Editor's Corner

Last month when mentioning a new recording of Olivier Messiaen’s Et exspecto ressurectionem mortuorum I lamented the fact that, although admittedly designed for very different purposes, the 1964 work lacked the exuberance of the earlier Turangalîla Symphony. I was very pleased to find in a recent shipment from Harmonia Mundi Canada, which distributes a number of distinguished European labels, a June 2011 recording of that seminal work. Juanjo Mena conducts the Bergen Philharmonic Orchestra with Steven Osborne (piano) and Cynthia Millar (ondes Martenot) in a gloriously rambunctious performance of the Turangalîla on Hyperion (CDA67816). Commissioned by Serge Koussevitsky for his Boston Symphony immediately after the Second World War, Messiaen took several years to complete the ten movement work. Although unmistakably Messiaen, there are distinct hints of Gershwin in the music, perhaps reflecting the American nature of the commission. By the time of completion Koussevitsky was too frail to conduct the premiere and that duty fell to his flamboyant protégé Leonard Bernstein. The pianist for that December 2, 1949 performance was Messiaen’s own protégé Yvonne Loriod who would later become his second wife and the ondes Martenot was played by Ginette Martenot, sister of the inventor of that unique electronic instrument. Yvonne Loriod and her sister Jeanne would later be featured in an RCA recording of Turangalîla with the Toronto Symphony under the direction of Seiji Ozawa with the composer’s participation. Recorded in 1967, the TSO LP was the first commercial release of the symphony and to this day it is the benchmark against which all others must be measured. In 1994 it was re-issued on CD as part of the RCA NEW BEST 100 line, but only released in Japan. A decade later it finally became available in the rest of the world as RCA Victor Red Seal 59418 and a quick check of the grigorian.com site confirms it is still available. But back to the issue at hand. This new recording captures the energy and excitement of the score in all its nuances. My only reservation is the overly prominent placement of the ondes Martenot in the mix with its soaring (almost searing) textures just slightly over the top at times. It does add to the exuberance though. All in all, a welcome addition to the discography.

Last month I also mentioned looking forward to the release of Vivian Fung’s Dreamscapes, the latest addition to the Naxos Canadian Classics line (8.573009), and I am pleased to report that the disc lives up to my expectations. I first encountered Fung’s music in the mid-1990s in a concert with Scott St. John and friends (including Marina Piccinini as I recall) and later through recordings by the Ying Quartet (Pizzicato) and Composers in the Loft (Miniatures for clarinet and string quartet). Although renowned for her writing for string quartet — her second quartet was commissioned by the Shanghai Quartet for its 25th anniversary season and it has just been announced that she will compose the required work for the 11th Banff International String Quartet Competition in 2013 — Fung’s oeuvre ranges from solo, chamber and vocal to works for full orchestra. This new recording presents a sort of middle ground, with violin and piano concertos written for the Metropolis Ensemble, a large chamber orchestra based in New York, and Glimpses, a set of three works for prepared piano. This latter, performed by Conor Hanick, dates from 2006 and is the earliest of the works presented here (the violin concerto was completed in 2011). It marks a turning point in Fung’s development as the Edmonton-born composer expands the exploration of her Asian roots to encompass the music of Indonesia. All three of the works presented here are based on gamelan motifs and melodies giving the disc a wonderful continuity. The most obvious connection to Bali is the sound of the prepared piano, John Cage’s invention that mimics the sounds of a percussion orchestra by placing a variety of objects between and upon the strings of the piano. But the melodies borrowed and developed in the Violin Concerto and the Piano Concerto, ”Dreamscapes” which open and close the disc respectively are evocative of the exotic culture that has been so attractive to Western composers since Debussy first heard a gamelan perform at the Paris Exposition of 1889, and more particularly since Canadian-born composer Colin McPhee brought his wealth of research and recordings of the music back to North America in the 1930s. Like a number of composers before her Fung has taken inspiration from her own travels to Indonesia and truly made this music her own.

A triumvirate of Canadian soloists has recently joined forces under the banner Triple Forte to record some early 20th century gems from the piano trio literature. Ravel–Shostakovich–Ives: Piano Trios (ATMA ACD2 2633) features Jasper Wood (violin), Yegor Dyachkov (cello) and David Jalbert (piano), and what a team they make. Although Ravel’s Trio in A Minor, completed in 1914 after a prolonged gestation, has become a standard of the repertoire, the Shostakovich and Ives trios are rarely heard. Unlike the fully developed second trio from 1944 and the much later Seven Romances (after poems by Alexander Blok) for soprano, violin, cello and piano, Shostakovich’s brief Piano Trio No.1 in C Minor was written as a student in 1923. The one movement work was Shostakovich’s first foray into the world of chamber music. It is a poignant piece that reflects the loss of his father on the one hand and the splendour of first love on the other. Although Shostakovich performed the trio with two friends shortly after its completion, the score was actually left unfinished and it was his student Boris Tischenko who added the 22 missing bars of piano for the work’s posthumous publication. Like Ravel’s, Charles Ives’ Trio for Violin, Cello and Piano is a full length work that was a long time developing. Begun in 1904, the composer worked on it over a period of seven years. It bears all the hallmarks of Ives’ eclectic style with its interweaving of popular, patriotic and religious melodies. After the almost dirge-like moderato opening movement, the scherzo — entitled TSIAJ [This scherzo is a joke] — bursts forth in a rollicking combination of marches and joyous hymn tunes which occasionally give way to quiet strains of What a Friend We Have in Jesus. The final movement juxtaposes a quasi-Wagnerian melody that Ives had written in 1896 with Rock of Ages and then with Ives’ playful humour incorporates popular songs treated with syncopated ragtime rhythms. While the playing throughout this disc is exemplary, it is in the Ives, especially in the dense and often frenzied scherzo, that the skills of these fine musicians are put to the test. They pass with flying colours!

In February 2008 Finnish composer Magnus Lindberg visited Toronto to participate in concerts with the TSO and New Music Concerts. In the latter, TSO assistant principal cellist David Hetherington performed a recent Lindberg composition Konzertstück with the composer at the piano. A new Ondine release simply entitled Chamber Works (ODE 1199-2) features this piece and three others which all prominently showcase the cello and Anssi Karttunen who has worked closely with Lindberg over the past three decades. They perform as a duo called Dos Coyotes which is also the name of a hauntingly lyrical work that is the earliest on this disc, dating from 1993 and revised in 2002. Karttunen also performs the 2001 Partia for solo cello, commissioned by the Turku Cello Competition. The notes tell us it is based on Bach’s partitas for solo violin rather than the cello suites in spite of its six movement form and indeed the dance rhythms of the traditional suite are missing in this more introspective work. Lindberg and Karttunen are joined by clarinettist Kari Kriikku for a three movement Trio. Although perhaps best known for his large orchestral canvasses, Lindberg has a strong penchant for chamber music, both as a composer and a performer, as this disc aptly demonstrates.

A few years back there was a local bass player named Eli Eisenberg who did some work at The WholeNote including a bit of jazz reviewing. I heard from him again recently when he let me know he’d just released a CD called The Iceberg Project (www.cdbaby.com/cd/elieisenberg) featuring instrumental music he composed, arranged, played and programmed. I must say it’s a treat. Funky, bright and bluesy, it’s a feel good situation from start to finish. I understand the title to be a pun on his name, but I think the CD would be more aptly called “The Boat Drinks Project” because it certainly would go well with one (or more) of those drinks with the little umbrellas. Definitely more reminiscent of the tropics than the North Sea. The music is jazz inflected and mainly Latin in feel. The instrumentation is mostly bass and guitar with programmed orchestrations which would normally leave me cold. But I must say that synthesis, or I guess it’s more likely sampling in this day and age, has come a long way and there are some very sophisticated sounds here. Still, when Bill McBirnie plays the flute, as he does on a couple of tracks, the ear is still reminded that acoustic instruments really do sound best. Overall this is a disc that I’ve enjoyed immensely since it arrived, especially during those otherwise oh-so-dreary morning exercise sessions.

We welcome your feedback and invite submissions. CDs and comments should be sent to: The WholeNote, 503–720 Bathurst St., Toronto ON M5S 2R4. We also encourage you to visit our website, thewholenote.com, where you can find added features including direct links to performers, composers and record labels, and additional, expanded and archival reviews. 

— David Olds, DISCoveries Editor discoveries@thewholenote.com

September marks a milestone in the history of recorded classical music: 25 years since the establishment of the Naxos label. Originally regarded with disdain by the record business establishment, this “budget” line of CDs has gone on to become the largest manufacturer and distributor of classical CDs and digital downloads in the world. Later this month Naxos founder Klaus Heymann will be in Toronto for a media event celebrating the anniversary and the release of The Story of Naxos — The extraordinary story of the independent record label that changed classical recording for ever.

In the two months since the last issue we have received 21 CDs on the Naxos label and more than 80 on labels distributed by Naxos. And that is just the number that has physically crossed my desk; there were more than 200 separate titles listed on the August release sheets alone. For this month’s column I decided I would select a few of the discs that were of most interest to me personally from this wealth of material. This proved harder than I first imagined. Since my own area of expertise is music of the 20th century I decided to limit myself to this field and even so I ended up bringing ten discs home; a selection of works with which I was already familiar and a number which were new to my ears. Space precludes any in-depth analysis of the recordings, but suffice it to say that with minor hesitations as noted, none of the discs disappointed me and a number of them were very satisfying indeed.

Although well versed in the chamber music and concertos of Sergei Prokofiev, I am less familiar with his other orchestral and particularly symphonic output (with the exception of the ever-popular “Classical” Symphony). I chose a recording of two works composed during the Second World War, the symphonic suite The Year 1941 and the Symphony No.5 in B-Flat Major, Op.100 performed by the São Paulo Symphony Orchestra under Marin Alsop (8.573029). The first of these works is, perhaps understandably, bombastic with its patriotic movements “In the Struggle,” “In the Night”and “For the Brotherhood of Man,” but nevertheless well crafted and well performed. The symphony is more abstract in nature and although still noticeably nationalistic is not overtly jingoistic.

The next up on my unknown list was the Symphony No.6, Op.79 and the Rhapsody on Moldavian Themes,works dating from 1963 and 1949 respectively, by another Soviet composer, Mieczyslaw Weinberg (8.572779), performed by the St. Petersburg State Symphony Orchestra under Vladimir Lande. Weinberg fled to Russia to escape the Nazi invasion of Poland and his music is receiving quite a bit of attention and a plethora of recordings in recent years. I first became aware of his music about five years ago on a CD featuring the ARC (Artists of the Royal Conservatory) ensemble, here in Toronto. Weinberg was a protégé of Shostakovich and his music is often reminiscent of that master’s work.

While I enjoyed the Naxos CD I found the Weinberg Cello Concerto, Op.43 contained on a recent Chandos release (CHSA 5107) of more interest, likely to do with my own kinship with that low member of the violin family. Although composed in 1948, the concerto had to wait until 1957 for its first performance. Rostropovich gave that premiere and the work is eminently suited to the big sound of that late maestro. Claes Bunnarsson proves himself well equal to the task in this performance with the Gothenburg Symphony Orchestra under Thord Svedlund. The disc also includes the premiere recording (and perhaps first performance according to the detailed liner notes) of Weinberg’s Symphony No.20, Op.150 dating from 1988 (eight years before his death). I mention this recording here as Chandos is one of the many major labels now distributed by Naxos. I’m tempted to note that this is the first recording I’ve seen that includes a logo reflecting sponsorship from Volvo.

A second disc I was drawn to because of the prominence of the cello is on another label from Naxos’ distribution stable. Truls Mørk is the soloist in Einojuhani Rautavaara’s Towards the Horizon (Cello Concerto No.2) on a recent Ondine release (ODE 11782) which also includes the percussion concerto Incantations featuring Colin Currie, both dating from 2008, and the 1957 orchestral composition Modificata which was revised in 2003. All are performed with the Helsinki Philharmonic Orchestra under John Storgärds direction. My proclivity for the cello notwithstanding, it was the percussion concerto with its (mostly) subdued use of mallet instruments which I found most satisfying.

One of Naxos’ most prolific lines is the American Classics series. Richard Danielpour, a composer whose work I first came across in a recording of a cello concerto written for Yo-Yo Ma, is featured on a recent release with the Seattle Symphony and Chorale under Gerard Schwarz (8.559712). What drew me to the disc was the Symphony No.3 “Journey Without Distance” when I first conceived of this column, thinking it would focus on modern symphonies. While the symphony is a striking work featuring soprano Faith Esham as the “voice of as angel” in a transcendent text by Helen Schucman, it was The Awakened Heart, a purely instrumental work (in spite of literary references in the movement titles) which captured my attention. It dates from 1990 and is a dramatic and often exuberant work, at times reminiscent of the hybrid of symphonic and theatrical music in Leonard Bernstein’s oeuvre.

I was not previously familiar with the symphonic output of British composer Peter Maxwell Davies although certainly aware of his cycle of string quartets (commissioned by Naxos) and such modern classics as Eight Songs for a Mad King and Orkney Wedding, with Sunrise. I was a little surprised to learn that he has written nine symphonies and if recent releases are an indication I assume we will see all of them from Naxos in the coming months. I added Symphony No.2 (1980) (8.572349) and Symphony No.3 (1984) (8.572350), both performed by the BBC Philharmonic under the composer’s direction,to my carry home bag and have enjoyed both of these textural pieces. I would almost consider them concertos for orchestra rather than symphonies, not because of sectional virtuosity but because they seem to be more about the different sonic possibilities inherent in the ensemble than in thematic development. The caveats I mentioned earlier in this article have to do specifically with these two discs. Each of the symphonies is accompanied by what I would call an incidental piece. Although the premise of each — St. Thomas Wake (Foxtrot for orchestra on a pavan by John Bull) and Cross Lane Fair — is “serious” enough, with separate dance band and Northumbrian pipes and bodhran respectively, they come across as merely pastiche. This is not to suggest that they are not a worthy part of Maxwell Davies’ oeuvre, simply that I would prefer a so-called “separation of church and state” — discs of symphonic repertoire on the one hand and of the more theatrical music on another.

With my space rapidly running out I will just briefly mention my “old favourites” revisited in recent Naxos recordings.

The abrasive music of then young Polish composer Krzysztof Penderecki was an important aspect of my introduction to the music of the 20th century. There have been a number of recent Naxos Penderecki releases, each of which combines his youthful output with more conservative works of his mature years. Fonogrammi/Horn Concerto/Partita (8.572482) includes Fonogrammi for flute and chamber orchestra, Anaklasis for string orchestra and percussion and De natura sonoris I for orchestra, all from the 1960s, with several works from the 70s and the much more recent Horn Concerto “Winterreise”(2009).With a variety of soloists the Warsaw Philharmonic Orchestra and Anthony Wit provide definitive performances.

Olivier Messiaen’s Et exspecto resurrectionem mortuorum (8.572714) is a devotional work from 1964. The Orchestre National de Lyon gives a strong performance under the direction of Jun Märki, but without ecstatic interludes such as those included in the earlier Turangalîla Symphony, to my ears the piece is a little “too much of a muchness.” The disc is redeemed however by the inclusion of two early orchestral works which provide welcome dramatic contrast: Le Tombeau resplendissant (1931) and Hymne (1932).

Saving the best for last, Marin Alsop returns with a recording of Bartók’s Concerto for Orchestra (1943) and Music for Strings, Percussion and Celesta (1936) (8.572486). In this instance she is conducting the Baltimore Symphony Orchestra in performances that rival any I’ve heard of these two works which number among my very favourites.

Naxos is to be commended for its commitment to thoroughness, excellence and affordability. This small sampling of recent output only includes the art music of our time. It must be pointed out that the Naxos catalogue is just as extensive, one could say exhaustive, in classical repertoire from the Renaissance through the Baroque, Classical and Romantic eras. And as Nicholas Soames, author of The Story of Naxos and director of Naxos AudioBooks would certainly point out, the Naxos catalogue extends far beyond the scope of classical music. There are two things I look forward to in the coming month: finding the time to read Soames’ story of this innovative company that has changed the history of recorded music in our time, and the newest addition to the Naxos Canadian Classics series, Dreamscapes, featuring orchestral music by Vivian Fung due out on September 23.

Of related interest: Jerry Fink, former CEO and President of Naxos of Canada Ltd., will present a ten-week class surveying the history of Western “classical” music from a Jewish viewpoint. Jewish involvement in the development of “classical” music from before the Byzantine Empire to the present day will be explored historically and examined musically. Examples from the presentation include: the Psalms and their use in Christian church music; Jewish troubadours of the Middle Ages; a Jewish national music school in pre-Soviet Russia. Thursday evenings beginning October 4 at Holy Blossom Temple. Tuition fee $235 (416-789-7400).

  We welcome your feedback and invite submissions. CDs and comments should be sent to: The WholeNote, 503–720 Bathurst St., Toronto ON M5S 2R4. We also encourage you to visit our website, thewholenote.com, where you can find added features including direct links to performers, composers and record labels, and additional, expanded and archival reviews.  

— David Olds, DISCoveries Editor, discoveries@thewholenote.com