – The Six Sonatinas
Victor Nicoara
Hanssler Classic HC20086 (naxosdirect.com/search/hc20086)

Victor Nicoara, a bona fide exponent of the piano music of Ferruccio Busoni, joins an increasing number of musicians determined to familiarize audiences with the Italian composer’s catalogue, bringing them “closer to an emotional understanding of… neglected masterpieces.” As such, Nicoara has fashioned an aesthetically pleasing album featuring Busoni’s Six Sonatinas – out of chronological order – set amongst smaller pieces. It is immediately apparent that Nicoara has long been devoted to Busoni’s art and brings a depth of interpretation and impressive conviction to his performance. The pianist displays attributes of expression not perennially associated with Busoni: a tenderness of line and sense of satirical gesture (with playfulness); a dreamy, almost absent-minded notion of soundscape, a rational lingua franca of harmony. (Busoni’s harmonic language can sometimes seem out of reach for many listeners.)

This is a disc to be thoroughly enjoyed, varied in scope with intimations of dusted-off treasure. The musical gemstones Nicoara brings to our ears from vaults below are not unknown, they’re just rarely heard and must therefore be reclaimed and re-appreciated in the natural light of day. Here is the conceit of Nicoara’s newest recording and he succeeds in its conveyance, admirably.

Outside of the sonatinas, a more novel highlight is the Nuit de Noël, BV 251. Without knowing, one might guess this music to be written by Debussy, Grieg or even a proponent of the Romantic English school. Finally, Nicoara’s own, Quasi Sonatina, illuminates the nooks and crannies of our aforementioned museum finds in “an attempt… to distill the spirit and compositional procedures of the works recorded…”  As listeners, we revel in his sensitivity for the material: material he plays with an earnest, even humble, brand of pianistic expertise.

Mahler – Symphony No.7
Bayerisches Staatsorchester; Kirill Petrenko
Bayerische Stattoper BSOrec0001 (naxosdirect.com/search/bsorec0001)

The Bayerisches Staatsorchester, the resident orchestra of the renowned Bavarian State Opera, launches a new label featuring their purely orchestral performances with this 2018 live performance under their former music director Kirill Petrenko, recently appointed to succeed Simon Rattle at the Berlin Philharmonic. The reclusive and modest Petrenko has very few recordings to his credit to date; that he would choose to heighten his profile with this most neglected though utterly fascinating example of Mahler’s symphonies is certainly a provocative move. 

In general we have here a quite satisfying result, revealing an excellent orchestra at the top of its game. The opening bars of this five-moment symphony seemed a bit underwhelming to me at first, though it eventually became evident that Petrenko is playing the long game as the interpretation grew increasingly incandescent throughout the remainder of the movement. A certain Apollonian reticence is also evident in the flanking pair of Nachtmusik movements; the echoing horn calls that open the second movement for example are, unusually, strictly in tempo, while the expressive tempo modifications in the archly sentimental fourth movement are almost non-committal in their fleetness, though both movements are otherwise sonically luxurious and expertly balanced. He does however display a commanding hand throughout the psychedelic central Scherzo and truly comes into his own in the dense polyphony of the grandiloquent Finale which zips along jubilantly. 

Though it’s certainly not the finest recording of this work available (I would recommend Bernstein/NY or Abbado/Lucerne) it nevertheless shows great promise that Petrenko interprets this demanding work with such alacrity. Stay tuned!

Quest
Elisabeth Remy Johnson
Albany Records TROY1863 (albanyrecords.com)

This compelling new recording from world-renowned principal harpist (Atlanta Symphony) Elisabeth Remy Johnson, is a magnificent celebration of not only the harp itself, but of 12 radiant female composers. Both historic and contemporary artists are represented here by way of Johnson’s transcriptions of venerable piano works by Cécile Chaminade (Aubade – 1911), Amy Beach (A Hermit Thrush at Morn – 1921), Mel Bonis (Cinq Morceaux – 1894 to 1927), Fanny Mendelssohn Hensel (Mélodie – 1846), Clara Wieck Schumann (Romanze – 1853) and Lili Boulanger (D’un vieux jardin – 1914). Contemporary contributers to this superb collection include Australian flutist/composer Johanna Selleck, British composer Freya Waley-Cohen, British violist/composer Sally Beamish and Canadian composer Kati Agócs.

The title track is by contemporary Iranian-American pianist/composer Niloufar Nourbakhsh. Written in 1992, the composition reflects Nourbakhsh’s thoughts and feelings as she embarked on her “quest” of becoming a composer. Delicate, gossamer and provocative, this world-premiere recording and transcription for solo harp is nothing short of breathtaking. Aubade has a whimsical aspect, made even more magical when performed on harp and A Hermit Thrush at Morn embodies contemporary motifs in classical music that were just beginning to come into focus in the 1920s. Of special beauty and elegance is the five-movement Cinq Morceaux, as is D’un vieux jardin where the listener experiences a stunning, Parisian garden gently emerging out of the mist.

The contemporary pieces presented here are no less notable, particularly Agócs’ Every Lover is a Warrior and Waley-Cohen’s Skye. This is a recording to be savoured, just like all of the works of the brilliant female artists who have contributed to Johnson’s laudible recording, infused with her incredible skill and taste.

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