01 Fialkowska Chopin 3Janina Fialkowska continues her Chopin recording project with Chopin Recital 3 (ATMA Classique ACD2 2728). Fialkowska’s discs have proven consistently excellent. Her performances are marked by the welcome maturity that artists of her stature need as a hallmark of their career. Finding the “sweet spot” in a performance is what the creative quest is about. What seasoned performers know is that the “spot” is not where you last found it. It lies at the intersection of the performer’s awareness of self and their deepest awareness of the composer’s voice. This is the place we reliably find Fialkowska in her performances. What alters and enriches her playing is the desire to speak more clearly, more profoundly and more simply. Take, for example, the persistent pulse of the “raindrops” in Prelude in D-flat Major Op.28 No.15. Fialkowska treats this device as if it had true thematic significance. While only a simple rhythmic figure, she turns it into Chopin’s hypnotic, swinging watch while she moves through both turbulence and repose, all the while holding the experience together with a simple pulse.

It may, in fact, be Fialkowska’s command of the distance between the great heights to which Chopin so often rises and the nearly out of reach places to which he retreats that imbues her playing with such power. The disc’s opening track, Polonaise-Fantaisie in A-flat Major Op.61 is an eloquent example of this ability. It’s present in everything she plays and makes this a very collectible series.

03 Tania StavrevaThe title of Tania Stavreva's first CD makes it clear what the recording is all about. Rhythmic Movement – Piano Works by Ginastera, Bates, Kapustin, P & A. Vladigerov, Stavreva is a high-energy performance of works driven predominantly by rhythmic impulse.

The Danzas Argentinas Op.2 by Ginastera are a challenging set with the middle of the three dances far more introspective than its rousing companions. But the off-beat and frequently odd-numbered rhythms are characteristic of much of the recording. Another Ginastera work, Ritmico y Distorsionado uses percussion to create a big and very effective finish to the disc. A few of the works on the CD are the performer’s own compositions. One in particular stands out for its exclusive use of the piano’s strings without any resort to the keyboard. The Dark Side of the Sun is a rich and atmospheric piece unlike anything else on the disc, using plucked strings and harp-like glissandos to colourful effect. Jazz Concert Etudes by Russian composer Nikolai Kapustin are intriguing for their American feel. It’s why Stavreva calls Kapustin the Russian Gershwin.

Stavreva makes her CD available only online – autographed if you request it (taniastavreva.com).

04 Julia SicilianoJulia Siciliano makes her recording debut with a 2-disc set Dream Catchers: Masters in Miniature (Blue Griffin Recordings BGR 381). This program is meant to demonstrate how a wide range of emotional content can be conveyed through the use of piano miniatures alone.

Siciliano chooses well-known miniatures, opening with Beethoven’s Bagatelles Op.126, and within the confines of these small works shows us the surprising power of his language where we least expect it. Schumann’s Carnaval Op.9, too, is a collection of brief thoughts, some less than a minute. But here the end points of the spectrum move even further apart. The delicate and understated character of Aveu contrasts dramatically with the virtuosity of Papillons and the grandness of the closing Marche des “Davidsbündler.”

Siciliano moves into Schubert’s Impromptus Op.142 with a very different mindset. Here she is intimately engaged with the composer’s personal and wistful sense of longing, nowhere more beautifully expressed than in the Impromptu No.2 in A-flat Major.

The stylistic change to Ravel and Debussy is a demanding one, but Siciliano comes to this with natural ease. The Debussy in particular is remarkable for her playing of the impressionistic swirls of motion in Poissons d’or.

06 Wanderer Jamina GertJamina Gerl builds the program of her first solo CD on the profound and enduring loneliness of Der Wanderer, Georg Lübeck’s early-19th-century poem. Gerl’s debut recording Wanderer (Tyxart TXA16082) includes Liszt’s setting of Schubert’s Lied Der Wanderer for solo piano as well as Schubert’s Wanderer Fantasie in C Major Op.15 D760. To this she adds a careful selection of works by Mendelssohn, Shostakovich, Chabrier and Debussy that captures varying shades of the loneliness in Lübeck’s archetypal poem.

Gerl may be new to the world of recordings but her talent is impressive, her repertoire substantial and diverse. Her presence at the keyboard is powerful and her technique is flawless. Her interpretive decisions are thoughtful and consistent. She plays Mendelssohn’s Venetian Gondola Songs with a light, airy wistfulness. Her brilliant performance of Debussy’s L’Isle joyeuse moves instantly into its ethereal world with ease. Her command of the nuances required in the Shostakovich Drei phantastische Tänze Op.5 is unsurpassed.

Gerl’s recording debut makes a memorable impact with an outstanding program designed around a challenging theme. Seeing her name on a major label soon will come as no surprise.

07 OsorioMexican pianist Jorge Federico Osorio, now in his mid-60s, has an impressive discography of nearly three dozen recordings. Curiously, he has recorded nothing by Schubert, until now. This gap in his repertoire will have to remain a mystery. But we can be grateful he has begun to fill it.

In a new 2-disc set, Final Thoughts – The Last Piano Works of Schubert & Brahms (Cedille CDR 90000 171), Osorio performs the Schubert Sonatas in A Major D959 and B-flat Major D960. These works are substantial in both content and length, demanding a wide range of expression and technique. Osorio performs them undaunted by any of their challenges. His approach to the thematic material of their opening movements reveals the depth of his connection to Schubert’s intent. His playing is deeply moving and memorable.

While Brahms’ life was markedly unlike Schubert’s in every way, the kinship shared by their final works is perhaps only a posture, an attitude. This is what Osorio sets out to capture in these discs. The fire and passion of a work like Brahms’ Romanze in F Major Op.118 is a companion to any of Schubert’s most turbulent passages. Likewise, the most tender of the Brahms Intermezzos, especially from Op.118, capture the same posture of the heart that Schubert adopts in the opening ideas of both his sonatas.

Final Thoughts is an ambitious project for its focus on the last musical utterances of two revered composers. Osorio speaks with honesty and conviction about what he finds in them.

08 Mozart KuijkensSisters Marie and Veronica Kuijken have joined their father Sigiswald Kuijken in a new recording Wolfgang Amadeus Mozart – Piano Concertos K413, K414 & K415 (Challenge Classics CC72752) that offers a new twist on period performance.

Mozart wrote these three concertos for harpsichord or fortepiano, with full orchestra. He also wrote them in such a way that the wind parts might be omitted, and the traditional four string quartet instruments used to create a chamber version of the work. Clearly, this called for very careful string writing and attention to balance. Colour, too, will have been a consideration for Mozart as he wrote for winds to enrich the orchestral texture.

This recording uses fortepiano with the quartet version but makes one important change. Conductor and, in this instance, first violinist Sigiswald Kuijken has replaced the cello with a double bass. His argument for this is that Mozart would likely have assumed that most private buyers of his published score owned harpsichords and would have chosen the chamber version, where the harpsichord was better balanced with the four string instruments. In choosing to record with the more robust fortepiano, the louder, richer bass was an equally robust alternative to the cello. Additionally, switching to double bass moves that pitch an octave lower, creating a fuller, more orchestral effect for the small ensemble.

The choice is a calculated but clever and effective one. It places a larger scale work in an intimate setting for a very satisfying and engaging performance.

10 ImpromtuIn his liner notes, Shai Wosner writes about the unique experience of improvisation. He describes the thrill of finding yourself suddenly in possession of something that’s actually working and sometimes watching the whole effort amount to very little. In Impromptu – Dvořák, Schubert, Ives, Liszt, Chopin, Gershwin, Beethoven (Onyx 4172), Wosner gathers 13 impromptus from some very dissimilar composers. He imbues each piece with immediacy and freedom, creating the original sense of how these impromptus might have been born as true improvisations.

While Wosner has every muscle necessary to rattle a concert grand, his real power lies in being small. He’s able to execute the softest hammer strike to the strings for a sound that is only describable as velvet. Once you’re drawn into this world of intimate playing, even a moderate crescendo can seem like a roll of thunder. Overall it’s this intimacy which makes for such a convincing argument that these impromptus could originally have been improvisations. Wosner makes them powerfully introspective and somewhat mystical. His playing is subtly hesitant and exploratory, creating the feeling that he’s never been here before, that this is in fact the moment of birth.

The Schubert Impromptus, in particular, are astonishing; the pair by Charles Ives, equally so for their daring modernity. But the truly free soul dancing on this keyboard is George Gershwin with his Impromptu in Two Keys. This is a slow Broadway Blues at its very best.


11 Honens BurattoLuca Buratto is the 2015 Honens Prize Laureate. An assured performer, he plays with impeccable technique. His approach to the music of Schumann on this Honens-sponsored disc Schumann – Davidsbündlertänze, Humoreske, Blumenstück (Hyperion / Honens CDA 68186) reveals an uncommon gift for fresh thinking. Buratto has captured Schumann’s Romantic urgings and compellingly channeled them through the keyboard. He has cut loose the classical moorings that many pianists respect and instead allows his interpretations to drift freely into currents where forms become more fluid. It’s here that we feel the deep pull of Brahms, Chopin and Liszt.

Humoreske in B-flat Major Op.20 demonstrates Buratto’s ability to transcend the composer’s signature melancholy that is too often the extent of a performer’s achievement. Buratto moves beyond this by creating an ethos of mysticism rarely experienced in this music. The Davidsbündlertänze Op.6, too, reveal new possibilities for understanding how far Schumann wanted to propel the music of his time from its conservative shelter. Buratto exploits every opportunity to do this by stretching inner tempos and even pulling them apart a little, as if to experiment with left and right hand being out of sync.

None of this happens at the expense of the music because Buratto plays with such conviction that you immediately know he is certain he has revealed Robert Schumann’s true voice. It’s a deep connection that he sustains effortlessly through the entire recording. Hear him live if you can.

01 Maddelana del GobboHenriette, The Princess of the Viol
Maddalena Del Gobbo; Michele Carreca; Ewald Donhoffer; Christoph Prendl
Deutsche Grammophon 481 4523

All too often reviews published in The WholeNote evaluate works by artists who die tragically young. Princess Anne Henriette de Bourbon was one such. Princess? If she had lived beyond 24, she might have become a queen: she was Louis XV of France’s second daughter.

In this CD, Maddalena Del Gobbo evokes the legendary genius of Henriette’s viola da gamba playing. Del Gobbo – who is quite taken with her subject – includes music by Marin Marais, as might be expected, but also arrangements of country dance music which disprove the idea that the viola da gamba was some highly formal, sombre instrument, along with other music of the time for viola da gamba.

Jean-Baptiste Forqueray became Henriette’s tutor. How fitting that two pieces by him feature on the CD. One is a slightly subdued composition, played compassionately by Del Gobbo. In contrast, the other is more lively and demanding, particularly with the divisions that conclude this piece with such a flourish.

The dance pieces by Marin Marais from Suite in A Minor are indeed rustic and vigorous, even the Allemande, but special mention must be made of Del Gobbo’s performances of Muzettes throughout the CD. She brings out the original meaning of Muzette, namely bagpipes, and it is her expertise that brings home the drone effect of the bagpipe.

Add to this Del Gobbo’s vigorous interpretations of movements by a contemporary of Henriette, Louis de Caix d’Hervelois, and you understand the versatility of both princess and modern performer.

02 RosenmuellerJohann Rosenmüller in Exile
Jesse Blumberg; ACRONYM
Olde Focus Recordings FCR909 (newfocusrecordings.com)

I first heard the music of Johann Rosenmüller in a Tafelmusik concert some years ago. I knew the music of Schütz and Biber, and I was delighted to find that here was a third major 17th-century composer. In the early part of his career he worked in Leipzig and he was apparently assured that he would be the next Thomaskantor, a prestigious post that would later be held by J.S. Bach. Nothing came of this. Instead he became involved in a homosexual scandal and spent time in prison. He escaped and made his way to Venice. That would have been important for his musical evolution as he got to know Italian music, in particular the work of Carissimi. Eventually he was able to return to Germany by becoming the Kapellmeister at the Ducal court at Wolfenbüttel.

This CD contains seven items: four Latin cantatas for solo voice and strings, and three five-part sonatas for strings. The singer is the baritone Jesse Blumberg. The works receive fine performances from singer and instrumentalists alike. An attractive recording of relatively unfamiliar material.

06 NYOCLisboa 2016 – Excerpts from the 2016 TD Tour to Portugal
National Youth Orchestra of Canada; Perry So
Independent NYOC2016CD (nyoc.org)

The National Youth Orchestra of Canada is an idea as much as it is an ensemble, a very grand idea whose premise is to bring together the finest students of orchestral performance from across the country and give them the invaluable experience of hearing themselves and one another perform the magic that is symphonic music. Hogwarts indeed. Full disclosure: I am a former member of the NYOC.

Lisboa celebrates a tour the band made in summer 2016 to Portugal, and it serves as an example embedded in time of what the idea generates on a yearly basis. The players on this disc likely will be or currently are members of the professional musical community and, while concert reviewers consistently sum up their achievements with qualifications like “they make up in enthusiasm what they lack in polish,” reviewing an artifact like this prevents one from falling back on hackneyed faint praise. What the band lacks in terms of professional polish is entirely consistent with more mundane realities like string instruments that might not be acceptable in a truly professional ensemble, and newness to one another, much like any other all-star national team.

The Overture to Tannhauser opens the collection. It is beautifully played, sculpted, committed to. Even if you avoid Wagner, as I do, stay and hear him out in this instance. Imagine how this piece drew these players together. Then prepare to get up and dance as they move on to Prokofiev’s Fifth Symphony Op.100.  If the Scherzo doesn’t knock you on your ass it’s because you weren’t standing. The Adagio movement is the only weak link: there are ensemble lapses towards the end. In the manner of any seasoned orchestral player, I blame the (clearly able) conductor, Perry So. The task of uniting the voices of this group when uniform phrasing is called for is on the conductor’s to-do list, daunting though it may be.

The rest of the double disc presents two brief new pieces: Spacious Euphony, by Christopher Goddard (the NYO/RBC Composer in Residence), and Hope – The Gift of Youth by Chris Meyer (an NYO commission through the Canada Council). The former zigzags in and out of tonality. The latter develops from amorphous clouds of sound to anthem, with a lovely woodwind choir and a stormy tutti ruckus encountered on the journey. Fittingly, both composers are relative tyros with great chops.

07 Holst ChamberGustav Holst – Kammermusik
Ensemble Arabesques
Farao Records B 108098 (farao-classics.de)

Gustav Holst composed lots of orchestral and vocal music besides The Planets, but hardly any chamber music or solo piano pieces. This CD presents the bulk of Holst’s chamber music, ably performed by Hamburg’s Ensemble Arabesques.

In the Quintet in A Minor, Op.3 for piano, oboe, clarinet, horn and bassoon (1896), the wind players are joined by pianist SooJin Anjou. This student composition boasts a lovely chorale melody for the horn in its first movement, and a striking, solemn, processional Adagio. The Sextet in E Minor for oboe, clarinet, bassoon, violin, viola and cello (1900), only recently discovered in the British Library Archives, here receives its first recording. It comprises a sweetly sentimental Moderato, a graceful Scherzo, a mournful Adagio and a final set of variations in which Holst cleverly mixed and matched the six instruments, while giving each its turn in the spotlight.

Both the Woodwind Quintet Op.14 (1903 but unpublished until 1983) and Three Pieces for oboe and string quartet (1910) reflect Holst’s fondness for Renaissance and Baroque dance forms, coloured by touches of English folksong. The two-movement Terzetto for flute, oboe and viola (1925), here played by flute, oboe and clarinet, is the most modern-sounding of these works, with a melancholy Allegretto and sprightly Un poco vivace finale.

These “vivace” performances of very ingratiating music showcase a seldom-heard but rewarding side of a composer still known mainly for his single “greatest hit.”

08 Neurodegenerative musicMind Music – Music related to neurodegenerative conditions
Northern Chamber Orchestra; Stephen Barlow
Divine Art dda25138 (divineartrecords.com)

Mind Music: Music related to neurodegenerative conditions began as a fundraiser for Parkinson’s UK. It honours musicians or relatives touched by brain diseases: Felix Mendelssohn (stroke); Richard Strauss (late-life depression following influenza); John Adams and Kevin Malone (fathers with Alzheimer’s); clarinetists Elizabeth Jordan and Lynsey Marsh (project initiators, who lost parents to Parkinson’s Disease). Yet these readings of clarinet music are upbeat, featuring Jordan, Marsh and conductor Stephen Barlow with the Manchester-based Northern Chamber Orchestra. In Richard Strauss’s Sonatina No.1: From an Invalid’s Workshop (1943), the wonderfully rich, well-tuned sound of 16 wind players suits the work’s melodic lyricism and harmonic suavity perfectly. Mendelssohn composed his short Concert Piece No.1 (1833) for clarinet, basset horn and orchestra in exchange for his clarinetist guests’ cooking of Bavarian dumplings and strudel. Here, Marsh and Jordan meld the solo instruments with orchestra into a cheerful, satisfying whole.

Digital delay evokes memory in Kevin Malone’s The Last Memory (1996) for clarinet, the composer exploring events and feelings around his father’s illness. Composer John Adams honours his clarinetist father’s tutelage, American musical roots and final years in the intriguing Gnarly Buttons (clarinet and small orchestra). Agile solos by Jordan, and Stephen Barlow’s precise conducting, are complemented by jazz timbres, sampled sounds, and pert banjo or mandolin interjections. Amidst this bundle of surprises, the peaceful opening of the finale, Put Your Loving Arms Around Me, is extraordinally calming.


01 Hope SeasonsFor Seasons is the new CD from violinist Daniel Hope with the Zurich Chamber Orchestra and 11 individual collaborators (Deutsche Grammophon 479 6922). The album’s title is carefully chosen, as the disc contains not only Hope’s first recording of Vivaldi’s Four Seasons but also 12 short pieces linked to the months of the year, a concept Hope came up with 20 years ago and which he calls a very personal celebration of the seasons.

It’s fascinating to see how the Vivaldi concertos retain their freshness despite what seems like a neverending series of new recordings. The performances here are simply lovely – crisp, clean and warm, with some brilliant playing from Hope and an excellent continuo sound from the harpsichord, theorbo and baroque guitar. It’s another terrific interpretation to add to the already extensive list.

The rest of the CD is an absolute delight, although the connections with the months of the year – if they exist at all – are somewhat tenuous. Only Aphex Twin’s Avril 14th, Tchaikovsky’s June, Chilly Gonzales’ Les doutes d’août and Kurt Weill’s September Song are specifically linked to the appropriate month, with the remainder of the brief tracks apparently intended to convey the feelings and emotions associated with the changing seasons.

No matter, for they’re all real winners, with the January of Nils Frahm’s beautiful Ambre and the December of Chilly Gonzales’ Wintermezzo framing music by Rameau, Max Richter, Robert Schumann, Bach and his contemporary Johann Molter, and a particularly striking improvisation on Amazing Grace with Dom Bouffard on electric guitar. The Zurich Chamber Orchestra provides the accompaniment on four of the tracks. Hope’s lovely solo violin arrangement of Brahms’ Lullaby, Guten Abend, gut’ Nacht, provides a beautiful close to an outstanding CD.

The CD booklet, incidentally, includes the accompanying artwork produced by 12 visual artists in response “to the music and to the seasons” in Hope’s For Seasons project.


02 Rachmaninov TriosAnother terrific Deutsche Grammophon CD, PREGHIERA Rachmaninov: Piano Trios features outstanding playing by violinist Gidon Kremer (celebrating his 70th birthday with this release), cellist Giedrė Dirvanauskaitė and pianist Daniil Trifonov (479 6979).

The CD’s title is taken from the opening track, Fritz Kreisler’s Preghiera, a violin and piano collaboration between Kreisler and Rachmaninoff that reworked the Adagio sostenuto from the composer’s Piano Concerto No.2. It’s a short but beautiful work that serves as an effective curtain-raiser to the two piano trio works.

Dedicated to “the memory of a great artist,” the Trio élégiaque No.2 in D Minor was Rachmaninoff’s response to the death of Tchaikovsky, whom he revered; it was started on the very day of Tchaikovsky’s death in 1893. Rachmaninoff said that all his thoughts, feelings and powers were devoted to it, that he tormented himself the entire time and was “ill in spirit.” Those sentiments are certainly reflected in the music, for this is a large-scale work written in what the booklet notes call “a musical idiom of almost unbridled emotionality.” The performance here is outstanding, perfectly capturing the melancholy and passion of the work and with a particularly ravishing piano sound.

The Trio élégiaque No.1 in G Minor is a short, one-movement student work that again features a prominent role for the piano and that offers more than a hint of Rachmaninoff’s mature elegiac style. Another fine performance rounds out a top-notch CD.

03 Rachmaninoff violin pianoThe Kreisler Preghiera turns up again in Rachmaninoff Complete Works & Transcriptions for Violin & Piano, a simply stunning CD from the American violinist Annelle K. Gregory and the Russian pianist Alexander Sinchuk (Bridge 9481).

From the opening bars of the Romance in A Minor, a very early student work when the composer was scarcely into his teens, it’s clear that this is going to be a very special album. Gregory has a quite gorgeous tone, is absolutely secure technically and plays with power, richness and assurance. Sinchuk matches her every step of the way.

And what music this is to display such deeply glowing and emotional playing! Given that 17 of the 20 tracks are arrangements or transcriptions it feels like Rachmaninoff’s Greatest Bits at times, but with performances like these, who cares? Rachmaninoff wrote only three pieces for violin and piano – the opening unpublished track, which remained unknown until 1951, and the Deux Morceaux de Salon Op.6; of the transcriptions here from other sources six are by Jascha Heifetz and five are by Fritz Kreisler.

The Preghiera is perhaps a bit more rhapsodic than Kremer’s version, the latter’s feeling more like the prayer suggested by the title, but both are simply beautiful interpretations. There’s a lovely Vocalise in an arrangement by the early-20th-century Russian-American violinist Mikhail Press, whose students included the legendary Dorothy DeLay, and Kreisler’s transcription of the 18th Variation from the Rhapsody on a Theme of Paganini brings a dazzling CD to an end.

04 Miller PorfirrisThere is more superb string playing on Divertimenti, the new CD from the Miller-Porfiris Duo (millerporfirisduo.org) of violinist Anton Miller and violist Rita Porfiris featuring duos by Robert Fuchs, Ernst Toch and Bohuslav Martinů. The players, who met at Juilliard over 20 years ago, have been playing together since 2005, and you would have to go a long way to hear better duet playing than this.

Fuchs died in 1927, and consequently did not experience the growing Nazi influence in Austria in the 1930s. His students included Erich Korngold and Alexander Zemlinsky (both of whom fled Nazi Europe for the United States) and Gustav Mahler. His 12 Duette Op.60 date from 1898, when Fuchs was on the faculty of the Vienna Conservatory, and are beautifully crafted short pieces redolent of Vienna in the years before the Great War.

Toch was born in Vienna and entered Fuchs’ composition classes at the Conservatory in 1900 at the age of 12. He emigrated to the United States in 1934, settling in Los Angeles and writing numerous film scores. His Divertimento Op.37 No.2 for Violin and Viola is a short (under ten minutes) three-movement work with a brilliant Vivace molto that packs a real punch. Porfiris quite rightly notes the work’s “expressive dissonance and frenetic energy.”

Martinů also emigrated to the United States, in his case in 1941 after being blacklisted by the Nazis in France. He was successful in America, but never really felt happy or settled, finally returning to Europe in 1956. His Duo No.2 for Violin and Viola H.331 was written in 1950, and is a bright, melodic three-movement work with decided Czech rhythms.

Miller and Porfiris are in great form throughout the CD, both playing with a warm, rich tone and with a clarity, spirit and brightness that serves these delightful works perfectly.

05 Russian GiantsThe husband and wife team of violist Yuri Gandelsman and pianist Janna Gandelsman are the performers on Russian Giants, a CD of works by Sergei Prokofiev, Dmitri Shostakovich, Mieczysław Weinberg and Igor Stravinsky (Blue Griffin BGR 413).

Prokofiev’s Suite from Romeo and Juliet is a selection of six short pieces from the composer’s Ten Pieces from “Romeo and Juliet” Op.75 for solo piano, which was extracted from the ballet score between its composition in 1935 and its premiere in 1938; the transcriptions for viola and piano were made by Prokofiev’s contemporary Vadim Borisovsky, the founding violist of the famed Beethoven Quartet.

Shostakovich’s Sonata for Viola and Piano Op.147 was the last work the composer completed, mostly written in his hospital bed as he lay dying of lung cancer in the summer of 1975. Replete with references to the composer’s own works as well as to those of other composers, the music belies Shostakovich’s weakened physical condition, its harmonic ambiguity finally resolving with a quiet C-Major ending that the composer called “radiance.”

Weinberg was a close friend of Shostakovich and much influenced by him; indeed, his 1945 Sonata for Clarinet and Piano Op.28, heard here in its official viola version, makes specific references to the latter’s music in the opening movement. Weinberg’s Jewish heritage is clearly felt in the middle movement.

Stravinsky’s brief Elegy for Solo Viola was written in 1944 on a commission from the Pro Arte Quartet violist Germain Prévost in memory of the group’s founding first violinist Alphonse Onnou, who had died earlier that year.

There is fine playing throughout the CD from both players, although the tone of Gandelsman’s1748 Paolo Testore viola doesn’t seem to have quite the dynamic range that it did on his 2012 Hindemith CD. Balance and recorded sound are excellent.

06 Offenbach DuosLagniappe! (the Louisiana Cajun French word for a bonus gift or something extra) is the seventh volume in the series of Offenbach Cello Duets from Human Metronome (humanmetronome.com), this one featuring the Duets Op.19 Nos.1-3 and Op.20 Nos.1-3 in performances by Paul Christopher and his student Milovan Paz (HMP 107-2016).

Offenbach was a virtuoso cellist who earned his living as a performer before establishing himself as a composer. He produced three sets of cello duets, usually of increasing technical difficulty: Op.19-21 and 34 (École de Violoncelle); Op.49-54 (Cours méthodique); and Op.78. The complete Op.49-54 was covered in five of the first six CDs – the final volume was reviewed in this column last September – with Op.21 being included on a separate volume. Christopher notes that they haven’t yet found all of the music for Op.34, so there may well be an eighth CD in the future. I can’t find any mention of a recording of Op.78 anywhere.

Don’t be misled or discouraged by the use of titles like School and Method: these works may have had pedagogical intent behind their composition, but they are full of the melodic invention and beauty that made Offenbach’s operettas such a success, and can – and should – stand alone as concert recital pieces.

Christopher and Paz play as superbly and have as much fun as they did on the previous volume, where Christopher said that he felt the duets “transcend their original purpose and are the high water mark for the cello duets genre.” Everything here continues to support that view.

This whole series adds up to a pure delight for cellists of all ages and abilities.

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