Paul Moravec – The Shining
Lyric Opera of Kansas City; Gerard Schwarz
Pentatone PTC5187036 (operatheshining.com)

In an isolated mountain hotel with a blood-soaked past, ghostly voices and visions propel a troubled man’s descent into murderous madness. “Opera’s power as an art-form,” writes Buffalo-born, Pulitzer Prize-winner Paul Moravec, “springs from its essentially primordial, irrational nature. It’s ideally suited to the adaptation of Mr. King’s irresistibly compelling story.” Opera goers agree; since its 2016 Minnesota Opera premiere, The Shining has been enthusiastically received in San Francisco, Atlanta and Kansas City, where this two-CD set was recorded in 2023. 

Mark Campbell says his libretto (included in the booklet) hews closer to Stephen King’s novel than to Stanley Kubrick’s film (not having read the book nor seen the movie, I’ll take his word for it). Moravec’s score, however, is thoroughly “cinematic” – in the best sense – effectively creating an agitated, discordant atmosphere of irrationality and impending violence.

Heading the cast of 17 soloists is baritone Edward Parks, vocally powerful and dramatically convincing as the tormented Jack Torrance. Soprano Kelly Kaduce is sympathetic as his loving but fearful wife Wendy. The hotel’s cook, Dick Hallorann (baritone Aubrey Allicock) recognizes the psychic abilities – “the shining” – of the Torrances’ son Danny (treble Tristan Hallett), becoming his supportive friend.

Enhancing the opera’s theatrical impact, Torrance’s hallucinations were seen and heard by the audience; hopefully, they were immune to the phantasms’ murder-inducing influence. Immune, thankfully, the Lyric Opera of Kansas City Chorus, Kansas City Symphony and conductor Gerard Schwarz contributed greatly to this performance’s unrelenting intensity.

Michael Hersch – Poppaea
Ah Young Hong; Steve Davislim; Silke Gang; Ensemble Phoenix Basel; Jerg Henneberger
New Focus Recordings FCR390 (newfocusrecordings.com)

Even if you were not aware of the details of the violence of Roman rule during the early Anno Domini era you will feel its effects in the pit of your stomach as you listen to the operatic recreation of the story of the Empress Poppaea.

On one level, Michael Hersch’s recreation of Poppaea Sabina (30AD-65AD), the second wife of the legendary imperial despot Nero, may be a simple tale of palace intrigue. However, there seems to be a much deeper motive in this shrill, masterful retelling of the tragedy. And it is this: The conniving woman who won the heart and hand of the emperor and bore him a child, appears to have created a powerful, matriarchal rule in the imperial household.

Brilliantly detailed booklet notes by Dr. Lauren Donovan-Ginsberg, Associate Professor of Classical Studies at Duke University and a specialist in Neronian culture and history, make for riveting reading. Stephanie Fleischmann’s prescient libretto recreates the bloody and devious plot. 

Poppaea – played with shrill and terrifying ingenuity by the soprano Ah Young Hong – tears Nero (an appropriately despotic tenor Steve Davislim) away from his first wife Octavia, superbly sung by the dark and smoky-voiced mezzo Silke Gäng. 

You will also find yourself harbouring high praise for the superb casting and performances, and especially for the sensitive and vigorous direction of Jürg Henneberger who brings this Neronian tragedy of Poppaea to vivid life once again.

Listen to 'Michael Hersch: Poppaea' Now in the Listening Room

East is East
Infusion Baroque
Leaf Music LM276 (leaf-music.ca)

To 19th century literary aficionados – and many who came thereafter – Rudyard Kipling’s poem The Ballad of East and West must have sounded prescient. Indeed, many with self-serving nationalist tendencies, ever mindful of irrational social turmoil the world over might, with the wag of a rigid digit even go further and say, “Told you so.” However, the cultural topography of civilisations have been enriched immeasurably from such collisions since time immemorial. Canadian culture is an outstanding example of such amazing cultural collisions.

Although we do not need proof that humanity is brought so many degrees closer together by art – especially music and dance – the repertoire on East is East is a beautiful example of how much better we can begin to appreciate and live alongside the “otherness” of cultures. In fact, such “otherness” may often seem apocryphal. Listen with wide-eyed wonder to Infusion Baroque’s eloquent undulant variations (of) La Bergamasca. In an act of true inspiration, the ensemble has fused variations by Uccellini and Vitali, Corelli, Vivaldi and Marais into an inspired reinvention in the Phrygian mode. 

Refusing to let this inspirational music fade away thereafter, the performers soar loftily with music that interprets Indian ragas such as Sandhya Raga and Gurjari Todi, in performances led by the luminous-voiced soprano Vidita Kanniks. Santoor master, Amir Amiri also contributed several celestial compositions: Saghi Nameh, Cortege, Raghse Choobi and Aghrab are truly outstanding. Infusion Baroque anchored by Alexa Raine-Wright, Sallynee Amawat and Andrea Stewart and guests – Thibault Bertin-Maghit, Hamin Honari, Hank Knox and Shawn Mativetsky – are masterful throughout.

Listen to 'East is East' Now in the Listening Room

Mozart – Piano Concertos K238 | K242 | K246
Robert Levin; Ya-Fei Chuang; Academy of Ancient Music
AAM AAM044 (aam.co.uk)

Few period music ensembles have had as long and illustrious a history as the Academy of Ancient Music.  Founded by Christopher Hogwood in 1973, it took its name from an earlier ensemble that existed between 1725 and 1806. Since then, the orchestra has maintained a reputation for its excellence in the performance of baroque and classical period music on period instruments. 

This newest recording on the AAM Classics label is the 12th and penultimate disc in a Mozart piano concerto cycle, presenting concertos numbers six, seven and eight – all from 1776 – with soloists Robert Levin and Ya-Fe Chuang under the direction of Laurence Cummings and Bojan Čičić.

This disc is a delight! Opening with the Concerto No.6, Levin delivers a fresh and robust performance on a tangent piano (a cross between a harpsichord and pianoforte) particularly suiting this youthful music. His phrasing is carefully conceived and the cadenzas, tasteful and creative. 

Levin is joined by Chuang on a fortepiano and Cummings (who also directs) on a harpsichord in the Concerto for Three Pianos K242, music written for the wealthy Lodron family of Salzburg with each of the solo parts composed to meet the ability of the original soloists. Here, the march-like opening movement, the lyrical adagio and sprightly Rondo finale are all adroitly handled by the three soloists who achieve a wonderful sense of balance while the AAM proves a sturdy and sympathetic partner.

Rounding out the recording is the Concerto K246, the “Lutzow” performed by Levin and directed by Čičić. Levin’ s approach is fluid and stylish, particularly in the courtly finale which brings the disc to a most satisfying conclusion. 

Attractive packaging and detailed notes further add to an already exemplary recording.  We can look forward to the final release in the series.

Heritage – Bohme; Ewald; Jergensen
Buzz Brass
ATMA ACD2 2897 (atmaclassique.com/en)

Buzz Brass (Buzz Cuivres), a Canadian but globally recognized brass quintet, has been dependably putting out strong recordings and concertizing around the world for over two decades. For an ensemble such as this – two trumpets, horn, trombone and bass trombone – the challenge, it seems, is what to play. First, the aggregation itself is relatively young in comparison to other classical music forms, dating back to 1833 with the Distin family. Secondly, although such well-known composers as Joseph Haydn were indeed known for fine chamber music contributions, the canonical repertoire for this unique instrumental setting belongs primarily to a handful of such wonderful composers as Victor Ewald, Axel Jørgensen and Oskar Böhme, who were all new to me and who Buzz Brass does a marvellous job at broadcasting more widely. 

With such titles as Brass Quintet No.1 in B-flat Minor and Brass Quintet in A-flat Major, we are clearly in the territory of so-called “absolute music,” where the music itself, fine playing and cohesive blend of beautiful brass instruments is the point, rather than some extra-musical theme or programme intended to give the pieces further meaning. And with Héritage, the group’s first recording for ATMA Classique (following two on  the Analekta label), nothing additional is needed. Like slipping into a warm bath of wonderfully resonant and round brass timbres, this 2024 recording is immersive and enveloping, capable of washing over the attuned listener with beauty, lyricism and expressiveness.

Ravel – Complete Works for Solo Piano Vol.1
Vincent Larderet
Avie Records AV2623 (avie-records.com)

On the last page of the booklet there is a beautifully captured sketch of Ravel by none other than our pianist at age 12! So we have a talented visual artist as well as a pianist and that’s just what we need for the world of Ravel. “Steinway Artist” Vincent Larderet’s playing, apart from superb technique, is beautifully lyrical and deeply inspired with “a rare melding of the intellectual and the visceral” (International Piano, UK).

Ravel has an amazing quantity of piano works and Larderet embarks here on a project to record them all in four volumes. This first contains Miroirs, Jeux d’eau, Valses nobles et sentimentales, Sonatine and Pavane pour une princesse défunte. 

One salient feature of French Impressionism is getting inspiration from the external world, in the case of Ravel from Nature, e.g. water in its many representations. This is the case for Jeu d’eau, which was also inspired by Liszt, his Fountains of the Villa d’Este. The multifaceted genius Ravel was also quite entranced with the dance form the Waltz, and here we are treated to a set of eight delightful Valses that are indeed Noble and Sentimental. One can sense here some elements germinating towards Ravel’s major orchestral composition La Valse. 

The final work is one of Ravel’s finest, Pavane pour une princesse défunte, a hauntingly beautiful melody that was also orchestrated by the composer. This fine collection bodes well for the future and we look forward to further volumes from this exceptional pianist.

Mahler – Symphony No.6
Symphonieorchester des Bayerischen Rundfunks; Sir Simon Rattle
BR Klassik BRK900217 (brso.de/en/media-center/cds-and-dvds)

Throughout his life, the music of Gustav Mahler has been a guiding star in Simon Rattle’s career. While a percussion student at the Royal Academy of Music he single-handedly organized and conducted a performance of Mahler’s Second Symphony by his fellow pupils. His love of Mahler continued throughout his years directing the City of Birmingham Symphony Orchestra (1980 to 1998); their well-received recordings of contemporary and late romantic works included several Mahler symphonies. Rattle made his conducting debut with the Berlin Philharmonic in 1987 in a performance of Mahler’s Sixth Symphony; he was their chief conductor from 1999 to 2018 and chose the very same symphony for the final concert of his tenure. His subsequent leadership of the London Symphony Orchestra (2017 to 2023) also drew to a close with a Mahler symphony, the Ninth.

Alban Berg once proclaimed, “There is only one Sixth, notwithstanding the Pastoral.” Rattle once again has chosen this tragic masterpiece that encapsulates, in his words, “the whole package of a colossal life – and that includes love and optimism” for his inaugural season with the Bavarian Radio Symphony Orchestra. The orchestra responds magnificently to Rattle’s direction with a sensitivity that surpasses the sometimes indifferent results he encountered in Berlin. I’d go as far as to say that Sir Simon may be the finest Mahler interpreter since the late Claudio Abbado, his predecessor in Berlin. Rattle has remarked in the past that a conductor doesn’t become really good until he hits his sixties. Give this compelling disc a listen and I’m sure you’ll find that truer words were never spoken.

Sibelius 2 & 5
Orchestre Metropolitain de Montréal; Yannick Nézet-Séguin
ATMA ACD2 2453 (atmaclassique.com/en)

In the right hands Sibelius’ symphonic work can be extremely exciting. Yannick Nézet-Séguin can lay claim to being one of the most penetrating Sibelians in modern times. He may be less Romantic than some – Osmo Vänskä, for instance – but his understanding of the composer goes way beyond abstraction. His 2019 Symphony No.1 was amongst the most stirring ever recorded, while on this recording of Nos. 2 & 5 he brings the kind of visceral engagement that forces you to listen afresh.

Symphony No.2 (1901), one of the most popular in the cycle, marks the transition between the youthful and the more mature Sibelius. The Russian influence is replaced by something more southern in feeling: themes and textures are more open, and the general atmosphere is one of warmth. But a mood of foreboding soon emerges at the start of the second movement, with a theme inspired by Don Juan being confronted by the figure of Death. 

Symphony No.5, experienced here, certainly lives up to its reputation as one of Sibelius’ most original reworkings of the symphonic form. During its dramatic (1919) revision he merged the first and second movements with a transitional passage that miraculously glides from one into the other. So heroic is the grand finale that it is aptly described as the swinging of Thor’s hammer. 

Nézet-Séguin and Orchestre Métropolitan de Montréal traverse both symphonies with exhilarating power and energy.

Editor’s Note: One of the most lauded conductors of his generation, Canadian Yannick Nézet-Séguin received the highest designation conferred by Toronto’s Royal Conservatory of Music on April 17 when he was inducted as an Honorary Fellow (FRCMT) of the organization.

Listen to 'Sibelius 2 & 5' Now in the Listening Room

Richard Strauss – Ein Heldenleben; Mahler – Rückert Lieder
Sonya Yoncheva; Orchestre symphonique de Montréal; Rafael Payare
Pentatone PTC 5187201 (pentatonemusic.com/product/30306)

Rafael Payare’s latest release with the OSM follows up on their highly effective Mahler Fifth Symphony recording with a disc devoted to Richard Strauss’ monumental tone poem depicting the heroic life of none other than his very self. In the course of this lengthy work Strauss mocks his critics, worships his wife, goes to war with his perceived enemies and celebrates his own weighty accomplishments. The scenario is ridiculous on the surface, but the execution is undeniably brilliant, in no small part due to Payare’s keen affinity for the genre. He’s well aware that there’s more to this sporadically bombastic music than the notes and brings to the score an idiomatic and affectionate reading; the orchestra is with him all the way, expertly negotiating the sharp curves on the Strauss autobahn. Concertmaster Andrew Wan contributes an exceptionally multi-dimensional interpretation of the extended solo violin part at the centre of the work, a musical portrait of Strauss’ wife and muse Pauline, whose notorious mood swings and oft-times hectoring tone confirm his perception that “every minute is different from what she was a minute before.” 

The inclusion of Mahler’s Rückert-Lieder as filler material is puzzling. Why not more Strauss instead? There are more than 40 orchestral songs to choose from. The Bulgarian diva-du-jour Sonya Yoncheva has made quite a name for herself recently in the operatic world, but her tentative take on Mahler’s introspective and decidedly non-operatic music left me quite unmoved. Payare and the reduced forces of the OSM do their best to not get in the way, but it’s a hopeless cause. Turn instead to the great Mahler singers of the past such as Baker, Ludwig, Ferrier or Fischer-Dieskau if you truly want to savour these songs.

Moments Musicaux
Petrit Çeku
Eudora Records EUD-SACD-2401 (eudorarecords.com)

Guitarist Petrit Çeku was born in Prizen, Kosovo and began his musical studies at the Lorenc Antoni music school before attending the Zagreb Academy and completing his studies with Manuel Barrueco at the Peabody Conservatory in Baltimore. Since then, he has performed recitals throughout Europe and continues to perform regularly with the Zagreb Soloists. This Eudora label recording titled Moments Musicaux is his third and affords the listener a glimpse into the world of Franz Schubert either through transcriptions or compositions with a Schubertian connection.

Joseph Mertz’s transcriptions of six lieder – four from Schwanengesang, one from Winterreise and a standalone, Lob der Tränen – are all skillfully constructed miniatures, as compelling for the guitar as they are for voice. Çeku’s warmly resonant tone helps to evoke a true sense of intimacy – from the anguished tone of Aufenthalt to the familiar Ständchen 

The Variations on a Waltz of Schubert Op.4 by Croatian composer Ivan Padovec is a charming set based on the Waltz Op.9 No.2. Beginning with the simple waltz melody, the seven variations require considerable dexterity, but Çeku easily meets the challenges with a supple technique. 

Manuel Ponce was one of the first Mexican composers to be widely recognized outside his native country and during his career he had close ties to the renowned guitarist Andrés Segovia. His four-movement Sonate Romantique “Hommage à Schubert” is written in a lyrical style of which Schubert surely would have approved. In the words of Segovia, the piece “honours the instrument “ – and so does Çeku throughout this fine recording.

…of dreams unveiled
Clare Longendyke
Independent (clarelongendyke.com)

The discography of Debussy’s Préludes is already distinguished but here is a remarkable addition to it. What makes this so in the first instance is that the performer, pianist Clare Longendyke, abjures dancing her way dreamily through Debussy’s deux livres des Préludes. The very inclusion of the Préludes came about after Longendyke planned a programme around a commissioned set of Piano Portraits by her composer friend Amy Williams. Also included in this musical palimpsest are works by a fellow composer and Impressionist Anthony R. Green. 

The result is a work of remarkable pianistic invention. For one thing few other piano recordings contain so many unique features of Impressionism – and particularly Debussy’s genius. For instance, few pianists in recent memory play Debussy – and consequently the music of Williams and Green – with such wondrous ease in conveying both profundity and levity. Moreover, with her sheer mastery of the dynamics of the keyboard, combined with the nuances of)pedalling, Longendyke brings to the fore the most important aspect of this repertoire: its intimacy. 

Williams’ music is written in the form of portraits. Each is so vivid that the characters shimmer through the speakers like holographic images, dancing (as holograms do) as they are conjured by Longendyke’s pianism. They are interspersed – as are Green’s – in sets of Debussy’s Préludes. The most eloquent moments come during the set that begins with the Prélude Voiles, through Williams’ Yvar to Les sons et les parfums tournenet dans l’air du soir.

Listen to '…of dreams unveiled' Now in the Listening Room

Voyages (Debussy; Alice Ping Yee Ho)
Philip Chiu
ATMA ACD2 2844 (atmaclassique.com/en)

In 2023, Philip Chiu, pianist, Montreal resident and inaugural recipient of the generous Prix Goyer, was once again fêted, this time with a JUNO award for Fables (ATMA Classique). Boldy jumping generations, continents and styles in both showcasing and finding the synergies between the work of Maurice Ravel and the Anishinaabekwe composer Barbara Assiginaak in a single recorded artefact, Fables proved a musically satisfying enough formula that Chiu has revisited this interdisciplinary idea with 2024’s equally excellent Voyages. Here, handling the music of Claude Debussy and Alice Ping Yee Ho with equal aplomb, Chiu puts forth a “deeply personal album” that explores in sound the notion of belonging.

As a Chinese native, transplanted Torontonian and a long-time Quebecer, the reflective idea of nostalgia – perhaps for a place, time or community that may be here or may not yet have materialized – is woven throughout the recording. Take, for example, Ho’s three-part suite Hong Kong Nostalgia that through tempo, key and changing compositional forms affords Chiu opportunity to, as he states in the liner notes, “attempt to capture something elusive to me: a sense of belonging.” Just as there is a kind of searching aesthetic present compositionally in this suite – from the Connaught Centre to The Ten Thousand Buddhas Monastery to that city’s Night Markets – there is an introspective and wanderlust quality to Chiu’s playing as he plumbs the compositional depths through an exploration of “reflections and musings.” What is beautifully captured, however, is Chiu’s distinct touch, playful mastery of the instrument and ongoing creativity.

Listen to 'Voyages (Debussy; Alice Ping Yee Ho)' Now in the Listening Room

Known and Unknown – solo piano works by Rodney Sharman
Rachel Kiyo Iwaasa
Redshift Records TK539
(rodneysharman.com)

Patrick Giguere – Intimes Exubérances
Cheryl Duvall
Redshift Records TK545
(patrickgiguere.ca)

Nova Pon – Symphonies of Mother and Child
Turning Point Ensemble; Owen Underhill
Redshift Records TK564 (novapon.com)

Rounding up some of Redshift’s recent releases we see that this West Coast label continues to bring significant Canadian compositions to light with impressive frequency. 

To enjoy the whimsical ingenuity of Rodney Sharman’s work on Known and Unknown, even before you listen to a single note or phrase played by pianist Rachel Kiyo Iwaasa who interprets his whimsy, you may be well advised to consider everything that is part of the known world to be unknown. Such is the bewilderment and wonder of his music that the very air around you may be filled with green people, with crimson eyes and glittering silver and golden hair – a kind of ecstasy experienced should you dare let a proverbial genie out of a prismatic bottle.

For instance, in the first three parts of the recording fabled – and real – operatic characters from Monteverdi, Puccini, and Wagner – yes, even Wagner, whose dogma was cast in bronze – are turned inside out. Genders are not merely reversed but inverted so that characters are imbued with wholly new personalities. 

Now imagine what this might do with your senses, set free of convention. Suddenly – even if you are stuck in conventions that are long dead – you can revel in beauty of an unexpected kind, be awestruck by love of a different sort, experiencing music played – no! sung – by a pianist who uses a tangy inimitable harmonic language to drive you to the delightful madness of a new, full-blooded romanticism, like a spell cast by Sharman’s bewitching compositions.

On Intimes Exubérances Cheryl Duvall’s highly inflected interpretations of Patrick Giguère’s laudable compositions are of a different kind than the pianistic expressions of the music reviewed above. The repertoire is, of course, equally impressive but as befits the tenor and meaning of the work, what is impressive here is not just the magnificent and reactive pianism on show, but also Duvall’s maturity.

Her performances of the four sections of this work possess a stunning èlan: magnificently ethereal in Partie I – à la frontière d l’intangible, by turns, tenderly delicate and rhythmically rippling in the Partie II – tisser le présent and with a biting drive in Partie III – corps, hors de temps. Finally, Partie IV – lueurs en voix is brilliantly virtuosic, with an understanding of the striking light and shade of this movement.

All told, the excellent sound and annotations tilt the balance dramatically in favour of Duvall’s serious and enlivening artistry. 

Composers who venture into the realm of chamber work do so at their own peril, especially when they de rigueur must live up to the brilliant standards set by older contemporaries and look over their shoulders at past masters such as Haydn, Mozart, Beethoven and Bartók. But Nova Pon, for one, has gone past intimidation to produce a long piece World Within, and the significant five-movement Symphonies of Mother and Child.

It is clear from the first strains of World Within that the composer knows the importance of embracing the past while going her own way. The swirling gestures at the outset are like jolts of Bartók that quickly give way to Pon’s forceful and expressive sound world. Likewise, the organically arranged five movements of Symphonies of Mother and Child give the correct impression of being an intensely felt work from solemn to invigorating ideas, with ample contrapuntal interplay to keep the narratives rich and layered. 

The performers of the Turning Point Ensemble show how masterfully attuned to the vision and artistry of Nova Pon and how deeply they have interiorised this music in their idiomatically turned-out recital.

Listen to 'Nova Pon: Symphonies of Mother and Child' Now in the Listening Room

Brent Lee – Homstal
Brent Lee; Various Artists
Centrediscs CMCCD32223 (cmccanada.org/shop/homstal)

Windsor Ontario composer and media artist Brent Lee’s work explores relationships among music, image and technology, especially through multimedia performance. A professor of Integrated Media in the School of Creative Arts at the University of Windsor, he’s composed music for orchestra, interactive media and film soundtracks. 

Lee’s recent work integrates electroacoustic composition, improvisation, saxophone performance, videography, Max computer programming and field recording. His Homstal project reflects those interests. Homstal, the Old English word meaning “home” or “homestead,” reflects that much of the work on this project was accomplished at his studio in rural Ontario. While the six Homstal album tracks are studio productions, each can be presented as an audiovisual environment allowing for improvisation and site-specific variation. 

In his liner notes Lee acknowledges that Homstal “grew directly out of my work with my friends in the Noiseborder Ensemble and I am grateful for their generous collaboration. … Martin Schiller plays electric bass on Overtro and Aaron Eichler plays the long snare drum sample used in DOT 1000.”

A quiet, chill, non-metric chamber jazz vibe presides over the album articulated by Lee’s eloquent sax playing and his chosen harmonic textures. The opening track for instance begins with soft spacialised sax key clack sounds, joined by a wandering cantabile soprano sax melody featuring sustained notes delicately ornamented with alternate fingerings. A seemingly un-metred treble melody on upright piano is then added; in turn the whole is deftly contextualised by several layers of electronic sounds. 

A dreamy Southwestern Ontario mist seems to have settled on Lee’s Homstal music.

Anthony Rozankovic – Origami
Louise Bessette
ATMA ACD2 2895 (atmaclassique.com/en)

Friends in Montreal have spoken for years about composer Anthony Rozankovich so it’s a delight to finally have a collection of his music to display some of this talent. Origami is an album of his music for solo piano performed with enormous dedication, virtuosity and sensitivity by Louise Bessette. 

Some of these works began life as film scores and others were composed as concert pieces; most are between three and four minutes long but a few are longer. Accessible but sophisticated, Rozankovich’s music displays his deep understanding of the building blocks of music: this is tonal, lyrical music but not at all facile or predictable. The listener is rewarded over and over again with gorgeous moments of introspection and nostalgia, complex counterpoint, some grit and even some humour. The composer has a fondness for waltz-like episodes but always he shows us his delicious mastery of harmony, taking us in unexpected directions and into curious sidebars. 

As a favourite, I might choose the thoughtful nostalgia of Avenue Zéro or Errance but I also love the fusion-inspired Andalouse Running Shoes and the quirky and rhapsodic Pigeon Biset (Rock Dove) which is available online but not on the disc itself. If there’s a shortcoming to this collection, it might be that the music is too interesting to use as background music and requires time to enjoy. It’s time well spent.