11 Robert Muller HartmannChamber Works of Robert Muller-Hartmann
ARC Ensemble
Chandos CHAN 20294 (chandos.net/products/catalogue/CHAN%2020294)

Volume seven of the Music in Exile series spotlights German-Jewish composer Robert Müller-Hartmann (1884-1950), whose compositions, prior to being banned by the Nazis, had been conducted by Richard Strauss and Otto Klemperer. The works on this CD, all receiving their first recordings, were composed before 1937, when Müller-Hartmann left Germany and settled in Dorking, England, where his elder daughter had previously found employment. There, he became close friends with another Dorking resident, Ralph Vaughan Williams. Briefly interned as an “enemy alien” in 1940, he was released after Vaughan Williams interceded.

No avant-garde adventurer, Müller-Hartmann looked back to Viennese late-Romanticism for inspiration. Graceful, sentimental gemütlichkeit imbues the CD’s earliest work, the Violin Sonata, Op.5, which premiered in 1923. Similarly, the very Brahmsian Two Pieces for cello and piano – Meditation and Elegy – are warmly, earnestly expressive. Three Intermezzi and Scherzo, Op.22 for piano are affable and appealing, Brahms again invoked in Intermezzo I. Particularly charming is Müller-Hartmann’s Sonata, Op.32 for two violins, four genial, sprightly dance-like movements. While more “serious,” the String Quartet No.2, Op.38 is no less entertaining, a soulful Adagio surrounded by three movements enlivened by repeated tempo-changes and animated rhythms.

Toronto’s ARC Ensemble, under artistic director Simon Wynberg, continues to honour composers suppressed or exiled by dictatorships and war. Wynberg and the ensemble’s core musicians – violinists Erika Raum (in Op.5) and Marie Bérard, violist Steven Dann, cellist Thomas Wiebe and pianist Kevin Ahfat – surely deserved to be honoured as well.

Listen to 'Chamber Works of Robert Muller-Hartmann' Now in the Listening Room

12 Bruce LiuWaves
Bruce Liu
Deutsche Grammophon (deutschegrammophon.com/en/artists/bruce-liu)

Warsaw – October 2021. Final round of the 18th International Chopin Competition. Finalist Bruce Liu totally relaxed, full of youthful exuberance and joy, performs Chopin’s Piano Concerto No.1 in E Minor. I watched this performance and was totally enchanted. It was amazing. As soon as it ended the conductor threw his arms into the air, and almost in tears embraced and kissed Liu warmly and the applause was deafening. He was a clear winner. Liu, Chinese-Canadian, from Montreal is another one of the expanding list of Canadian pianists acquiring world fame.

This is his first recording and a quite unusual one; three French composers representing three consecutive centuries. Rameau’s work is for the harpsicord, so Liu had to study an instrument without dynamics that has a certain dry, bouncy, plucking sound. The Rameau program features a Gavotte with 6 variations of ever increasing difficulty. The pianist was having fun especially with La Poule, later orchestrated by Saint-Saëns and included in his Carnival of the Animals.

Liu explains the album title Waves alluding to the sea that “always changes” refers to his approach to his pianism being fluid, flexible and always open to new ideas. The sea, however, soon manifests itself with Ravel’s Une barque sur l’ocean, a long impressionistic piece where we feel the sea in turmoil, waves splashing, throwing the little boat around. Liu is in his element here and also in Alborada del grazioso, his pièce de resistance, played with lots of charm and gaiety.

The third composer chosen by Liu is Charles-Valentin Alkan, an almost completely neglected Parisian composer/pianist who was a contemporary of Chopin and Liszt. He was a great virtuoso who could compose and play études (studies) that are 20-minutes long! As the final piece of the program Liu plays Alkan’s enormously difficult 12 Etudes in All the Minor Keys, Op.39, for the 12 notes of the chromatic scale, containing 25 variations on a simple theme. An exceptional pianistic achievement.

01 RicercariOn his outstanding new solo CD Ricercari the Canadian cellist Cameron Crozman combines Domenico Gabrieli’s Seven Ricercari with a recital of contemporary pieces (ATMA Classique ACD2 2870 atmaclassique.com/en).

Gabrieli’s Ricercari (Italian for “to seek out”) were written in 1689 and heralded the beginning of music for unaccompanied cello. Crozman decided to rekindle this exploratory kind of music-making by commissioning six new works to play alongside the Gabrieli, adding a seventh himself. The Ricercari are strikingly original pieces, covering a wide range of keys and moods. They alternate throughout the disc with an impressive list of commissioned works by Alexina Louie, Nina C. Young, Jordan Pal, Daniel Alvarado Bonilla, Benoît Sitzia and Kelly-Marie Murphy, with Crozman’s Falling Forward, a terrific first attempt at composition, completing the line-up.

With his superb technique Crozman is equally at home in the Baroque and contemporary works.

Listen to 'Ricercari' Now in the Listening Room

02 LiebstodOn LIEBESTOD Works for Violin and Piano pianist Fazil Say reunites with violinist Friedemann Eichhorn in a recital of mid-19th-century German works (Naxos 8.574434 naxos.com/Search/KeywordSearchResults/?q=Liebestod).

Schumann’s Violin Sonata No.1 in A Minor Op.105 from 1851 sets the stage for the whole disc with a glorious opening, Friedemann’s rich, rapturous commitment sweeping all before it, with Say matching him every step of the way. Schumann’s Drei Romanzen Op.94 from 1849, originally for oboe and piano are beautifully nuanced.

Schumann, Brahms and the latter’s pupil Albert Dietrich collaborated on the F-A-E Sonata in A Minor, written in 1853 for violinist Joseph Joachim’s birthday, the three notes not only significant in the composition but also standing for Frei aber einsam (Free but lonely), Joachim’s personal motto. World-premiere recordings of Say’s absolutely stunning transcriptions of the Act I Prelude and the Act III Liebestod from Wagner’s Tristan und Isolde complete a superb CD.

03 Stained GlassStained Glass, the latest top-notch CD from the stellar duo of Johan Dalene and pianist Christian Hadland presents two 20th-century sonatas together with lesser-known works by Arvo Pärt, Lili Boulanger and Grażyna Bacewicz (BIS-2730 SACD allmusic.com/album/release/stained-glass-mr0006096518). The sonatas are Ravel’s Sonata in G Major from 1923-27, its jazz-influenced Blues middle movement a real delight, and Prokofiev’s 1943 Sonata No.2 in D Major Op.94a, originally for flute and piano and arranged for violin with the assistance of David Oistrakh. Described as full of sweet lyricism and playful humour, it’s given a beautifully assured reading here.

Pärt’s Fratres draws strong, sustained playing from the duo, with Boulanger’s very brief but quite lovely Nocturne from 1911 sensitively nuanced. Four short pieces by Bacewicz – Humoresque from 1953, Lullaby and Slavonic Dance, both from 1952 and the early Stained-glass window from 1932 – end an immensely satisfying disc full of outstanding playing.

04 ChorinhoThe Chilean-American violist Georgina Isabel Rossi and the Chinese-Canadian pianist Silvie Cheng are the performers on CHORINHO: Music for Viola and Piano from Brazil (navona records NV6537 navonarecords.com).

The world-premiere recording of the lovely title track by João de Souza Lima (1898-1982) opens the disc, and there are two other world-premiere recordings, both for solo viola: the three-movement Meloritmias: No.5 by Ernani Aguiar (b.1950); and the 1981 Pequeno Estudio Op.78 by Lindembergue Cardoso (1939-89), the latter one of several works that are more than merely lyrical. The 1977 Appassionato, Cantilena e Toccata by Osvaldo Lacerda (1927-2011) has a third movement described as “deceptively modern”; the three-movement 1964 Sonata by Brenno Blauth (1931-93) is “at times highly lyrical, at others aggressive.” 

Cheng has Villa-Lobos’ Valse da dor as a solo, and the 1912 song Lua branca by Brazil’s first woman conductor Chiquinha Gonzaga (1847-1936) ends a disc full of fine playing.

05 Hans SittThere’s more really lovely viola playing on Hans Sitt Viola and Piano Works, with the Spanish violist Alicia Calabuig ably supported by pianist Jorge Blasco (eudora EUD-SACD-2305 eudorarecords.com).

Sitt was an outstanding violinist and violist as well as a composer and teacher, spending almost the last 36 years of his life (1850-1922) as violin professor at the Leipzig Conservatory, which tied him to the Mendelssohn-Schumann-Bruch-Brahms composer tradition. The works here were mostly written between 1891 and 1919, when the post-Wagner rise of composers like Richard Strauss, Mahler and Zemlinsky rendered Sitt’s style somewhat anachronistic.

Still, these are beautifully crafted works, not particularly virtuosic and extremely attractive. Included are the Albumblätter Op.39, the 3 Fantasiestücke Op.58, the Romance Op.72, the 3 Morceaux Op.75, the Romanze Op.102/1 and the Gavotte and Mazurka Op.132. Calabuig’s warm tone is a perfect match, as is her beautifully judged vibrato – never constant, and never too wide or heavy. It’s a delightful CD.

06 FaureThe French cellist Xavier Phillips grew up with the music of Gabriel Fauré, and on Fauré: The music for cello and piano he teams with pianist Cédric Tiberghien in a recital of the complete works (La dolce vita LDV102 ladolcevolta.com/catalogue/?lang=en).

Both players are fully aware of the flowing, sensuous nature of the music. “To work on Fauré,” says Tiberghien, “you need to let go. . .  you have to leave this music free to go its own way,” and the warm, rapturous performances do exactly that. Presented here are the Berceuse Op.16, the Élégie in C Minor Op.24, the Romance Op.69, Papillon Op.77, the Sicilienne Op.78 and the Sérénade Op.98, together with the two late Cello Sonatas No.1 in D Minor Op.109 and No.2 in G Minor Op.117.

Casals’ transcription of the song Après un rêve Op.7 No.1 completes a delightful CD.

07 LAltria VeneziaOn L’altra Venezia the Scaramuccia ensemble of violinist Javier Lupiáñez, cellist Inés Salinas and harpsichordist Patrícia Vintém presents world premiere recordings of chamber music by several of the most prominent and capable Venetian composers active around 1700, roughly contemporary with Vivaldi but now little-known in comparison (Snakewood Editions SCD202301 snakewoodeditions.com).

There are three works by Giorgio Gentili – his Cello Sonatas in A Major and G Major and his Violin Capriccio XI in B Minor – and two Violin Sonatas in B-flat Major and G Minor by Tomaso Albinoni. Single violin sonatas by Diogenio Bigaglia (his “Dresden” Sonata No.2 in C Major), Antonio Caldara (in F major) and Giovanni Battista Reali (his Sonata VII in B-flat Major) complete the disc.

Excellent booklet notes and an annotated map of Venice that details the composers’ ties to the city add to a delightful and revelatory CD.

Instrumental fantasias from the continent, predominantly for lute or keyboard were being published in England by the 1560s, and by the end of the century William Byrd had established instrumental ensemble fantasias, ranging from three to six parts as the pre-eminent chamber music in England. By 1667, however, Christopher Simpson, himself a composer of fantasias noted their “rapid decline into neglect.”

08 John Holloway PurcellIn 1680 the young Purcell wrote a set of 12, the very last ensemble fantasias to be published in England. They are presented in excellent performances on Henry Purcell Fantazias in three and four parts by the John Holloway Ensemble of violinist John Holloway, violists Monika Baer and Renate Steinmann and cellist Martin Zeller (ECM New Series 2249 485 6006 ecmrecords.com).

Purcell biographer Bruce Wood rightly called them “astonishing pieces. . . among the most profound and searching counterpoint of the 17th century.”

09 1923On 1923 – 100 Years of Radio the Schumann Quartett celebrates the year that saw not only the first radio broadcasts in Germany and Austria but also the First Chamber Festival of the recently formed International Society for Contemporary Music (ISCM) in Salzburg (Berlin Classics 0302968BC berlin-classics-music.com/en).

All five composers on this fascinating disc – Paul Hindemith, Alban Berg, Erwin Schulhoff, Leoš Janáček and Aaron Copland – were present at the festival. Janáček’s String Quartet No, “Kreutzer Sonata” was written a few weeks later. Hindemith’s delightfully humourous six-movement Minimax “Repertoire for Military Band” is from July 1923. 

Berg’s String Quartet Op.3, written in 1910, was performed to great acclaim at the festival’s opening concert, and Schulhoff’s Five Pieces for String Quartet were written on his return to Prague from Salzburg. Copland’s short Movement for String Quartet was written the same year at the end of his studies with Nadia Boulanger, but the manuscript didn’t come to light until 1983.

Over 80 minutes of outstanding performances of truly eclectic music makes for an absolute gem of a CD.

10 Mendelssohn QuartetsThe digital release Mendelssohn String Quartets Nos.1, 2 & 3 by the Quarteto Carlos Gomes is the first volume in a proposed complete set of the composer’s quartets on the Brazilian label Azul Music (AMDA1887 azulmusic.com.br).

All three works here – the String Quartets No.1 in E-flat Major Op.12, No.2 in A Major Op.13 and No.3 in D Major Op.44 No.1 – were previously available as individual digital releases. I can’t find too much about the performers, but a full, resonant recording complements some committed and passionate playing on a very satisfying release.

11 Christian LiDiscovering Mendelssohn is the second album from the young violinist Christian Li, who won the 2018 Yehudi Menuhin International Competition for Young Violinists – at age He’s still only 15 and displays quite remarkable talent (Decca 485 3987 deccaclassics.com/en/artists/christian-li).

At the heart of the CD is the Violin Concerto in E Minor Op.64, with Sir Andrew Davis and the Melbourne Symphony Orchestra, an engaging performance perhaps with not quite the emotional depth he will surely find later. The rest of the CD comprises four short pieces by Mendelssohn – On Wings of Song with harpist Yinuo Mu, Venetian Gondola Song with guitarist Xuefei Yang, Spring Song with pianist James Baillieu and the dazzling Rondo capriccioso Op.14 with pianist Laurence Matheson – and three by his contemporaries or influences: Mozart’s Violin Sonata in E Minor K304 with Baillieu; Schubert’s Serenade with Matheson; and Bach’s Erbarme dich, mein Gott with cellist David Berlin.

12 Capucon Mozart ConcertiIn the booklet notes for the 2CD set MOZART – The Violin Concertos (Deutsche Grammophon 4864067 deutschegrammophon.com/en/artists/renaud-capucon) featuring Renaud Capuçon and his Orchestre de Chambre de Lausanne, Capuçon makes an interesting point about the youthful concertos, that over-analyzing them can be counterproductive: “Mozart wrote these pieces extremely quickly; they quite literally flowed from his pen. And as a soloist you need to be able to communicate this rapid flow and this lightness.” 

That shouldn’t imply any absence of depth and insight, though, and Capuçon finds a perfect balance in beautiful performances of the five concertos plus the Rondo in C Major K373 and the Adagio in E Major K261, both written as alternative movements for violinist Antonio Brunetti.

Capuçon says that he has to be happy and contented when performing Mozart – “only then does it really work.” Which it certainly does here.

13 Rachel Barton PineDependent Rising, the latest CD from violinist Rachel Barton Pine with Tito Muñoz and the Royal Scottish National Orchestra explores connections between classical music and heavy metal in concertos by Dmitri Shostakovich and the American violinist/composer Earl Maneein, both concertos openly confronting pain and suffering (Çedille CDR 90000 223 cedillerecords.org).

Both Barton Pine and Maneein have been heavy metal devotees since their early teens, with the former often including her own arrangements of metal songs in her performances. She commissioned the solo piece Metal Organic Framework from Maneein in 2014; Muñoz was at the premiere and consequently commissioned the concerto.

It’s not the best recording of the Shostakovich Concerto No.1 in A Minor Op.77 available, but the CD stands or falls on the strength of the heavy metal-influenced Maneein concerto that gives the CD its title. It’s a three-movement work of remarkable impact and resonance, with tough cadenzas in the first and predominantly lyrical second movements, and a real “thrash” finale.

14 Villa LobosCellist Antonio Meneses is the excellent soloist on Heitor VILLA-LOBOS Cello Concertos Nos.1 and 2, the latest release in the Naxos Music of Brazil series. Isaac Karabtchevsky conducts the São Paulo Symphony Orchestra (Naxos 8.574531 naxos.com/CatalogueDetail/?id=8.574531).

The Cello Concerto No.1 Op.50 from 1915 was the composer’s first major orchestral work, the eclectic style suggesting a composer still trying to find his own individual voice. It’s an appealing and virtuosic work full of youthful energy. The Cello Concerto No.2 from 1953 is a four-movement work commissioned by Aldo Parisot for his Carnegie Hall debut in February 1955. Lushly scored, it apparently suggests “man’s cosmic solitude when facing the vastness of the natural world.”

The final work on the CD is the three-movement Fantasie for Cello and Orchestra from 1945, when the composer’s reputation was at its peak and he was able to give free rein to his imagination in flowing style.

15 Don MacDonaldThe Canadian guitarist Don MacDonald says that the COVID pandemic and lockdown afforded him an enormous amount of time to concentrate on composition, and his consequent search for inspiration is reflected in the three pieces on his new classical guitar CD Midnight Pavane (www.donmacdonaldmusic.ca).

Hex Suite is a set of four movements – including the title track – based on a six-note scale, while Night Visions is a group of seven pieces, alternating in tempo, that use varying moods and textures. Zephyrs, the longest and most interesting piece, was inspired by Britten’s Nocturnal after John Dowland, a theme and variations work where the theme unfolds at the end of the piece, and not at the beginning.

The compositions employ standard classical guitar techniques and have a real sense of exploration. The playing is beautifully clean, and perfectly captured by the recording engineer, the legendary Anton Kwiatkowski.

Listen to 'Midnight Pavane' Now in the Listening Room

16 Pascal ValoisBaroque guitarist Pascal Valois’ new CD, PARIS 1790 – La Musique de Monsieur Vidal features music by a guitarist/composer whose first name, date and place of birth remain unknown (he died in 1803), but who was apparently one of the most important guitar figures in late-18th-century Europe and is credited with writing the first guitar concerto (Analekta AN 2 9196 analekta.com/en).

It’s presumably that concerto, a short two-movement work that opens the CD. Violinist Jacques-André Houle is the partner on the Guitar Sonata with Violin Accompaniment WoO and on two Duos for Guitar and Violin Opp.24 No.3 and 28 No.5, and Jean-Guy Côté the cellist on the Guitar Sonata with Basso Continuo. Four solo works complete the disc.

Valois plays a Baroque-style guitar with five courses double-strung in unison, which he feels is best-suited to the music, especially the non-traditional thumb and index finger tremolos which he handles superbly. 

01 Lovers and MournersLovers and Mourners – Variations and Sonatas from 17th Century Germany
Dorian Komanoff Bandy; Hank Knox; Elinor Frey
Leaf Music LM263 (leaf-music.ca)

The artfulness of virtuoso composer-performers, nurtured and cherished in the 17th century, is at the centre of this lovely new release, cleverly reinforced by violinist Dorian Komanoff Bandy’s choice of repertoire. Presented here are variations and sonatas from 17th-century German composers Schenck, Walther, Biber, Pisendel and Becker. Variations, arguably a favourite compositional technique of that time, allowed both composers and performers to display their respective abilities and imagination by the way of building up rich melodic and harmonic material over a short, repeated theme, usually in the bass. Similar to lovers and mourners, going through spiraling, intense emotions, the music here expresses meandering states via “stylus phanansticus,” a popular compositional style of that time that was free flowing, improvisational and characterized by swirling virtuosic elements.

Bandy’s virtuosity is on full display here – relentless, precise and, above all, dazzling. He draws beautiful colours out of his Baroque violin, even amidst the fast passages or more uniform material. The emotional scope of his interpretation is impressive, especially in Biber’s sonatas. The Baroque-style articulations are brought to life with well thought-out phrasing and back and forth trading of ideas within the ensemble. Harpsichordist Hank Knox and gambist Elinor Frey, although mostly in the supporting roles in this repertoire, are nevertheless essential in building the overall sound and direct a spotlight on the inventiveness of these compositions.

Listen to 'Lovers and Mourners: Variations and Sonatas from 17th Century Germany' Now in the Listening Room

02 Tendres EchoesTendres échos
Anne Thivierge; Mélisande Corriveau; Eric Milnes
ATMA ACD2 2871 (atmaclassique.com/en)

Flutist Anne Thivierge, viola de gambist Mélisande Corriveau and harpsichordist Eric Milnes, playing period instruments, bring works from François Couperin’s Concert Royal No 2 for Flute and Continuo in D Major and Minor and the Pièces de clavecin, the 14th suite (of 27) from his book Ordres to life – together with works by Marin Marais, Michel Blavet and Jean-Marie Leclair.

Couperin’s work is marked by expressiveness enhanced by rich ornamentation, which – unusual for the time – is never left to the discretion of the performer, but always precisely specified. Here he adopts what came to be called style brisé (broken style) in which the notes of the chord are not all played together, but one after the other (originally in imitation of lutists).

Marais, who studied with Jean-Baptiste Lully, had come under the latter’s development of a style that melded the French and the Italian (of Corelli). Marais’ Pièce for Viola de gamba and Continuo Suite No.1 in D Minor soars in its rhapsodic La follette movement and ends with the soulfully expressive Gigue La favorite.

On Blavet’s Sonata for Flute and Continuo in D Minor Op.2 No.2, the flute is clean and vibrant, the continuo gently sympathetic, as the musicians immerse themselves in the music’s warm beauty. An alert sense of rhetoric is evident in the intricately wrought, magical performance of Leclair’s Trio Sonata for Flute, Viola de gamba and Continuo in D Major.

Listen to 'Tendres échos' Now in the Listening Room

03 Boulder BachBoulder Bach Festival
Boulder Bach Festival; Zachary Carrettin
Sono Luminus DSL-02265 (sonoluminus.com)

Recorded immediately after the 2022 Boulder Bach Festival, this disc contains several of the highlights featured in that year’s performances, including Bach’s Concerto for two violins, BWV 1043, and the magnificent Concerto for harpsichord, BWV 1052, as well as two vocal works by Johann Christoph Bach. 

For early music aficionados, what makes this recording most interesting is that these works are performed on modern instruments – apart from the harpsichord, of course – with period-based nuances such as using a Baroque bow for the double bass, or a classical bow on a viola, added at the discretion of the performer. By making these decisions by ear, rather than adherence to convention and 20th-century tradition, the musicians tailored their sound to the overall interpretation, producing a result that is more forthcoming and strident than period instruments, but with the shapes and phrasings that listeners have come to expect. 

These interpretations portray Bach at his most dramatic and invigorating, with performances that are full of energy and joy. The Concerto for two violins is serious yet playful, abounding with communicativeness and ample musical dialogue between the soloists and orchestra. The Concerto for harpsichord, always serious, is imbued with a lightness and grace that keeps it from becoming funereal, but it is also played deliberately enough that it contains all the gravity demanded of it.

The vocal works by J.S. Bach’s older cousin Johann Christoph Bach (1642-1703) – not to be confused with J.S. Bach’s uncle, who had the same name and introduced J.S. to the organ, or J.S.’ eldest brother who also had the same name and mentored J.S. after his parents died – are beautiful in their simplicity, and a fine contrast to the density of Johann Sebastian’s musical vernacular. With two excellent performances of two of Bach’s finest concertos, this disc is not one to be overlooked, and is an excellent testament to the talent present at the Boulder Bach Festival.

04 Bach GenerationsBach Generations
Albrecht Mayer; Berliner Barock Solisten
Deutsche Grammophon 486 4183 (store.deutschegrammophon.com/p50-a157976/albrecht-mayer)

Curated by oboist, Albrecht Mayer, Bach Generations is the latest in a series of portrait albums featuring the Bach family. Beginning the incredible legacy, Johann Sebastian’s early musical influences began with his father who played the violin and extended to his father’s first cousin, composer Johann Christoph.  Johann Sebastian went on to become one of the most prolific composers of all time, teaching all ten* of his children music with four of them becoming notable composers. Each of these composer sons had their own style and relationship to their father’s music. This album showcases three generations of the Bach family with music by JS Bach’s uncle, Johann Christoph, Johann Sebastian himself as well as two of his sons, Carl Philipp Emanuel and Johann Christoph Friedrich Bach. 

Bach Generations opens with the JS’s Concerto for Oboe d’amore which is best known today as the Harpsichord Concerto No.4 in A Major. Following this beautiful work are transcriptions of concertos by Carl Philipp Emanuel and Johann Christoph Friedrich, a Badinerie and Air from Johann Sebastian’s Orchestral Suites Nos.2 and 3, as well as a Bach family favourite, Gottfried Heinrich Stölzel’s Bist du bei mir. Concluding with Ach, dass ich Wassers g’nug hätte by Johann Christoph Bach, Mayer ties in the third generation of the Bach family legacy with this lovely transcription for English horn, solo violin, strings, and continuo.

Played with Berliner Barock Solisten in traditional Baroque style, Mayer elegantly performs these works on modern instruments. With his rounded tone, expressive playing and virtuosity on the oboe, oboe d’amore and English horn, he showcases the beauty of expression throughout the Bach generations.

Back to top