05 Klaudia KudelkoTime
Klaudia Kudelko
C2 Management (klaudia-kudelko.com)

Klaudia Kudelko is an extraordinarily talented young pianist from Poland, highly accomplished in Europe and the USA, winning competitions, gathering prizes and enchanting audiences. She even played at Carnegie Hall. Her impressive website features her at a Bechstein grand performing Chopin’s Revolutionary Etude. It is an immensely difficult piece written during bombardment by Russian guns, very fast, her powerful left hand cascading non-stop fortissimo creating a constant turbulence while a defiant, heroic theme emerges in the right hand. Wow!  

Time is her debut CD, the title referring to three time periods: early Romanticism of Schubert, high Romanticism of Chopin and the present represented by Polish composer Grażyna Bacewicz. Time, she says, always changes, but what never changes is relevance.

The centre of attention is naturally Chopin with two Etudes: the fast and turbulent Op.10 No.12 in C Minor, the Revolutionary as mentioned above, and the slow, introspective Op.25 No.7in C-sharp Minor, very complex and full of feeling, beautifully performed. I was most impressed by the Polonaise-Fantasie, a free-wheeling rhapsodic piece, notoriously difficult to interpret. Kudelko superbly controls the ebb and flow of emotion while maintaining the strict 3/4 polonaise rhythm and there is a magnificent ending.

The program begins with Schubert, six short pieces from Moments Musicaux Op.94, each with simple themes but all different and highly inventive. The popular No.3 is played with infinite charm, utmost delicacy and playfulness while No.5 is stormy with a syncopated (somewhat equestrian) rhythm that attests to Kudelko’s superb technique.

The concluding work is a beautifully crafted Sonata No.2 by Bacewicz that harkens back to the Second World War and here again is Time and Relevance. A memorable debut disc.

Listen to 'Time' Now in the Listening Room

06 Vikingur OlafssonFrom Afar
Vikingar Ólafsson
Deutsche Grammophon 00289 481 1681 (vikingurolafsson.com)

Award-winning Icelandic pianist Víkingur Ólafsson (b.1984), dubbed “Iceland’s Glenn Gould” by The New York Times, is well known for his challenging programming. His 22-track (times two) double album From Afar is no exception, revealing his eclecticism in surprising and satisfying ways.

As he recounts in the booklet, Ólafsson’s album project was the result of a chance encounter with nonagenarian Hungarian composer György Kurtág. It turned out to be an impromptu, life-changing, private recital for Ólafsson. The wide-ranging program on this album is his thank-you note, pivoting on several Kurtág piano works, both original compositions and arrangements of Bach keyboard opuses. Another novel aspect of the record is that the entire recital is played twice. CD 1 features a Steinway grand, while on CD 2 Ólafsson plays an upright piano with felt covering the strings, rendering a permanent soft pedal effect. Thus, two contrasting sound worlds are evoked from the same repertoire: the public concert hall, and the intimate living room. Interestingly, I often preferred the upright performances.

In addition to Kurtág, Bach, Mozart, Schumann, Brahms, Bartók and others, Ólafsson gives the world premiere of British composer Thomas Adès’ aphoristic, impressionistic The Branch, dedicated to Kurtág. Ólafsson’s sensitive touch and pellucid, singing tone – often with slower than usual tempi – explores the mellow end of the piano’s dynamic and expressive range. Might one expect more variety in such a high-concept re-examination of three centuries of European piano music? Well, I found this brilliantly curated and played recital set just the right mood this snowy winter night.

07 Brahms Verheh clarinetDestination Riverdale – Brahms; Verhey
Robert Dilutis; Mellifera Quartet
Tonsehen (tonsehen.com)

Pessimism never sounded as sweet as in the last great chamber work of the 19th century, Brahms’ Quintet for Clarinet and Strings Op.115. If music is meant to console, this work will assure you that your grief is entirely justified. Weep freely. The very capable Mellifera Quartet and clarinetist Robert Dilutis join forces for this, and to present an arrangement of the Concerto for Clarinet and Strings by Theodorus Verhey. An effective arrangement by Ray Fields notwithstanding, the piece doesn’t hold a candle to Brahms. Its inclusion reflects Dilutis’ enthusiasm for discovering repertoire, coupled with the odd fact that clarinetist Richard Muhlfeld served as muse for both composers. Only one of the two managed something truly worth keeping.

There’s a great deal to like about this version of Opus 115. The tempi keep the piece buoyant, when too easily it can become lumberish. Cellist Benjamin Wensel’s sound is just so deep, as God and Brahms intended. Sometimes I find the balances odd and I suspect a heavy hand at the mixing board.  Dilutis plays a keen and expressive clarinet, usually in tune with the strings, if tending sharp at times. 

The group make interesting pacing decisions in the rhapsodic section of the Adagio, not all of which I agree with, but respect nevertheless. The third movement reminds one that joy is still accessible to the aged (he was only 60-ish for heaven’s sake). Its two opposing characters are played (correctly) in a uniform pulse; smaller beat subdivisions rather than a change in tempo bring forth the contrast. In general, the group avoids any self-indulgent tempo variation, which feels somewhat austere: they might have allowed more flexibility in pulse, especially in the development section of the first movement. Well-resined horsehair renders the heartbeat motif accompanying the sad duet between the clarinet and first violin. They remind one that the heart is, after all, a muscle. The devastating return of the opening thematic material that arrives at the very close of the Con Moto finale plays at the same pulse as the opening, undermining the tragedy. Call me sentimental, but I think the sorrow-filled final utterances should linger just a bit more.

08 Coleridge TaylorColeridge-Taylor
Chineke! Orchestra
Decca 485 3322 (chineke.org/news/new-album-release-coleridge-taylor)

New Yorkers called him the “Black Mahler,” probably because he and then-New York-based Mahler were both composers and conductors. Now, his very un-Mahlerish, Weltschmerz-free compositions are increasingly performed and recorded, paralleling America’s belated recognition of Black composers. 

London-born Samuel Coleridge-Taylor (1875-1912) was the son of Englishwoman Alice Martin and physician Daniel Taylor from Sierra Leone, who returned to Africa before Samuel’s birth. His mother named him after the famous poet; Samuel added the hyphen. Successful in England, he made three U.S. tours and was welcomed at the White House by Theodore Roosevelt. Coleridge-Taylor’s early death was from pneumonia.

This two-CD set presents seven of his compositions and one by his daughter performed by London’s Chineke! Orchestra, founded in 2015 as Europe’s first predominantly Black and ethnic-minority orchestra. (Chineke means “God” in Nigeria’s Igbo language.)

American violinist Elena Urioste’s warm, velvety tone caresses Coleridge-Taylor’s lyrical melodies in two works conducted by Kevin John Edusei. The songful, openhearted, 31-minute Violin Concerto in G Minor, Op.80 features imposing fanfares and a sweet, wistful violin melody (Allegro maestoso), a serenely reverent nocturne (Andante semplice) and a cheerful, Scottish-tinged marching tune (Allegro molto) –themes from the previous movements joining in at the concerto’s celebratory conclusion. The nine-minute Romance in G, Op.39, is a dreamy pastorale with a brief, dramatic central section, Urioste’s violin singing throughout.

Two works purportedly influenced by Coleridge-Taylor’s African heritage instead conjured for me fin-de-siècle Vienna or Paris. Edusei conducts the genial, light-textured, African Suite, Op.35; Kalena Bovell leads the more dramatic, colourful, Ballade in A Minor, Op.33

The theatrical Othello Suite, Op.79, conducted by Fawzi Haimor, begins with Dance – urgent fanfares and a headlong march – followed by the smiling Children’s Intermezzo, stately Funeral March and The Willow Song, poignantly “sung” by a trumpet over hushed winds, strings and percussion. The grandiose Military March ends the suite. Anthony Parnther conducts Coleridge-Taylor’s Petite Suite de Concert, Op.77, its frothy, sentimental, balletic tunes once frequently heard at band and salon concerts, on piano rolls and recordings. The Chineke! Chamber Ensemble performs the Brahmsian, four-movement Nonet, Op.2, for winds, strings and piano. Composed by the 19-year-old Coleridge-Taylor while studying at London’s Royal College of Music, it displays his already considerable melodic gift.

Roderick Cox conducts the 13-minute Sussex Landscape, Op.27 (1936) by Avril Coleridge-Taylor (1903-1998). Her rhapsodic, powerful evocation of a storm-swept, grey-shrouded English seacoast receives its overdue, much-deserved first recording.

09 Childrens CornerChildren’s Corner – Music for Solo Piano
Melody Chan
Independent (melodyyvonnechan-li.com)

FACTOR – The Foundation Assisting Canadian Talent on Recordings was set up in 1982 “to provide assistance toward the growth and development of the Canadian Music industry.” Among its primary mandates is to support the production of sound recordings by Canadian musicians and Children’s Corner is among the recent CDs resulting from this worthy endeavour. 

It features American-Canadian pianist Melody Chan presenting a thoughtfully chosen program of music spanning a 250-year period, including works by Mozart, Brahms and Debussy. Born in Los Angeles, Chan was raised in Vancouver and studied at the University of British Columbia, later receiving her doctorate in performance from the University of Toronto. She has appeared with Orchestra Toronto and has taken part in the International Music Festival at Casalmaggiore, Italy.  

The disc opens with Mozart’s well-know variations on Ah vous dirai-je Maman! K265, completed around 1782. Chan’s approach is poised and elegant, and she easily handles the technical requirements of this deceptively challenging work.  

Four selections from Brahms’ Sixteen Waltzes Op.39 from 1865 – originally for piano four hands – are wonderfully spirited, while Debussy’s familiar Children’s Corner Suite from 1908, is an endearing depiction of childhood from a simpler time. Beginning with Dr. Gradus ad Parnassum, Chan’s playing is sensitively articulated, with just the right amount of tempo rubato.

In Summer by Canadian composer Christine Donkin is less familiar, but this languorous essay artfully depicts a summer’s day in northern Alberta, while the four-movement suite Music for Piano by Alexina Louie is an attractive study in contrasts, providing a fitting conclusion to a satisfying program.

Listen to 'Children’s Corner – Music for Solo Piano' Now in the Listening Room

10 Buzz BrassHorizons – Gershwin; Piazzolla; Saint-Saëns
Buzz Brass
Analekta AN 2 8929 (analekta.com/en) 

World-renowned Canadian quintet Buzz Brass was formed in 2002. Here eight tracks of genre-spanning compositions are arranged for their brass instrumentation and occasional special guest musicians.

Buzz Brass’ own arrangement of Khachaturian’s Gayaneh: Sabre Dance showcases their tight clear ensemble work in performing the composer’s famous steady groove beat, descending melody sliding glissandos and contrasting higher-pitched section. Guest arrangers of the remaining tracks complement their brass sound. François Vallières’ arrangement of Saint-Saëns’ Danse macabre has guest harpist Valérie Milot adding colourful plucks against brass legato themes and detached notes. His intricate arrangement of Gershwin’s Cuban Overture, with guest pianist Philip Chiu, is a bouncy, uplifting and true to classic rendition. Arranger/friend Javier Sebastián Asencio provides a bras-only arrangement of Piazzolla’s dance Milonga del ángel. The melodies and rhythm sounds generated by the bandoneon bellows air movement translate successfully to breathing into brass instruments especially in held notes and loud volumes. His Montréal Hora Cero five-piece medley adds vibraphone with unexpected vibe and horn slides, drums, and slower brass tunes with vibe backdrop. His Claude Bolling swinging brass Toot Suite: Allègre arrangement opens with trumpet solo in a mix of Baroque and jazz ideas like fast horn lines, ringing vibraphone tones, electric bass and short drum solo/accompaniments. Paul Dukas and Lew Pollack composition arrangements by Enrico O. Dastous and Steve Cooper respectively are enticing too.

So many clear brass sounds to listen to here as each Buzz Brass member is an awe-inspiring passionate musician alone and in ensemble.

11 LOOPLOOP – Ligeti’s Inspiration & Legacy
Rose Wollman
Acis APL30100 (acisproductions.com)

Some new classical releases are concept albums, finding meaning in underlining connections between pieces from different composers and periods. The pieces may relate to each other through style, gestures, compositional techniques, tonality or themes. Loop: Ligeti’s Inspiration & Legacy is brimming with such relations. The album is centred around György Ligeti’s Sonata for Viola Solo, written in the late 20th century and expressing distinct elements of the Baroque sonata, with six movements based on different tempi, rhythms and themes. Violist Rose Wollman’s ingenious concept is based on imaginative yet logical pairing of each of the six movements with a piece from the Baroque era and commissioning six contemporary composers to write a companion piece to the Ligeti/Baroque set. The result is remarkably insightful: pieces within each triptych segue beautifully, as if they had all been written at the same time. The companion pieces support and illuminate aspects of Ligeti’s movements, sometimes in unexpected ways.

Featured Baroque composers include Bach, Tartini, Gabrielli, Corelli, Telemann and Biber, with their recognizable rhythmical and thematic elegance. Ligeti’s movements have Eastern European folk elements as well as jazz and Latin influences, but they are very much written in Ligeti’s unique language and display clever compositional techniques. Contemporary composers – Garth Knox, Alexander Mansour, Rose Wollman, Atar Arad, Melia Watras and Natalie Williams – match and mix the colours, gestures, language and structure in the most imaginative ways.

Wollman’s extensive liner notes give a detailed explanation of her creative and analytical process in finding common threads. Her playing is agile, intelligent, movingly expressive; her articulation superb. The intimate atmosphere makes this album even more appealing.

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