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.


01 Chopin LisieskiOne of Canada’s brightest young talents is Jan Lisiecki. The Calgary-born pianist has been astonishing audiences since his orchestral debut at age 9. Now 22, his list of international performances with major orchestras and conductors grows yearly. His newest recording Chopin: Works for Piano & Orchestra, NDR Elbphilharmonie Orchester, Krzysztof Urbanski (DG 479 6824) is his fourth for Deutsche Grammophon.

Lisiecki’s playing is unerringly precise with a lightness of touch that gives him astonishing tonal control, speed and clarity. He approaches Chopin with calm introspective depth unusual for an artist so young. The Nocturne in C-sharp Minor Op.Posth. demonstrates this with its mellow left-hand accompaniment of a brighter line in the right. Lisiecki’s finish is astonishing in its balanced perfection.

Every track on this CD is extraordinary. But what really emerges as the showpiece is the set of Variations on “Là ci darem la mano” from Mozart’s Don Giovanni, Op.2. Speed, technique, astonishing rapid octaves and other devilish Chopinesque devices make this performance an example of genius running joyously amok.

Lisiecki plays beautifully with orchestra. A natural ease keeps him in step with the ensemble through the Rondo à la Krakowiak in F Major Op.14 and the Andante Spianato & Grand Polonaise Brillante Op.22.

Almost all of this disc also appears as part of DG’s 20-CD set The Complete Chopin, featuring Lisiecki along with other performers.


02 SokolovGrigory Sokolov is legendary for his rejection of celebrity. He gives no interviews and for some years now has stopped performing with orchestras. He also dislikes and avoids recording studios. It’s something of an achievement therefore, for Deutsche Grammophon to have obtained Sokolov’s agreement to reissue two live performances from 2005 and 1995 in Mozart, Rachmaninov Concertos & “A Conversation That Never Was” A Film by Nadia Zhdanova (DG CD/DVD479 7015). The addition of the film (on DVD) makes this set unusual. Zhdanova interviews Sokolov’s friends and colleagues and adds newly found archival material to create a portrait of this very private and sometimes reclusive artist.

The Mozart Piano Concerto No.23 in A Major K488 is the more recent performance. Recorded in 2005 in Salzburg with the Mahler Chamber Orchestra under Trevor Pinnock, it’s an intimate reading with Sokolov’s characteristic crisp, clear staccatos punctuating the opening of the final movement.

The other performance is with the BBC Philharmonic at the Royal Albert Hall in 1995. The Rachmaninoff Piano Concerto No.3 in D Minor Op.30 is loved by audiences and equally feared by pianists for its technical challenges. The speed at which Sokolov takes the opening of the final movement is scarcely believable. The same rapid repeats of chordal passages appear in the first movement, where Sokolov gives the piano such a pounding that some notes in the upper register begin slipping out of tune and make for a few interesting effects as the performance proceeds without a pause to correct the matter. Still, the scale of Sokolov’s interpretive conception is awesome and often startling.

03 Ives ConcordThomas Hell has tackled a work with a stormy critical past, in his new recording Ives Concord Sonata (Piano Classics PCL 0112). Subtitled Concord, Mass. 1840-1860, Ives wanted to reflect the changing tide of American literary and philosophical thought in the mid-19th century. Each of the four movements carries the name of a significant figure of the period: Emerson, Hawthorne, The Alcotts, Thoreau. The work is quite large requiring nearly 50 minutes to perform.

Hell provides some useful thoughts on his approach to this piece. Given Elliott Carter’s early criticism of its lack of form, Hell describes the sonata’s components and how its disparate elements actually hold it together. This intellectual commitment to the work is what sustains Hell’s performance through the daunting challenge of the first two movements. The technical demands are considerable. Hell even claims a few of the pages could be the most difficult in all the piano literature.

Ives enjoyed making musical references in this sonata, alluding to material from Beethoven to Stephen Foster along with a little ragtime. It’s a rich work and a challenge to deliver. Hell has a very solid understanding of what Ives is doing, and the benefit of having spent a good deal of time considering it. His real task, however, is to make much of it accessible to the listener at first hearing. On that count he exceeds expectations. Hell plays with dexterity, intention and focus. His grasp of the material is obvious and his ability to convey it is compelling.

04 Andrew TysonAndrew Tyson takes on an enormous task in his latest disc, Ravel, Scriabin – Miroirs, (Alpha Classics Alpha 277). His objective is to give voice to composers wandering through the universe of free-flowing impressionism in search of transcendence over their instrument and its musical forms.

Scriabin’s Piano Sonata No.3 is the first challenge with its daunting stream of keyboard consciousness. The writing is replete with countless inner voices and Tyson masterfully brings them each to the surface for their brief appearance. It’s an amazing technique and quite magical in its effect. Tyson is never completely bound by any rhythmic strictures. He’s clearly at ease with the ebb and flow of Scriabin’s language, even in the second and fourth movements, where stronger tempos dominate.

Ravel’s Miroirs calls for more containment and Tyson senses this innately. His restraint is subtle yet his playing as seductive as ever. His command of colour is remarkable. The Bechstein used in the recording surrenders harp-like glissandos throughout his playing of Noctuelles. La vallée des cloches, similarly, is exquisite for its distant, mellow echoes and brighter tolls.

Scriabin’s Piano Sonata No.10 Op.70 concludes the disc’s program. It’s Scriabin’s final published work in the form. Tyson recaptures the mysticism of the earlier work on the recording and takes it even further. His execution is fluid and unbroken. His playing is passionate and ethereal. He’s a truly gifted artist with an extraordinary bond to this repertoire.

05 Beth LevinBeth Levin has a distinctive and unmistakable presence at the keyboard. Her newest recording, Bright Circle – Schubert, Brahms, Del Tredici (Navona Records NV 6074) demonstrates how her nearly pedal-less playing can open new perspectives on standard repertoire. Her performance of Schubert’s Piano Sonata No.20 D959 is a good example of how a drier sound benefits the musical material by reducing sustained background harmonies. The resulting clarity emphasizes the core elements of Schubert’s ideas as well as allowing other nuances to emerge unimpeded. The third movement Scherzo is a terrific example of how Levin is able to reset our expectations of familiar material using a relaxed tempo and crisp articulation. This may well have been how early pianos sounded, with their lower string tension and shorter resonance times.

Levin is, nevertheless, a deeply expressive player who never misses an opportunity for dynamic contrast and tonal shading. In the Brahms Variations and Fugue on a Theme by Handel Op.24, Levin uses her light pedalling to great effect in keeping the inner voices of the closing fugue wonderfully accessible. Other variations, No.2 and No.4 in particular, are perfectly supported by an economical and tasteful application of sustained legato playing.

The CD concludes with David Del Tredici’s Ode to Music. Schubert’s often sung An die Musik is the thematic kernel of this work. Del Tredici apparently offered to transcribe a favourite piece for the Dorian Wind Quintet, who responded with the choice of the Schubert Lied. Once completed, the transcription was further transcribed for keyboard by one of Del Tredici’s friends who was so impressed that he wanted his own version for piano performance. While it begins conventionally, the work evolves quickly into its contemporary iteration but does so without ever letting go of its strong Romantic impulse.


06 Benelli Mosell RachmaninovWith a handful of recordings already in her discography, 30-year-old Italian pianist Vanessa Benelli Mosell has now added her orchestral debut with the London Philharmonic Orchestra on Rachmaninov Piano Concerto No.2, Corelli Variations (Decca 481 393). The concerto is a staple in the repertoire. The sheer beauty of Rachmaninoff’s writing makes it a good choice for a young performer breaking into the market. The real test of this work is, however, the second movement and it’s here that Mosell truly proves herself as a musician. This movement is much less dense than the outer ones and leaves the performer quite exposed with sparse lines and slow tempos. What holds this movement together for Mosell is the honesty of her playing. Nothing’s contrived. Her phrasings are straightforward but clearly the product of much thought. She and Rachmaninoff are the perfect match.

The disc also includes Rachmaninoff’s Variations on a Theme of Corelli Op.42. The 20 variations are an extremely demanding set to perform. Mosell plays through them with impressive ease, meeting every demand for big powerful sound as well as the deepest introspection. It’s obvious she has invested a great deal in her interpretation and the impact is even more profound than her performance of the Concerto No.2. It’s quite surprising that the small filler piece on the recording’s program steals the show so convincingly.

07 Willscher OrganOrganist Carson Cooman brings another hi-tech pipe organ recording to the market with his new release Andreas Willscher, Organ Symphony No.5 (Divine Art dda 25150). This CD is another performance using the Hauptwerk system whereby digital samples of entire pipe organs and their acoustics are played back from stored memory in live performance at a location other than the original site. In other words, not in the church where the organ resides.

The authenticity of the sound produced through this method is indistinguishable from a recording made in the church, in this case, the Laurenskerk, Rotterdam, Netherlands. The instrument recorded is a Danish build of 1973 by Marcussen & Son.

Cooman has chosen to record the 12-movement Organ Symphony No.5 by German organist and composer Andreas Willscher. It’s a substantial work of 73 minutes and rich with colourful registrations and dynamic effect. Its mildly programmatic subject is “Of Francis’ Preaching about Holy Poverty.” The four movements marked Allegro are each brilliant and thrilling, with bold pedal lines that need durable speakers to deliver them without distortion. The quietest movements are equally impressive for the reverberant space around their sounds. The symphony’s longest movement is half silence, set between long held chords. A meditative injunction comes with this movement and listeners should be prepared.

These Hauptwerk projects are important for the access they offer to instruments whose onsite recording costs would otherwise leave them unheard. Cooman has made an excellent choice of combining instrument and repertoire.

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