Kurt Atterberg
Symphony No. 9 "Visionaria"
KURT ATTERBERG (1887-1974): Symphony No. 9 for Mezzo-Soprano, Baritone, Chorus and Orchestra, Op. 54 "Visionaria", The River - From the Mountains to the Sea, Op. 33. Under the influence of the rise of the Iron Curtain, the beginning of the cold war, the threat of nuclear catastrophe and the recent Korean War, Atterberg began his ninth symphony at the beginning of January 1955 after a gap of over ten years from the Symphony No. 8. Unlike that work and its 1942 predecessor - expansive and expressive works imbued with folk-music - the Ninth deals, quite simply, with the end of the Earth. Using a Swedish translation of the Old Norse apocalyptic poem Voluspå, which tells a tale similar in its basic aspects to the Ring, Atterberg composed what appears more like a cantata than a symphony. The music is still richly colorful and lushly orchestrated but there are unexpected touches (Atterberg introduces a twelve-tone row when the text speaks of Evil coming into the world) which add a hair-raising, chilly quality to this frightening tale. Listeners who grew up with nuclear war hanging over their heads can easily put themselves back in that time while listening to this and feel its effects better. After listening to the world hurtle to destruction for 40 minutes, the coupling, a 20-minute tone-poem from 1929 which is a love-letter to Atterberg's native land, seen through the course of a river from its source to the sea, is balm for edgy nerves! Swedish-English texts. Satu Vihavainen (mezzo), Gabriel Suovanen (baritone), Prague Chamber Choir, North German Radio Choir and Philharmonic Orchestra; Ari Rasilainen. CPO 999 913 (Germany) 07F001 $15.98
IMPORTANT NOTICE:
The Atterberg is not in stock as of this mailing! Naxos of America informed us that they would not have it (or any other of the new cpo releases, which we will offer in August's catalogue) until mid-July. When you place your order, determine whether you want to wait for the Atterberg to be shipped with the rest of your order or whether you want it sent separately as soon as it comes in. NOTE: We will have it as soon as anyone else.
VÄINÖ RAITIO (1891-1945): Summer Pictures from Häme, Forest Idylls, Maidens on the Headlands (Symphonic Poem), Waltz, Humoresque, Idyll, Tango, Scherzo (Felis domestica), Danse grotesque, Valse mignonne. Raitio had two distinct stylistic phases in his career: the one we heard on Ondine's first orchestral recording was the Scriabinesque modernist (remember Moonlight on Jupiter?) but this second issue brings us the nationalist/impressionist who came out in the early 30s. Summer Pictures is a fine example - six sketches of fairy-tale landscapes and rustic atmosphere painted in Impressionistic pastels (and with a few reminiscences of his earlier works). Forest Idylls is of similar nature while Maidens, which quotes a folk melody, demonstrates the Nationalist side of his new personality. Tapiola Sinfonietta; Tuomas Ollila. Ondine ODE 975-2 (Finland) 07F002 $17.98
ERNST MIELCK (1877-1899): Symphony in F Minor, Op. 4, Concert Piece for Violin and Orchestra, Op. 8. Three and a half years after offering it on our December 1999 cover, we have a competing version of this 19-year-old Finn's only symphony. What were the chances of that? It's rugged, martial outer movements, richly romantic scherzo and calmly flowing slow movement are worth more than one hearing - perhaps more than one recording. At least the coupling is different: the 1898 violin Concert Piece is a 15-minute-long exercise in lyricism, tinged with sadness at first but giving way to a folk-like second theme which allows some technical display from the soloist. John Storgårds (violin), Finnish Radio Symphony Orchestra; Sakari Oramo. Ondine ODE 1019-2 (Finland) 07F003 $17.98
ALEXANDER KREIN (1883-1951): Poème-Quatuor for String Quartet, Op. 9, Jewish Sketches for Clarinet and String Quartet, Op. 12, Elegy for Piano Trio, Op. 16, Jewish Melody for Cello and Piano, Op. 43, 3 Songs from the Ghetto for Mezzo-Soprano and Piano, Op. 29, 2 Hebrew Songs for Mezzo-Soprano and Piano, Op. 39, 5 Preludes for Piano, Op. 3, Aria for Violin and Piano, Op. 41. Although Krein is not as forgotten as the note-writer claims (an entire Largo disc was devoted to his music, Arte Nova's Russian Futurist series contained some of his works and this clarinet quintet appeared on a two-disc cpo set a few years ago devoted to members of the Society for Jewish Folk Music) it is good to have even more of his music on disc. His ecstatically ethereal Poème-Quatuor (1909) is indebted to his mentor and friend Scriabin and we also have examples of earlier music which is more allied to the late romantic Russian composers while the remainder of the disc is devoted to works inspired by Jewish sacred and secular music. Russian, Yiddish-English texts. Almira String Quartet, Jonathan Powell (piano), Elizabeth Drew (clarinet), Loré Lixenberg (mezzo), Adam Summerhayes (violin), Joseph Spooner (cello). ASV DCA 1154 (England) 07F004 $16.98
YORK BOWEN (1884-1961): Viola Sonata No. 1 in C Minor, Viola Sonata No. 2 in F, Phantasy for Viola and Piano, Op. 54. The Bowen extravaganza continues with two sonatas written for Lionel Tertis, both from 1905 while the composer was still a student at the Royal Academy of Music. Although we don't consider Bowen today to be an innovator and these sonatas are "well-made" works in a pre-existing idiom, they still would have had a freshness which must have struck audiences used to German Romanticism. The Phantasy of 1918 (another Cobbett Competition winner) is remarkably virtuosic but Bowen, who played both instruments, always gives the piano plenty to do and it is usually far more than just an accompanist. James Boyd (viola), Bengt Forsberg (piano). Dutton Epoch CDLX 7126 (England) 07F005 $16.98
FELIX DRAESEKE (1835-1913): Adagio for Horn and Piano, Op. 31, Romanze in F for Horn and Piano, Op. 32, Fata Morgana for Piano, Op. 13, Kleine Suite for English Horn and Piano, Op. 87, Soprano and Piano: Märzblumen, Op. 2, Nos. 1-6, 3 Gesänge, Op. 76, Der verlassene Mägd'lein, Der Mönch von Bonifazio, Op. 74 - Melodrama for Speaker and Piano. This fifth release from the North American Draeseke Society brings a little bit of everything genre-wise, from the early song cycle "March Flowers" of 1860-1 (staking his place among the Liszt-Wagner school of radicals - the Gesänge also date to this period, the high opus number due to their late publication date) to the 1911 Kleine Suite which was the last work Draeseke himself prepared for publication (strikingly up-to-date in its harmonies and counterpoint). In the middle are the 1877 suite of (often Schumannian) piano character pieces, two lovely and lyrical horn works (1885) and an example of that uniquely German romantic genre - the melodrama (a 1901 setting of a poem dealing with events in 15th century Corsica. German-English texts. Thomas Crome (horn), Georg Lustig (english horn), Ingrid Würtz (soprano), Wolfgang Müller-Steinbach (piano). AK Coburg DR-0005 (U.S.A.) 07F006 $16.98
Society for the Preservation of the American Musical Heritage - A Major Reissue!
HENRY HADLEY (1871-1939): Symphony No. 2 in F Minor, Op. 30 "The Four Seasons", Salome, Op. 55, HORATIO PARKER (1863-1919): Vathek, ARTHUR FARWELL (1877-1952): The Gods of the Mountains - Suite, Op. 52, VICTOR HERBERT (1859-1924): Hero and Leander, Op. 33, EDWARD MACDOWELL (1860-1908): Suite No. 1 in D Minor, Op. 42, Suite No. 2, Op. 48 "Indian". It's been years since Bridge's last reissue from this trail-blazing series of Romantic American music and, though the MacDowell suites are no longer impossible to find, the remaining two discs are full of rarities with Hadley's big, 45-minute symphony standing out for a rugged seriousness you might not expect in a programmatic symphony. 3 CDs for the price of 2. Royal Philharmonic Orchestra; Karl Krueger. Bridge 9124A/C (U.S.A.) 07F007 $33.98
NIKOLAI LOPATNIKOFF (1903-1976): Festival Overture, ROBERT HELPS (1928-2001): Piano Concerto No. 2, VIRGIL THOMSON (1896-1989): Filling Station, ROBERT KURKA (1921-1957): Symphony No. 2, Op. 24. Albany's latest gift to American music collectors features Thomson's complete ballet (set in a gas station), which was the first such work to showcase an American choreographer, dance company, designer and setting. The grandiose, folksy, pop-oriented score depicts several slices of American life as they occur at a gas station, at night and operated by a sole, bored employee. The success of the piece immediately led to Copland's Billy the Kid being produced the next year (1938) - Copland had been unsure about accepting a commission for a ballet score from the same people! Lopatnikoff's 1960 overture is a curtain-raiser in typical bustling fashion but with a bit more of the battering ram about it than is usual for the genre, Helps' 12-minute, single-movement concerto of 1973 works its way from a rhythmically insistent first section to a quiet central cadenza and then to an unusual quiet, gentle ending. Kurka, known almost solely for The Good Solder Schweik, died of leukemia just as his remarkable talent was beginning to be widely appreciated and this three-movement symphony of 1952 displays an intense and vivid personality which the note writer likens to "Americanized Prokofiev" in its sharp, aggressive rhythms and great vitality and color. SACD/CD Hybrid Disc. Albany Symphony Orchestra; David Alan Miller. Albany TROY 591 (U.S.A.) 07F008 $16.98
GEORGE ROCHBERG (b.1918): Symphony No. 5, Transcendental Variations, Black Sounds. One of the finest examples of approachable modernism, the fifth symphony dates from 1986 and it makes use of many differing modes of expression, from traditional to modern. Created out of brilliantly manipulated intervals which produce all of its thematic material, this is a one-movement work which is divided into three Episodes of contemplative character, two Developments which have a feeling of despair and chaos, bracketed by an opening and a finale. Seamlessly argued, the symphony is passionately expressive yet stringently put-together, making it all the more astonishing that this recording was the first performance of the piece since its premiere under Solti. The Variations are a reworking and expansion of the slow movement of Rochberg's 1972 third string quartet, the piece which became notorious among avant-gardists for turning its back on incomprehensible, academic modernism. It plays like a much richer and deeper Barber Adagio and must be one of the most beautiful works ever conceived for string orchestra. Saarbrücken Radio Symphony Orchestra; Christopher Lyndon-Gee. Naxos American Classics 8.559115 (U.S.A.) 07F009 $6.98
VINCENT PERSICHETTI (1915-1987): Sonata for 2 Pianos, Op. 13, Concerto for Piano Four Hands, Op. 56, DAVID DIAMOND (b.1915): Concerto for 2 Solo Pianos, JOSEPH FENNIMORE (b.1940): Crystal Stairs for Piano Four Hands, SAMUEL BARBER (1910-1981): Souvenirs, Op. 28. Practically everything here has the brashness, rhythmic energy and sense of exhilaration which are, if not unique, then characteristic of American 20th century music, whether coming from popular music (Barber's energetic and glamorous suite of dances in "Palm Court" style and Fennimore's splashy Broadway/pop effusions) or from more "serious" sources. Diamond's 1942 concerto is remarkably percussive, often densely scored but always gripping and, in the end, exhilarating while Persichetti's concerto (1956) adds some welcome lyricism to the mix of changing meters, motor rhythms and dissonance (his earlier - 1940 - sonata is a bit more neo-classical but with plenty of rough edges). Georgia and Louise Mangos (pianos). Cedille CDR 90000 069 (U.S.A.) 07F010 $16.98
LEONARD BERNSTEIN (1918-1990): Symphony No. 2 "The Age of Anxiety", Candide Overture, Symphonic Dances from West Side Story. Although it contains the second West Side Story symphonic dances recording on Naxos American Classics (gee, didn't he write anything else?), this new release is a great chance to get to know Bernstein's most "serious" symphony. A sort of sinfonia concertante for piano and orchestra dating from 1949, the piece was inspired by W.H. Auden's poem Baroque Eclogue; however, the piece as pure music makes more sense than trying to twist the poem's characters and events to fit its first section of variations and its second section which struggles triumphantly to a very Mahlerian final page. Jean Louis Steuermann (piano), Florida Philharmonic Orchestra; James Judd. Naxos American Classics 8.559099 (U.S.A.) 07F011 $6.98
Three More Seattle Symphony Reissues (Original Delos Issues)
WALTER PISTON (1894-1976): Symphony No. 2, Symphony No. 6. The Second was Piston's "war symphony", composed in 1943 and the most self-consciously "American" of his symphonies; the Sixth (1955) in his mature style (its three fellows, 5, 7 & 8, were offered last month on First Edition - 06E005). Seattle Symphony; Gerard Schwarz. Original 1990 Delos release. Naxos American Classics 8.559161 (U.S.A.) 07F012 $6.98
WALTER PISTON (1894-1976): Symphony No. 4, 3 New England Sketches, Capriccio for Harp and String Orchestra. The 1950 symphony is even more melodic and expressive than much of Piston's music while the Sketches, though programmatic in title, are typically "absloute" music, full of the composer's marvellous compositional ingenuity. Therese Elder Wunrow (harp), Seattle Symphony; Gerard Schwarz. Original 1991 Delos release. Naxos American Classics 8.559162 (U.S.A.) 07F013 $6.98
DAVID DIAMOND (b.1915): Symphony No. 1, Violin Concerto No. 2, The Enormous Room. The romantic symphony is the composer's first major orchestral work (1941) and the equally impressive concerto comes from 1947. Ilkka Talvi (violin), Seattle Symphony; Gerard Schwarz. Original 1993 Delos release. Naxos American Classics 8.559157 (U.S.A.) 07F014 $6.98
ANDREA GABRIELI (?1532/33-1585): 21 Madrigals and 4 short instrumental pieces. Usually overlooked in favor of his better-known nephew, Giovanni, Andrea was the first great native Italian madrigalist, who took the genre beyond the introspective world of the Dutch Willaert and fellow Italian Rore. In particular, he perfected the pastoral madrigal, examples of which share space on this release with politically motivated pieces and erotic dialogues. Italian-English texts. I Fagiolini; Robert Hollingworth, The English Cornett and Sackbut Ensemble. Chandos Chaconne 0697 (England) 07F015 $16.98
ANTHONY HOLBORNE (?1584-1602): The Queenes New Year's Gift, ORLANDO GIBBONS (1583-1625): Lord of Salisbury Pavan & Galliard, The Queenes Command, WILLIAM BYRD (1543-1623): Earl of Oxford's March, Carman's Whistle, The Queenes Almain, Lullaby, GILES FARNABY (c.1563-1640): Walter Erle's Pavan, Tower Hill, MARTIN PEERSON (1571/73-1651): Piper's Pavan, JOHN BULL (?1562/3-1628): Piper's Galliard, Chromatic Pavan & Galliard, WILLIAM TISDALE (late 16th. cen.): Mrs Katherin Tregian's Pavan, ANON.: A Ground, Can shee excuse, Pakington's Pownde. This selection of music by the English virginalists is intended to commemorate the 400th anniversary of the death of Queen Elizabeth I and, thus, contains several particularly dissonantly chromatic works (Tisdale's piece is particularly intense). while other works, such as the pleasantly bucolic anonymous Pakington's Pownde represent the other end of the emotional spectrum. Sophie Yates (virginals). Chandos Chaconne 0699 (England) 07F016 $16.98
Altbachisches Archiv - First Complete Recording
JOHANN BACH (1604-1673): Unser Leben ist ein Schatten, Sei nun wieder zufrieden meine Seele, JOHANN CHRISTOPH BACH (1642-1703): Lieber Herr Gott, wecke uns auf, Wie bist du denn, o Gott, in Zorn auf mich entbrannt, Es erhub sich ein Streit, Unsers Herzens Freude hat ein Ende, Meine Freundin, du bist schön, Herr, nun lässest du deinen Diener in Freiden fahren, Herr, wende dich und sei mir gnädig, Der Gerechte, ob er gleich zu zeitlich stirbt, Mit Weinen hebt sichs an, Ach, daß ich Wassers gnug hätte, Es ist nun aus, GEORG CHRISTOPH BACH (1642-1697): Siehe, wie fein und lieblich ist's, JOHANN MICHAEL BACH (1648-1694): Die Furcht des Herren, Ich weiss, daß mein Erlöser lebt, Auf, laßt uns den Herren loben, Ach, wie sehnlich wart ich der Zeit, Herr, wenn ich nur dich habe, Nun hab dich überwunden, Das Blut Jesu Christi, JOHANN SEBASTIAN BACH (1685-1750): Ich lasse dich nicht, du segnest mich denn, ADAM DRESE? (c.1620-1701): Nun is allees überwunden, ANON.: Weint nicht um meinen Tod. These 24 works, ranging from a 23-minute wedding cantata to a brief, two-minute long motet, represent the musical "family heirlooms" of Johann Sebastian who took great care of them and handed them down to posterity. Published in the Bach year of 1935, the originals went missing after the war and were only found recently in (of course) the former Soviet Union (Kiev this time). The majority are by "Papa" Bach's uncle, Johann Christoph and, as late as 1775, C.P.E. was still marvelling at the effect produced by his 22-voice cantata Es erhub sich ein Streit. 2 CDs. German-English texts. Cantus Cölln, Concerto Palatino; Konrad Junghänel. Harmonia Mundi HMC 901783.84 (France) 07F017 $35.98
GIACOMO CARISSIMI (1605-1674): Cantatas: Va dimanda al mio pensiero, Siam tre miseri piangenti, Ahi, non torna, Piangete, ohimé piangeti, Si dia bando, alla speranza, Motets: Cum reverteretur David, Benedictus Deus et Pater, Exulta, gaude, filia Sion, O dulcissimum Mariae nomen, Surrexit pastor bonus, Omnes gentes gaudete cum victore, with keyboard/chitarrone partitas, preludes and toccatas by Kapsberger, Rossi and Frescobaldi. This release covers aspects of Carissimi's uvre usually neglected in favor of his Lenten oratorios. The sacred motets stem from his daily requirements at the German College in Rome and the secular cantatas were mostly inspired by the musical circle which centered around the Swedish Queen Christina after her arrival in that city in 1655. Italian/Latin-English texts. Concerto delle Donne. Signum Records SIGCD040 (England) 07F018 $16.98
GIACOMO CARISSIMI (1605-1674): Damnatorum lamentatio for 3 Voices, 2 Violins and Continuo, Historia de Jephte for 6 Voices and Continuo, Felicitas beatorum for 3 Voices, 2 Violins and Continuo, LELIO COLISTA (1629-1680): Sinfonia in D for 2 Violins, Violone and Continuo, Sinfonia in B Flat for 2 Violins, Theorbo and Continuo, GIROLAMO FRESCOBALDI (1583-1643): O mors illa, Deus noster, Partite sopra Passacagli. This is a recreation of a Friday Lenten service in a Roman oratory, built around a larger oratorio and two smaller motets by Carissimi (with the rare offering of two brief motets by Frescobaldi, usually known for his keyboard music), the most important composer of sacred music in the baroque era. As was customary, instrumental pieces and a keyboard improvisation would accompany the sermon which came at the center of the service and the Roman composer Colista's sinfonias anticipate Corelli's later style. Elisa Franzetti, Mercedes Hernandez, Emmanuelle Halimi (sopranos), Stephan Van Dyck (altus), Luca Dordolo (tenor), Stephan Imboden (bass), Le Parlement de Musique; Martin Gester. Opus 111 OP 30296 (France) 07F019 $16.98
ALESSANDRO SCARLATTI (1660-1725): Oratorio per la Santissima Trinità. Discovered in an antique dealer's only a few years ago, this late (1715) score shows Scarlatti at his finest, rich in invention, refined yet complex in style and full of gorgeous, often melancholy melody (the subject is the allegorical figures Faith, Faithlessness, Theology and Divine Love discussing the concept of the Holy Trinity, moderated by Time). 2 CDs. Italian-English texts. Linda Campanella, Silvia Bossa (sopranos), Gianluca Belfiori Doro (alto), Mario Cecchetti (tenor), Carlo Lepore (bass), Alessandro Stradella Consort; Estevan Velardi. Bongiovanni GB 2344/45 (Italy) 07F020 $33.98
ALESSANDRO SCARLATTI (1660-1725): Il Trionfo dell'Onestà for 2 Sopranos and Violins, Venere e Amore for 2 Voices, Flute, Violins and Cello. Scarlatti's serenate (around 20 of the 30-odd he wrote still exist) are little studied or heard. These two are in the standard form - recitative/aria with a couple of duets - and are mythological allegories. Italian-English texts. Mónika González (soprano), Andrea Ulbrich (mezzo), Savaria Baroque Orchestra; Pál Németh. Hungaroton HCD 32101 (Hungary) 07F021 $16.98
ANTONIO MARIA BONONCINI (1677-1726): Sonatas in D Minor & in A Minor for Cello and Continuo, Sinfonia per camera in C for Cello and Continuo, Laudate pueri for Soprano, Cello and Continuo, GIOVANNI BONONCINI (1670-1747): Impara a non dar fede for Soprano, Cello and Continuo, Arias from Il fiore della eroine and Il Ritorno di Giulio Cesare for Soprano and Continuo, "SIGNOR BONONCINI": Sonata in G for 2 Violas da Gamba. Giovanni went on to become a big star in London writing Italian operas but he and his younger brother came from Bologna, known for its famous cellist-composers Vitali, Jacchini and Domenico Gabrieli. These mostly early pieces for cello or gamba demonstrate their aptitude for these instruments while the aria Impar was one of the standard audition pieces of every aspiring soprano during the early 1700s. Italian-English texts. Ensemble Chanterelle, Andrew Lawrence-King (harp), Tina Chancey (viola da gamba). Centaur CRC 2630 (U.S.A.) 07F022 $16.98
GEORG PHILIPP TELEMANN (1681-1767): Don Quixote Suite, Ouverture in D Minor, Suite in E Flat, "La Lyra". The Quixote suite is one of Telemann's most enjoyable creations, its series of comic programmatic movements, illustrating various of the Don's adventures a fine introduction to this brilliantly talented and constantly fresh composer for anyone to whom the budget price might recommend finally getting to know him. The accompanying suite has an amusing imitation of the hurdy-gurdy while the Ouverture, a series of nine dance movements, shows Telemann just as ingenious when working with "pure" music. Northern Chamber Orchestra; Nicholas Ward. Naxos 8.554019 (New Zealand) 07F023 $6.98
CHRISTOPHE MOYREAU (d.1772/4): 20 Keyboard Pieces from Livres I-VI. This generally forgotten composer spent most of his time in provicial Orleans, which may explain his originality in harmonic experimentation and in the delicacy and variety of his textures. His Livres contained six massive suites of 18-26 pieces and Livre VI is, surprisingly, a batch of three-movement symphonies in the Italian style. In his love of virtuosity, Rameau is Moyreau's greatest influence while an occasional bizarre flight of fancy may recall Domenico Scarlatti. Douglas Hollick (harpsichord, Metzler organ of Trinity College Cambridge). Riverrun Records RVRCD60 (England) 07F024 $16.98 >
LUDWIG VAN BEETHOVEN (1770-1827)/ CARL KHYM (c.1770-after 1819): String Quintets in G (fromPiano Trio in G, Op. 1/2), in B Flat (from Clarinet Trio in B Flat, Op. 11 & in F (from Horn Sonata in F, Op. 17). There seem to be quite a few discs of transcriptions in this month's catalogue and here is one of the more unusual ones: a shadowy contemporary of Beethoven who left many competent arrangements of other composers' works. Rather than going from large to small, he has taken a sonata and a couple of trios and made them over for string quintet and the ways in which he distributes the solo instruments' material among the string voices will give much pleasure to the careful listener. Metamorphosis Quintet. Naxos 8.553827 (New Zealand) 07F025 $6.98
NICCOLÓ PAGANINI (1782-1840): Sonata concertata in A, Sonata I in A, Sonatinas Nos. 2 in F and 4 in G, Cantabile in D, Sonatas in D Minor, Op. 2/3 & in A Minor, Op. 2/6, Große Sonate for Guitar Solo with Violin Accompaniment. Sort of a walk down memory lane for collectors who remember the series of Telefunken LPs of this (often, depending on the pieces, just published) repertoire back in the 70s - except that this set is performed on period instruments, offering enthusiasts an opportunity to enjoy this quieter aspect of Paganini's muse all over again. Rainer Kußmaul (violin), Sonja Prunnbauer (guitar). MD&G 603 1169-2 (Germany) 07F026 $17.98
SAVERIO MERCADANTE (1795-1870): Clarinet Concertos in E Flat, Op. 76 & in B Flat, Op. 101, Concertoni No. 1 in F for Flute, Clarinet, Horn and Orchestra, Nos. 2 & 3 (both) in F for Flute, 2 Clarinets, Horn and Orchestra. We offer this new title for the 34-odd minutes of rare, early works - 3 Concertoni which are probably student pieces and which combine novelty of harmony and timbre with a "popular" manner. Luigi Magistrelli (clarinet), Laura Magistrelli (second clarinet), Elena Cecconi (flute), Alfredo Pedretti (horn), Lario Chamber Orchestra; Pierangelo Gelmini. Clarinet Classics CC0042 (England) 07F027 $18.98
FELIX MENDELSSOHN (1809-1847): Complete Works for Piano Four Hands - Octet, Op. 20, Andante and Allegro Brillante, Op. 92, Andante con Variazioni, Op. 83a. Although the notes tell us nothing about when Mendelssohn produced the four-hands version of his 1925 octet, this is claimed as the world premiere recording of it (there being two other pieces for piano duet in manuscript - it's not really the "Complete Works" either but...). Begoña Uriarte, Karl-Hermann Mongrovius (piano). Arts 47622 (Germany) 07F028 $12.98
First Recording on Period Instruments
ROBERT SCHUMANN (1810-1856): Piano Quintet, Op. 44, Piano Quartet, Op. 47. One of the few areas of the early Romantic repertoire not to have been investigated by the period performance groups, Schumann's chamber music offers much to be rediscovered upon hearing it on gut strings and with a fortepiano. Michelangelo Piano Quartet, Antonio De Secondi (second violin). Chandos Chaconne 0698 (England) 07F029 $16.98
THEODORE GOUVY (1819-1898): Violin Sonata in G Minor, Op. 61, 5 Duettos for Piano and Violin, Op. 34, 6 Duettos for Piano and Violin, Op. 50. The opening of the 1873 sonata immediately plunges one into the world of the Schubert B flat piano sonata, alternating between doom and nostalgic yearning. The slow movement continues the effect with its sadly nostalgic evocation of ancien régime salon music while the finale moves through a dizzying series of differing episodes to end in a surprising triumphant conclusion. The two sets of Duettos (1865 and 1869) are necessarily more modest but provide much melodic facility and compositonal skill without ever sinking to the level of mere salon composition. Jean-Pierre Wallez (violin), François-Joël Thiollier (piano). K617137 (France) 07F030 $17.98
The Romantic Piano Concerto - 32
IGNAZ MOSCHELES (1794-1870): Piano Concerto No. 1 in F, Op. 45, Piano Concerto No. 6 in B Flat "Fantastique", Op. 90, Piano Concerto No. 7 in C Minor "Pathétique", Op. 93. The very Classical first concerto of 1818 (aptly described in the notes as "Haydn meets Rossini") contrasts greatly with the formally distinct Romantic concertos of 1834-5, both of which are in single-movement, multiple-section form and whose experimental nature is contained in a comparatively short time-span (17 and 22 minutes, respectively). Tasmanian Symphony Orchestra; Howard Shelley (piano). Hyperion CDA 67385 (England) 07F031 $17.98
HENRY VIEUXTEMPS (1820-1881): Violin Concerto No. 5 in A Minor, Op. 37, Violin Concerto No. 6 in G, Op. 47, Violin Concerto No. 7 in A Minor, Op. 49. A singing lyricism predominates over virtuosity in these late concertos, although examples of exuberant technical and rhythmic figuration appear regularly. The last two concertos date from the composer's final year when he was unable to hear them or to revise them; the sixth is in an unusual four-movement form while the last is the shortest of all seven concertos although offering a brilliant finale. Misha Keylin (violin), Slovak Radio Symphony Orchestra; Andrew Mogrelia, Arnhem Philharmonic Orchestra; Takuo Yuasa. Naxos 8.557016 (New Zealand) 07F032 $6.98
GIOVANNI SGAMBATI (1841-1914): Complete Piano Works, Vol. 3 - Suite in B Minor, Op. 21, Suite, Op. 42, Boite à musique in D Flat, Romanza in A, Gavotte in A Flat Minor, Op. 14, Unpublished Pieces: Serenatina, Scherzo in E, Presentimento in A Flat, Mestizia in F Sharp Minor, Romanza in F, Preludio in C. We seem not to have offered volumes 1 and 2 of this series (a fourth is listed in the Arts catalogue). Since Arts had a two+ year hiatus in U.S. availability and this is not the only hard-to-complete Sgambati set we've run across, if you want this disc and the previous volumes, please let us know on your order form so that we can gauge demand and decide whether to formally offer them in the catalogue. Pietro Spada (piano). Arts 47589 (Germany) 07F033 $9.98
LUDWIG VAN BEETHOVEN (1770-1827)/FRANCISCO TÁRREGA (1852-1909): Claro de luna (Adagio sostenuto de la Sonata Op. 27/2), Menuet and Tema con variazioni from Septet, Op. 20, Fragmento de la Sinfonia No. 7 - Allegretto, Op. 92, Marcha fúnebre de la Sonata No. 12, Op. 26, Scherzo de la Sonata No. 2, Op. 2, Adagio cantabile - Sonata No. 8, Op. 13, Andante de la Sonata No. 9, Op. 47, Menuet No. 3 from 6 Minuets, WoO 10, Largo con gran espressione - Sonata No. 4, Op. 7, RICHARD WAGNER (1813-1883)/TÁRREGA: Fragmento de la "Pilgrim's Chorus" from Tannhäuser, Marcha de Tannhäuser, GIUSEPPE VERDI (1813-1901)/ TÁRREGA: Fantasia sobre motivos de "La Traviata". If you're a fan of the transcription (even if not one of the guitar particularly), this collection of (mostly) Beethoven will delight you not only for the skill with which Tárrega did his transcribing but for the way in which he gives the originals a subtle Spanish quality which makes them more than mere arrangements. Timo Korhonen (guitar). Ondine ODE 1013-2 (Finland) 07F034 $17.98
Violin Concertos for Children, Vol. 1
OSKAR RIEDING (1840-1918): Violin Concertos in B Minor, Op. 35 & in G, Op. 34, Concertino in Hungarian Style in A Minor, Op. 21, Concertino in D, Op. 25, ADOLF HUBER (1872-?): Concertino in F, Op. 7, FERDINAND KÜCHLER (1867-1937): Concertino in Style of Vivaldi in D, Op. 15, FRIEDRICH SEITZ (1848-1918): School Concerto in G, Op. 13, JEAN BAPTISTE ACCOLAY (1845-1910): Concerto in A Minor, part 1, GRAZYNA BACEWICZ (1913-1969): Concertino in G, ANTONIO VIVALDI (1678-1741): Concerto in G, Op. 7/2. As David Oistrakh did many years ago, these Polish violinists have provided a disc for the CD era of concertos written to help develop and test the skills of young violinists and though an orchestral accompaniment was too expensive, the piano accompaniment is arguably that much more "authentic" when dealing with day-to-day realities in teaching institutions. Tadeusz Gadzina, Jan Stanienda, Krzysztof Podejko (violin), Ella Susmanek, Elzbieta Jarszewska-Kordykiewicz (piano). Dux 0168 (Poland) 07F035 $16.98
LEOPOLD AUER (1845-1930): Rhapsodie hongroise, Op. 2, AUER/TCHAIKOVSKY: Mélodie, Op. 42/3, Andante cantabile from String Quartet, Op. 11, Lensky's Aria from Eugene Onegin, AUER/RICCARDO DRIGO (1846-1930): Valse-bluette, Sérénade from the Ballet Les millions d'Arlequin, AUER/SCHUMANN: Vogel als Prophet, Op. 82/7, Der Nussbaum, AUER/ CHOPIN: Nocturne, Op. 72, AUER/ WIENIAWSKI: Capriccio-Valse, Op. 7, AUER/RUBINSTEIN: Mélodie, Op. 3, AUER/ACHRON: Hebrew Lullaby, Op. 35/2, Hebrew Melody, Op. 35, AUER/ PAGANINI: Caprice No. 24, JÓSZEF SZIGETI /HAYDN: Vivace from String Quartet, Op. 64/5 "Lark". Transcriptions (and one original work) by one of the most influential and famous violinists of the 19th and 20th centuries, examples of a repertoire which were created by almost every violinist of note to take on his concert tours and which, of course, today, are almost completely forgotten. Antal Szalai (violin), József Balog (piano). Hungaroton HCD 32156 (Hungary) 07F036 $16.98
TOMÁS BRÉTON (1850-1925): La verbena de la paloma. This reissue from the defunct Valois label is finely presented, with three different essays on aspects of the zarzuela, Bréton and the sources for this recording, along with four-language libretto; such quality of presentation seems like another world entirely and yet this recording is only nine years old! An example of the género chico, which dealt with the working-class life of Madrid, La verbena (1894) is set during the celebrations of a festival and is typically tuneful, light-hearted and full of local color. Spanish-English libretto. María Bayo (soprano), Plácido Domingo (tenor), Madrid Community Chorus, Madrid Symphony Orchestra; Antoni Ros Marbà. Original 1994 Valois release. Naïve V 4895 (France) 07F037 $16.98
VINCENT D'INDY (1851-1931): Piano Quartet in A Minor, Op. 7, CAMILLE SAINT-SAËNS (1835-1921): Piano Quartet in B Flat, Op. 41. D'Indy's 1878 piece shows the major influence his teacher, Franck, as he employs that master's cyclical technique of composition and infuses it with potent doses of Wagnerian drama while still having the ability to instill its delightful finale with a purely French infectious, rhythmic joy. Composed only three years earlier, Saint-Säens' piece is, of course, the work of a mature composer and is founded on the Classical elegance and concern with form which characterized this composer throughout his long life. Prometheus Piano Quartet. Centaur CRC 2625 (U.S.A.) 07F038 $16.98
CLAUDE DEBUSSY (1862-1918): March écossaise, Ariette oubliées, Images oubliées Nos. 1 & 3 (orch. Kocsis), Sarabande (Image oubliée No. 2), Danse (Tarantelle styrien) (orch. Ravel), MAURICE RAVEL (1875-1937): Menuet antique, Op. 7, Le tombeau de Couperin, Op. 68a (Fugue & Toccata) (orch. Kocsis w/rest of composition in Ravel's own orchestration). Who knew that pianist (and lately, conductor) Zoltán Kocsis had the orchestration bug? Many pianists will talk about how this or that composer's piano piece is of an "orchestral nature" but this one has chosen to do something about it! In case the above listing is too obscure, Kocsis has orchestrated the two movements of Le tombeau de Couperin which Ravel left aside (for reasons Kocsis speculates on in the notes) and the outer pieces of the Images oubliées (at the time he orchestrated it himself, Ravel knew only of the Sarabande) in addition to the whole of the other pieces (the Verlaine song-cycle is one of those "orchestral piano parts"). French-English texts. Júlia Hajnóczy (soprano), Hungarian National Philharmonic Orchestra; Zoltán Kocsis. Hungaroton HCD 32106 (Hungary) 07F039 $16.98
JULES MASSENET (1842-1912): Grisélidis. Datng from 1901, this is one of several Massenet operas which were based on medieval romances Described by its composer as a conte lyrique, Grisélidis is a mostly light, gentle comic opera with much typically dry Gallic wit in its music for the Devil, who trys to tempt the title character away from her Crusades-occupied husband. 2 CDs. 1982 Wexford Festival, mono. Synopsis included. Rosemary Landry (soprano), Sergei Leiferkus (baritone), Günter von Kannen (bass), Wexford Festival Chorus, Irish Radio and Television Symphony Orchestra; Robin Stapelton. Gala GL 100.724 (Italy) 07F040 $10.98
PIETRO MASCAGNI (1863-1945): Le maschere. Premiered on Jan. 17, 1901 simultaneously in seven Italian cities, Le maschere was a resounding failure due to the composer's passionate desire to return to the gentle style of the commedia dell'arte. The deliberately old-fashioned, neo-classical score is truly delightful; one can only wish futilely for a new recording of it... 2 CDs. Rec. 11/11/61. Summary included. Cesy Broggini (soprano), Ferrando Ferrari (tenor), Antonio Cassinelli (baritone), Chorus and Orchestra of the Teatro Verdi, Trieste; Bruno Bartoletti. Gala GL 100.731 (Italy) 07F041 $10.98
JESÚS ARÁMBARRI (1902-1960): Witches on New Year's Eve, 4 Impromptus for Orchestra, 8 Basque Songs for Soprano and Orchestra, In Memoriam - Elegy for Orchestra, Offering, Intermezzo from the Zarzuela "South Wind", Spanish Fantasy for Orchestra. Basque folk-songs provide much of the inspiration for Arámbarri's orchestral pieces (of course, actual folk songs are set in the 8 Basque Songs, which have echoes of Falla in them) - both the "prelude" Witches on New Year's Eve and the four Impromptus are based on folk songs. Easily apprehended and enjoyable music from this compoer better-known for his stage works, including several items not available on the Claves disc of his orchestral music. No texts. Itxaro Mentxaka (soprano), Bilbao Symphony Orchestra; Juan José Mena. Naxos Spanish Classics 8.557275 (New Zealand) 07F042 $6.98
JESÚS GURIDI (1886-1961): String Quartet No. 1 in G, String Quartet No. 2 in A Minor. This Basque composer's two quartets date from 1934 and 1949 and are solidly in the Franco-German tradition of his schooling, full of attractive melodies (more folk-like material in the first) and closely worked counterpoint (more in the second than the first), all in a quasi-Nationalist, post-Romantic idiom with occasional touches of a characteristic melancholy and nostalgia. Enesco Quartet. Original 1986 Ensayo release. Ensayo ENY-CD-9706 (Spain) 07F043 $16.98
ALEXANDER GLAZUNOV (1865-1936): Symphony No. 8 in E Flat, Op. 83, Commemorative Cantata for the Centenary of the Birth of Pushkin, for Soprano, Baritone, Chorus and Orchestra, Op. 65, Poème lyrique in D Flat, Op. 12. We offer this new title in Chandos' Glazunov series for the new recording of the Pushkin cantata of 1899, in which a direct musical setting triumphs over the sentimental texts provided by the Grand Duke Romanov. Cyrillic-English texts. Ludmila Kuznetsova (mezzo), Vsevolod Grivnov (tenor), Russian State Symphonic Capella and Symphony Orchestra; Valeri Polyansky. Chandos 9961 (England) 07F044 $16.98
HEITOR VILLA LOBOS (1887-1959): Piano Music, Vol. 3 - Suite Floral, Ciclo Brasileiro, Brinquedo de Roda, Danças Características Africanas, Tristorosa, Chôros No. 1 "Típico"(arr. Gurgel), Chôros No. 2 (arr. composer), Chôros No. 5 "Alma Brasileira". A few lesser-recorded items spice up this new volume of Villa-Lobos piano music - the 1912 Brinquedo ("Children's Round Games"), based on traditional children's melodies, the typically languorous waltz Tristorosa of 1910, and piano transcriptions of the first two Chôros. Sonia Rubinsky (piano). Naxos 8.555286 (New Zealand) 07F045 $6.98
FRANCO ALFANO (1875-1954): Risurrezione. The third of Alfano's operas (1904) was his last in the true verismo tradition, based on Tolstoy's novel and known particularly for the highly melodramatic role for Katyusha, its ill-starred heroine, which has attracted a number of vocally and histrionically gifted sopranos, from Mary Garden to the one heard here. Includes 22 minutes of Olivero as Francesca with Del Monaco in Alfano's Francesca da Rimini from 1959). 2 CDs. Rec. 10/22/71. Magda Olivero (soprano), Giuseppe Gismondo (tenor), RAI Turin Chorus and Orchestra; Elio Boncom-pagni. Gala GL 100.716 (Italy) 07F046 $10.98
JOHANNÈS DONJON (1839-1912): Offertoire, Op. 12, PAUL-AGRICOLE GENIN (1832-1903): Carnaval de Venise, Op. 14, BENJAMIN GODARD (1849-1895): Allegretto, Idylle, Sérénade à Mabel, Légende pastorale, PHILIPPE GAUBERT (1879-1941): Divertissement grec for 2 Flutes and Orchestra, CHARLES GOUNOD (1818-1893): Petite Symphonie, HECTOR BERLIOZ (1803-1869): Trio from l'Enfance du Christ, Op. 25. A couple of unknown composers, both virtuoso flutists, leads off this collection of Belle Epoque trifles for the wind instrument which came to dominate the French salon during that period. Most of these pieces are arrangements for small orchestra from their original, solo instrument accompaniments while two of Godard's pieces were originally written for oboe (the other two, inexplicably, come from a three-movement suite for flute and piano). Marc Grauwels (flute), Waterloo Chamber Orchestra; Ulysse Waterlot, Claudi Arimany (second flute). Naxos 8.555954 (New Zealand) 07F047 $6.98
The Maiden's Prayer and other Gems from an Old Piano Stool
TEKLA BADARSZEWSKA (1834-1861): The Maiden's Prayer, SELIM PALMGREN (1878-1951): May Night, Op. 57/4, MORITZ MOSZKOWSKI (1854-1925): Serenata, Op. 15/1, WILLIAM MASON (1829-1908): Silver Spring, Op. 6, ALBERT PIECZONKA (19th cen.): Tarantella in A Minor, VICTOR HERBERT (1859-1924): La Coquette - Valse brillante, EDE POLDINI (1869-1957): Poupée valsante, EDWARD MACDOWELL (1860-1908): To a Wild Rose, Op. 51/1, JOACHIM RAFF (1822-1882): La Fileuse, Op. 15/72, ETHELBERT NEVIN (1862-1901): Narcissus, Op. 13/4, ALFRED GRÜNFELD (1852-1924): Romanze, Op. 45/1, AUGUST DURAND (1830-1909): Première Valse, Op. 83 and an even dozen far better-known pieces by Sinding, Dvorák, Rubinstein, Paderewski, Paradies, Handel, Beethoven, Mendelssohn, Tchaikovsky, Sibelius, Grieg and Fibich. The music your grandparents and great-grandparents enjoyed playing and listening to in the parlors of their own homes on their own modest, domestic pianos (well, if you're of Western European ancestry anyway...). This was one of the late Ted Perry's (the late founder of Hyperion) pet projects and the note-writer, in an appendix, tells us that the texts, "written expressly for Ted's amusement and edification, arrived at his office a few hours before he left the Hyperion building for the last time". Philip Martin (piano). Hyperion CDA 67379 (England) 07F048 $17.98
HANS JÜRGEN VON DER WENSE (1894-1966): Musik für Klavier I-V, Musik No. 13, Ich hatt' einen Kameraden, WALTER SPIES (1895-1942): Bime-krode, Pemoengkah, Pangetjet, COLIN MCPHEE (1900-1966): Lagu Délem, ALEXANDER TANSMAN (1897-1986): Jeux Balinais, La flûte de bambou dans la forêt de Bandoeng, Le Gamelang de Bali, ANDRÉ JOLIVET (1905-1974): La Princesse de Bali, BÉLA BARTÓK (1881-1945): Báli szigetén, LEO SPIES (1899-1965): Klaviersuite No. 2, EDUARD ERDMANN (1896-1958): 5 Klavierstücke, Op. 6, ERNST KRENEK (1900-1991): 5 Klavierstücke, Op. 39, ALEXANDER SCRIABIN (1872-1915): 5 Préludes, Op. 74, BACH/BUSONI (1685-1750)/(1866-1924): Nun komm, der Heiden Heiland. Scheiermacher is rapidly becoming the Neeme Järvi of the piano as his rate of turning out fascinating programs of practically unknown repertoire seems to be accelerating. Titled "Hommage à Walter Spies", this collection discovers an obscure German polymath who turns out to have much responsibility for the image of Bali as a paradise island and for discovering and helping disseminate its varieties of gamelan music (e.g. McPhee's exposure to it came from meeting Spies on the island in the late 1920s). Spies, however, also had an early history as a member of the avant-garde musical and artistic circles in Berlin, making this recital a half-German avant-garde, half Balinese-influenced program. The notes are lengthy and fascinating and von der Wense turns out to be another find - a what-might-have-been who disappeared into obscure non-musical researches and historical oblivion. Steffen Schleiermacher (piano). MD&G 613 1171-2 (Germany) 07F049 $17.98
CONSTANT LAMBERT (1905-1951): Suite from Horoscope, ARTHUR BLISS (1891-1975): Suite from Checkmate, WILLIAM WALTON (1902-1983): Suite from Façade. This was the CD premiere of music from Lambert's 1937 Horoscope, whose lead female role was performed by Margot Fonteyn and its 27 minutes are in the romantic and lyrical tradition of Tchaikovsky although the sound is quintessentially English. Lambert also worked closely with Walton on the conversion of Façade from its original form to that of a ballet, both of whose suites are performed here. Bliss' 1937 ballet is represented here by about half of its original length - a prologue and five dances. English Northern Philharmonia; David Lloyd-Jones. Original 1990 Hyperion release. Helios CDH 55099 (England) 07F050 $10.98
CHARLES VILLIERS STANFORD (1852-1924): Fantasia and Fugue in D Minor, Op. 103, Installation March, CYRILL ROOTHAM (1875-1938): Epinikion, Elegiac Rhapsody on an Old Church Melody, ERNEST FARRAR (1885-1918): Fantasy-Prelude, Op. 5, WALTER ALCOCK (1861-1947): Impromptu in G, Postlude, EDWARD BAIRSTOW (1874-1946): Legend in A Flat, EDWIN G. LEMARE (1865-1934): Nocturne in B Minor. "Symphonic Organ Music from the Edwardian Era": everything here was written between 1901 and 1910 and each composer evokes the textures and colors of the orchestra while beginning with the characteristic sonorities of organ sound. Lemare and Bairstow's pieces add the delicate colors of Impressionism while Rootham is more impassioned and muscular, Farrar's is somewhat subdued and melancholy and Alcock is the most Elgarian of the half-dozen composers here. Graham Barber (organ of Ripon Cathedral). Priory PRCD 769 (England) 07F051 $16.98
CHARLES VILLIERS STANFORD (1852-1924): Morning, Evening and Communion Services in C, Op. 115, 3 Latin Motets, Evening Service in G, Op. 81, For lo, I raise up, Op. 145, Organ Preludes in G Minor & in D Minor. Stanford's figure towers above English choral music both as composer of works which are still performed in Anglican churches around the world today and as teacher of such major composers as Holst, Moeran, Bliss, Vaughan Williams, Howells and Bridge. This new release offers a small sample of his finely-wrought anthems and services and makes a fine sacred companion to the above disc of secular organ pieces. Choir of St. John' College, Cambridge; Christopher Robinson, Christopher Witton (organ). Naxos English Choral Music 8.555794 (New Zealand) 07F052 $6.98
ANTON RUBINSTEIN (1829-1894): Cello Concerto No. 1 in A Minor, Op. 63, Don Quixote, Op. 87, 2 Dances from The Demon. Three different sides of Rubinstein are on view in this new release of previously available (although mostly out-of-print) repertoire: the exotic, Orientalist of the Demon ballet music, the Classicist of the 1864 concerto, very much in the style of Schumann, and the Progressive modernist of the Lisztian tone-poem of 1870, complete with extensive extra-musical program printed before the score. Alban Gerhardt (cello), Wuppertal Symphony Orchestra; George Hanson. MD&G 335 1165-2 (Germany) 07F053 $17.98
LENNOX BERKELEY (1903-1989): Diversions for Oboe, Clarinet, Bassoon, Horn and String Quartet, Op. 63, Sextet for Clarinet, Horn and String Quartet, Op. 47, Oboe Quartet, Op. 70, Sonatina for Piano Duet, Op. 39, Palm Court Waltz for Piano Duet, Op. 81/2. Perhaps Chandos' new Berkeley series prompted Hyperion to reissue this 20-year-old tribute to the composer on his 80th birthday which had never been reissued on CD. Dating from between 1954 and 1967, these are generally relaxed, lyrical works with occasional outbursts of high spirits but no dark shadows. Works are based on the smallest thematic material which is then ingeniously worked--out and varied with counterpoint being especially important but everything is easy on the ear, often attractively melodic without being either lush or straitened. The Nash Ensemble. Original 1983 Hyperion release. First CD issue. Helios CDH 55135 (England) 07F054 $10.98
CHARLES TOURNEMIRE (1870-1939): L'Orgue Mystique, Vol. 6 - Offices Nos. 6, 9, 12 & 30. The latest release in this ongoing cycle of the 51 Offices of the Roman Catholic liturgical year which Tournemire composed, inspired heavily by the tradition of plainchant, between 1927-32. Sandro R. Müller (organ of the Liebfrauen church, Bottrop-Eigen). Cybele 050.106 (Germany) 07F055 $16.98
WILLIAM ALBRIGHT (1944-1998): Grand Sonata in Rag, 3 Novelty Rags, Sweet Sixteenths, 3 Original Rags, The Dream Rags. Albright and William Bolcom began writing and mailing rags back and forth to each other in the late 60s and the two composers ultimately became the fathers of a "classical ragtime" genre. The works recorded here date from 1967-70 and 1975 and are infectiously delightful - true to the original style of the genre but also transcending it though quirky twists of rhythm and harmony, unexpected melodic shapes and directions with a constantly changing kaleidoscope of imagination and color. Nicola Melville (piano). Equilibrium EQ 57 (U.S.A.) 07F056 $16.98
PAUL MATHEY (b.1909): 2 Impromptus for Violin and Piano, Op. 20, Sonata for Clarinet and Organ, Op. 46, 3 Pièces for Flute and Harp, Op. 40, Sonate du Toboso for 2 Violins and Piano, Op. 50, Quintette des Crêtets for Flute, Violin, Viola and Piano, Op. 56. Like many young composers of his generation, the Swiss Mathey did not follow Schoenberg but experimented with his teachings at times during his career. The Sonate du Toboso is the closest the music on this disc gets to atonality with its tortured lines and complex polyphony making for a rather austere expression, shared by the much earlier violin and piano Impromptus. The flute and harp pieces are squarely in the style of many French works for this combinations, the clarinet sonata is a quiet, effective melding of what come to seem rather similar voices while the Quintette de Crêtets is instantly appealing in its mixture of polytonal and modal language from the French School. Various artists. Gall CD-1097 (Switzerland) 07F057 $18.98
EINOJUHANI RAUTAVAARA (b.1928): True and False Unicorn for Chorus and Orchestra, Canción de nuestro tiempo for Soprano and Chorus, In the Shade of the Willow for Chorus. Unicorn sets texts by the San Francisco avant-garde poet and film-maker James Broughton. Originally composed in 1971 for chorus with tape interludes, Rautavaara recomposed the interludes for orchestra and made other adjustments throughout in 2000 (the orchestra participates throughout the 46-minute length). The chorus goes through everything from a kind of Sprechgesang to the most traditional of singing styles and the music, just as eclectic, also cuts a wide swath through all manner of tonal styles including popular and jazz, a spiritual and even a setting of God Save the Queen. Well, remember, it was a 70s piece! The two short couplings (1993 and 1998) are in far more recognizable late Rautavaara style. Spanish/Finnish-English texts. Mia Huhta (soprano), Finnish Radio Chamber Choir and Symphony Orchestra; Timo Nuoranne. Ondine ODE 1020-2 (Finland) 07F058 $17.98
BRIAN BOYDELL (1917-2000): A Pack of Fancies for a Travelling Harper, Op. 66, BENJAMIN BRITTEN (1913-1976): Suite for Harp, Op. 83, WILLIAM MATHIAS (1934-1992): Santa Fe Suite, IAN WILSON (b.1964): in blue sea or sky, HAMILTON HARTY (1879-1941): Spring Fancies. A very worthwhile collection of 20th century music for harp by composers more than local significance: Britten's (1969) was written for Ossian Ellis in a fondly backward-looking diatonic language while Mathias' (1988) uses the harp's ability to create unique sound atmospheres to convey his impressions of the qualities of the New Mexico festival town. Boydell (1970) introduces some extended playing techniques but his material, for the most part, emulates the approachability of folk music; Wilson's 2000 in blue sea is a ten-minute fantasy inspired by a seascape triptych whose furious pedal changes paradoxically make possible its weightless feeling. Clíona Doris (harp). Riverrun Records RVRCD59 (England) 07F059 $16.98 >
JOSÉ LUIS GRECO (b.1953): Perfume for Orchestra, Ardor - Concerto for Violin and Orchestra, Forbidden Tonic for Orchestra, Pastel, I'm Superman!. The son of dancer José Greco (no kidding!) also danced himself as a youngster before turning to rock-influenced performance art and, upon moving to Spain in the early 1990s, to "classical" composition. Perfume (1997) is a 13-minute bath in Ravelian colors and textures (Pastel, from the year before, is in similar style though somewhat grayer) while Ardor, from the following year, is a refined, elegant 18-minute concertante work with echoes here and there of the voluptuousness of Szymanowski. Forbidden Tonic (2001) was written for this recording and its sonorities are more jagged than carefully sculpted, its temperature closer to boiling than to simmering and its immediate appeal is no more in doubt that that of its predecessors. One Greco's first symphonic compositions (1994), I'm Superman! is a good-natured frenzy of American pop culture sensibilities (insensibilities?) which makes Michael Daugherty's similarly-themed work sound like Elgar... Mariana Todorova (violin), Orquesta Filarmónica de Gran Canaria; Adrian Leaper. ASV DCA 1153 (England) 07F060 $16.98
AUBERT LEMELAND (b.1932): Symphony No. 10, Op. 172, "Letzte Briefe aus Stalingrad"for Speaker, Soprano and Large Orchestra, Memorial, Op. 158 "Dieppe, 19 août 1942". Lemeland's tenth symphony (recorded live at its 1998 premiere) may have been inspired by the collection of letters from German soldiers trapped in the besieged Soviet city of Stalingrad but it is a far cry from the anguish-laden violence and despair one associates with "war symphonies". Most of the material in the letters is not concerned with the events of daily battle; it is concerned with family, friends, thoughts of the meaning of life and other philosophical themes. Only the last letter is set for singing while the rest are spoken so that the composer has, in effect, written a large-scale, psychodramatic melodrama and the music is generally soft, lyrical, melancholy, often luminous, punctuated with the other-worldly sounds of bells and flutes. Tempos and mood rarely heat up, as befits a body of texts which ultimately deal with the larger questions of man's place in the universe. In similar manner, the 10-minute Dieppe (1993) memorializes the 4,000 Allied troops who died in the disastrous raid on that Channel port in 1942. German-French texts. Pamela Hunter (speaker), Svetlana Kachur (soprano), Staatsorchester Rheinische Philharmonie; Shao-Chia Lü, José Serebrier (Memorial). Skarbo DSK 2025 (France) 07F061 $16.98
NIKOS SKALKOTTAS (1904-1949): Concerto for 2 Violins and 2 Pianos, Quartet for Oboe, Trumpet, Bassoon and Piano, Concertino for Oboe and Piano, Concertino for Trumpet and Piano, Tango and Fox-trot for Oboe, Trumpet, Bassoon and Piano, Sonata Concertante for Bassoon and Piano. The concerto (World Premiere Recording) dates from 1945 and is the last of a series of twelve-note concertos which Skalkottas wrote before plunging into the crisis of his last four years. Never orchestrated, it sounds perfectly well with the pianos accompanying; at 34 minutes, it is a significant addition to the Skalkottas discography and, while only the second movement employs a Greek popular theme (of the Rembetiko variety), the whole work treats with traditional Greek dances. Rhythmically exciting in the outer movements, with some magically quiet, almost impressionistic moments in the central slow movement, this concerto has an approachability which, for dodecaphobes, belies its compositional origins. The five works for winds and piano date from 1939-43 and are in a Stravinsky-inspired, non-serial but atonal style with plenty of humor and grotesquerie. Eiichi Chijiiwa, Nina Zimbalist (violins), Alexei Ogrinchuk (oboe), Eric Aubier (trumpet), Marc Trenel (bassoon), Nikolaos Samaltanos (piano), Christophe Sirodeau (second piano). BIS CD-1244 (Sweden) 07F062 $17.98
LEPO SUMERA (1950-2000): Symphony No. 6, Cello Concerto, Musica profana. These works from Sumera's last three years are consonant, sometimes infected by minimalism (not the mindless American kind), often rich in orchestral color and plainly the result of significant emotional experiences. The cello is an indivdual among masses, rather than the classical-style antagonist, and the three movements of the concerto allow the soloist to speak in all the ranges available to the cello with melodic lines that are often chromatic and intense. The same goes for the symphony, the last work Sumera finished, whose first movement alternates faster, anxiety-ridden passages with quiet "halts" and whose final one is reflective, resigned and, ultimately, transfigured. It comes as a shock to read that all the material for this lovely, consonant, meditative music comes from a dodecaphonic 1972 memorial work on the death of Heino Eller. David Geringas (cello), Estonian National Symphony Orchestra; Paavo Järvi. BIS CD-1360 (Sweden) 07F063 $17.98
VIKTOR KALABIS (b.1923): Concerto for Harpsichord and Strings, Op. 42, Violin Concerto No. 1, Op. 17, Symphonic Variations for Large Orchestra, Op. 24, 5 Romantic Love Songs for Tenor and Orchestra, Op. 38. Kalabis is one of the finest of the many 20th century Czech composers who never found it necessary to abandon tonality (even though they had more freedom to do so under their totalitarian government) and whose works reflect eternal musical virtues though colored by the century they live in. The 1975 harpsichord concerto is the longest work here at 27 minutes and has two rhythmically insistent outer movements which sometimes have a neo-Baroque feel wrapped around a much more sober and serious slow movement (that totalitarian government was hardly out of mind). The violin concerto (1959) is more overtly angry and sad, dedicated to a musicologist who seems to have had her troubles with the state (her sudden death, while described as "tragic", is not explained further) - especially the Andante angoscioso slow movement. The Symphonic Variations of 1964 are based on a twelve-note row although the composer uses this for melodic purposes; Kalabis himself acknowledges the work's hopeless, helpless feeling, linking it obliquely to the political situation of the time. The Love Songs (1974) are an island of escape, setting Rilke texts. No texts. Zuzana Ru°Ïiãková (harpsichord), Prague Chamber Orchestra; Viktor Kalabis, Petr ·kvor (violin), Prague Symphony Orchestra; Kalabis, Czech Philharmonic Orchestra; Václav Neumann, Ernst Haefliger (tenor), Czech Chamber Orchestra; Kalabis. Supraphon SU3736-2 (Czech Republic) 07F064 $10.98
IANNIS XENAKIS (1922-2001): Anastenaria for Mixed Choir and Orchestra, Troorkh for Trombone and Large Orchestra, Aïs for Baritone, Percussion and Orchestra. Xenakis fans will be familiar with Metastaseis as a stand-alone work but it was actually the third movement of Anthesteria, which occupied the composer from 1952-54. The Anthesteria was a Greek Orthodox festival which derived from pre-Christian worship and the procession uses antiphonal singing in its first movement, Procession aux eaux claires (the only one which uses a chorus) and will surprise most collectors of this composer's works for its rather Orffian effect. The second movement, Le Sacrifice, saw the beginnings of Xenakis' characteristic preoccupation with glissandi and the abandonment of serialism while Metastaseis shows him firmly on the path to his mature style. Aïs ("Hades") dates from 1980 and sets texts from The Odyssey, The Iliad and Sappho dealing with death. The voice moves from violent oscillations and vocalises on vowels to several varieties of scream before its part thins and eventually dies out as the orchestra swells and then declines toward an inevitably bleak close. Troorkh, written for Christian Lindbergh in 1991, brings us to the familiar landscape of glissandi, clusters and "arborescences". Mike Svoboda (trombone), Spyros Sakkas (baritone), Sylvio Gualda (percussion), Bavarian Radio Chorus and Symphony Orchestra; Charles Zacharie Bornstein, Peter Rundel, Michel Tabachnik. col legno musica viva WWE 1CD 20086 (Germany) 07F065 $19.98
TOSHIO HOSOKAWA (b.1955): Voyage VI for Viola and Strings, KRZYSZTOF PENDERECKI (b.1933): Cadenza for Solo Viola, GYÖRGY KURTÁG (b.1926): Hommage à R.Sch. for Clarinet, Viola and Piano, Op. 15/d, PER NØRGÅRD (b.1932): Libro per Nobuko for Solo Viola, QUINCY PORTER (1897-1966): Suite for Viola Alone, OEDOEN PARTOS (1907-1977): Yizkor for Viola and String Orchestra, GYÖRGY LIGETI (b.1923): Sonata for Viola Solo, GEORGE BENJAMIN (b.1960): Viola, Viola for 2 Violas, KIHARU HAYASHI (b.1931): Process for Viola and Piano, ALFRED SCHNITTKE (1934-1996): Konzert zu dritt for String Trio and Chamber Orchestra. This set commemorates the 10th anniversary of a Japanese project to promote and perform music for the viola and includes a wide variety of material, from the up-to-date modernism of Hosokawa to the earlier avant-garde Hommage by Kurtág, Schnittke's polystylism, the later, more tonal periods of Penderecki and Ligeti to the mid-century tonal works by Partos, whose 1949 work is a memorial to Holocaust victims and uses Eastern European Jewish folk material, and Porter. Benjamin's 1997 two-viola work is passionate, rhythmically insistent and violently energetic while Hayashi's brand new piece shows that lyricism and melody are also still alive in Japan. 2 CDs. Nobuko Imai, Yoshiko Kawamoto, Junji Suganuma, Masao Kawasaki, Sachiko Suda, Shota Yanase, Mazumi Tanamura (viola), Toho Gakuen Orchestra; Koichiro Harada with Yuji Murai (clarinet), Ichiro Nodaira (piano). BIS CD 1379/1380 (Sweden) 07F066 $35.98
JOHN MCCABE (b.1939): Concerto for Piano and Wind Quintet, Musica Notturna for Violin, Viola and Piano, Fauvel's Rondeaux for Clarinet, Violin and Piano, Postcards for Wind Quintet. The composer, in the notes, declares his dislike for the "present fashion of making everything simple, 'user-friendly'" and would rather have the listener make up his own mind rather than having the composer doing it for him. What separates McCabe, though, from many other composers of similar mind, is that his music, though painstakingly worked-out, often from the smallest motivic or rhythmic substances, is never dry or academic. One feels that performers must really enjoy playing his music and the real delight is that, for listeners who don't mind paying attention, they will really enjoy it as well. Musica Notturna (1964) is the earliest piece here and has just a fragmentary hint of late romanticism in it while the other, later pieces are all invigoratingly constructed and argued, sometimes dissonant or tough in other ways, but never talking over the listener's head (and certainly never insulting his intelligence). The Fibonacci Sequence. Dutton Epoch CDLX 7125 (England) 07F067 $16.98
LERA AUERBACH (b.1973): 24 Preludes for Violin and Piano, Op. 46, T'filah for Solo Violin, Postlude for Violin and Piano. This outrageously talented Russian-born artist is also an award-winning poet and a highly-praised pianist and her 1999 set of preludes (all the major and minor tonalities) has plenty of poetry and of instrumental elan. Lasting 59 minutes, many of the preludes are played attacca which gives the impression of an ongoing psychological drama and both instrumentalists are treated to soloistic writing in an accessible, post-Modernist, often dramatically Romantic idiom which will repay frequent listening. Vadim Gluzman (violin), Angela Yoffe (piano). BIS CD-1242 (Sweden) 07F068 $17.98
JEFF MANOOKIAN (40ish): Concerto for 2 Pianos and Orchestra, Improvisations on Armenian Folk Songs for Viola and Orchestra, Piccolo Concerto, Khachkar for Alto Flute, Harp and Strings. Part Rachmaninov, part 40s film-score, the double piano concerto luxuriates in rich romanticism, the piccolo concerto is bright and peppy in a neo-classical cum Prokofievian way while Khachkar is a meditative piece using authentic religious songs and the Improvisations turns out to be a concerto on several folk song themes in the style of Khachaturian and Bartók. Susan Duehlmeier, Bonnie Gritton (pianos), John Pickford Richards (viola), Laurel Ann Maurer (piccolo, alto flute), Armenian Philharmonic Orchestra; Jeff Manookian. Albany TROY 581 (U.S.A.) 07F069 $16.98
JOHN CAGE (1912-1992): Concerto for Prepared Piano and Chamber Orchestra, 68 for Orchestra. The concerto comes from 1951, at the end of the period when Cage produced charming, exotically rhythmical music with his works for prepared piano and began using pitch charts to determine who plays what, at what time and for what duration. Already in the third movement of this work, he began flipping a coin to determine the musical context, pointing the way to his "late period" of chance composition, from which the 1992 68 comes, with whose compositional procedures collectors who know the "number" series of Cage's compositions will be familiar. Róbert Regös (piano), Bavarian Radio Symphony Orchestra; Lucas Vis. col legno musica viva WWE 1CD 20088 (Germany) 07F070 $19.98
Deletions and Overstocks
These titles exist in quantities from 3-20 pieces. Many are labels no longer extant or no longer available in the U.S. No back-orders... when they're gone, they're gone.
FERNANDO LOPES-GRAÇA (1906-1994): Paris 1937 for 2 Pianos, Op. 176, Elegia, Op. 80, Toccata, Andante & Fugato, Op. 250, Piano Sonata No. 4, Op. 141. Miguel Henriques (piano), Ana Valente (second piano). Strauss/Portugalsom SP 4352 (Portugal) 07F071 $5.98
JOLY BRAGA SANTOS (1924-1988): Symphony No. 1 in D, Op. 8 (Historical recording: Vol. 8 in the "Pedro de Freitas Branco Edition", coupled with the Mozart Piano Concerto No. 21 with Emil Gilels. Symphony recorded 3/26/60, concerto 4/27/61). National Symphony Orchestra; Pedro de Freitas Branco. Strauss/Portugalsom SP 4112 (Portugal) 07F072 $3.98
FILIPE PIRES (b.1934): Portugaliae genesis for Baritone, Chorus and Orchestra, Sintra (Music for an Imaginary Short Film), Akronos for String Orchestra. Oliveira Lopes (baritone), Hungarian State Opera Chorus, Budapest Philharmonic Orchestra; János Sándor. Portugalsom CD 870019/PS (Portugal) 07F073 $5.98
GUNNAR DE FRUMERIE (1908-1987): Cello Concerto, Op. 81, Violin Concerto, Op. 19, Symphonic Variations, Op. 25. Mats Lidström (cello), Tobias Ringborg (violin), Norrköping Symphony Orchestra; Lü Jia. Caprice CAP 21644 (Sweden) 07F074 $8.98
CHRISTIAN SINDING (1856-1941): Symphony No. 1 in D Minor, Op. 21, Symphony No. 2 in D, Op. 83. North German Radio Philharmonic Hannover; Thomas Dausgaard. CPO 999 502 (Germany) 07F075 $8.98
GIYA KANCHELI (b.1935): Styx for Viola, Mixed Choir and Orchestra, SOFIA GUBAIDULINA (b.1931): Viola Concerto. Yuri Bashmet (viola), St. Petersburg Chamber Choir, Orchestra of the Mariinsky Theatre; Valery Gergiev. Deutsche Grammophon 471 494-2 (Germany) 07F076 $8.98
JOAQUIM HOMS (b.1906): Piano Music, Vol. 2 - Piano Sonata No. 1, 3 Inventions on One Chord, Carousel Waltz, Between Two Lines, 3 Evocations, Remembrances. Jordi Masó (piano). Marco Polo 8.225236 (New Zealand) 07F077 $6.98
JOSEP SOLER (b.1935): Partita No. 1, Variaciones y fuga sobre un coral de Alban Berg, 6 piezas sagradas. Eulàlia Solé (piano). GEMA B-1-2 (Spain) 07F078 $4.98
VLADIMÍR SOMMER (b.1921): String Quartet No. 1 in D Minor, String Quartet No. 2. Panocha Quartet. Panton 71 0357-2 (Czech Republic) 07F079 $6.98
JOSEPH WOELFL (1773-1812): Piano Sonatas, Vol. 1 - Sonatas No. 1 in C, No. 2 in D Minor & No. 3 in E. Laure Colladant (fortepiano). Mandala MAN 4860 (France) 07F080 $4.98
SEBASTIÁN ALBERO (1722-1756): 30 Keyboard Sonatas. 2 CDs. Laure Colladant (fortepiano). Mandala MAN 4841/42 (France) 07F081 $9.98
GIOVANNI SGAMBATI (1841-1914): Complete Piano Works, Vol. 3 - Symphony No. 1 in D, Op. 15, LISZT/SGAMBATI: Die Ideale. Daniella Morelli and Riccard Risaliti (piano duet). Fonoteca CT-97.10.02 (Italy) 07F082 $4.98
JEAN-JOSEPH CASSANÉA DE MONDONVILLE (1711-1772): Les Fêtes de Paphos. 3 CDs. Sandrine Piau, Véronique Gens, Agnès Mellon (sopranos), JeanPaul Fouchécourt (tenor), Accentus Chamber Choir, Les Talens Lyriques; Christophe Rousset. L'Oiseau-Lyre 455 084-2 (England) 07F083 $14.98
BALDASSARE GALUPPI (1706-1785): Piano Sonatas No. 3 in A, No. 7 in G Minor, No. 8 in B, No. 9 in E, No. 10 in F & No. 12 in F Minor. Wolfgang Glemser (piano). Ars Produktion FCD 368 329 (Germany) 07F084 $4.98
PEDRO ALBÉNIZ (1795-1855): Fantaisa sobre "I Puritani" de Bellini, Los Jardines de Aranjuez, Fantasa sobre motivos del "Nabuconodosor" del Verdi, Op. 36, Mi delicia, Op. 61, El chiste de Málaga, Op. 37, La gracia de Córdoba, Op. 38, La barquilla Gaditana, Op. 39, La sal de Sevilla, Op. 40, El polo nuevo, Op. 41. Miguel Zanetti & Fernando Turina (piano four hands). RTVE 65054 (Spain) 07F085 $4.98
JOAQUÍN TADEO DE MUGUIA (1759-1836): Sonata in G, PEDRO TINTORER (1814-1891): Sonatina No. 5 in A, Sonatina No. 8 in E, ENRIQUE GRANADOS (1867-1916): 2 marchas militares, ERNESTO HALFFTER (1905-1989): Serenade, Valse & Marche, JOAQUÍN RODRIGO (1901-1999): Juglares, Sonatina para dos muñecas, Atardecer, Gran marcha de los subsecretarios. Miguel Zanetti & Fernando Turina (piano four hands). RTVE 65033 (Spain) 07F086 $4.98
XAVIER MONTSALVATGE (1912-2002): 3 divertimentos, MANUEL CASTILLO (b.1930): Piano a cuatro, CLAUDIO PRIETO (b.1934): Sonata No. 10, ANGEL OLIVER (b.1937): Apuntes sobre una impresión, DELFIN COLOMÉ (b.1946): Vals banal, JOSÉ LUIS TURINA (b.1952): Fantasia sobre "Don Giovanni". Miguel Zanetti & Fernando Turina (piano four hands). RTVE 65023 (Spain) 07F087 $4.98
FRANCISCO ASENJO BARBIERI (1823-1894): Sinfonía sobre motivos de Zarzuela for Orchestra and Band, Excerpts from the zarzuelas Jugar con fuego, Los diamantes de la corona, Pan y Toros and El barberillo de Lavapiés. Various vocal soloists, RTVE Chorus and Symphony Orchestra; Enrique García Asensio. RTVE 56041 (Spain) 07F088 $4.98
FRANZ GLEISSNER (1761-1818): Mass in G, Op. 1/4, 4 Epistelsonaten and 4 Offertorien from Opp. 1 & 2. Vocal soloists, Thurgau Chamber Choir and Baroque Ensemble; Raimund Rüegge. Quantaphon 15.902 (Germany) 07F089 $6.98
JIRI ANTONÍN BENDA (1722-1795): 6 Harpsichord Sonatas. Tamara Franzová (harpsichord). Panton 81 9011-2 (Czech Republic) 07F090 $6.98
FRANZ XAVER BRIXI (1732-1771): Organ Concertos in F, C, G & in D. Vera Hermanová (organ), Capella regia musicalis; Robet Hugo. Panton 81 9005-2 (Czech Republic) 07F091 $6.98
FRANCISCO COURCELLE (1702-1778): Missa "Exurgat Deus", Responsorio "Reges Tharsis", JOSÉ DE NEBRA (1702-1768): Laetatus sum, PADRE ANTONIO SOLER (1729-1783): Villancico "Ya de noche y por las calles". Vocal soloists, RTVE Chorus and Symphony Orchestra; Grover Wilkins. RTVE 65086 (Spain) 07F092 $4.98
ETIENNE-NICOLAS MÉHUL (1763-1817): 3 Keyboard Sonatas, Op. 1, NICOLAS SÉJAN (1745-1819): Recüeil de pièce pour le clavecin ou le piano forte, Op. 2. Peter Kranen (piano). Raptus Records 395.02.89 (Netherlands) 07F093 $4.98
JOHAN WIKMANSON (1753-1800): 3 String Quartets, Op. 1. Fresk Quartet, Berwald Quartet. Proprius/Musica Sveciae PRCD 9114 (Sweden) 07F094 $4.98
LACI BOLDEMANN (1921-1969): Piano Concerto, Op. 13, 6 Kleine Liebeslieder, Op. 2, Morgenstern Sånger, Op. 5. Dag Achatz (piano), Stockholm Philharmonic Orchestra; Naohiro Totsuka, Solveig Faringer (soprano), Dag Achatz (piano). Swedish Society SKCD 1 (Sweden) 07F095 $6.98
ALEXANDER BLECHINGER (b.1956): Solo Piano: Hellbrunniade, Op. 85, 2 Preludes, Op. 16, 3 Passacaglias, Op. 45, Frühling, Op. 17, Stimmungen for Solo Violin, Op. 94, Weltenlieder for Mezzo-Soprano and Piano, Op. 88, Intime Lieder, Op. 24. Brigitta Telberg (mezzo), Samuel Perez (piano), Daniel Mason (violin). Bella Musica BM 31.2226 (Germany) 07F096 $6.98
MORTON SUBOTNICK (b.1933): Liquid Strata for Piano and Electronics, FREDERICK LESEMANN: Nataraja for Prepared Piano, WILLIAM KRAFT (b.1923): Requiescat for Rhodes Electric Piano, RALPH GRIERSON: Sometimes...Not Always for Keyboards. Ralph Grierson (keyboards). Town Hall CD-TH 24 (U.S.A.) 07F097 $4.98
GISELHER KLEBE (b.1925): Warum had die Sonne einen Aschenrand for 2 Pianos, Percussion and 16-Voice Choir, Op. 104, Der Schrei for Accordion and Percussion, Op. 109, Glockentürme for Piano Four Hands, Op. 103. Various artists. Academy ACA 8509-2 (Germany) 07F098 $6.98
MARCELLO PANNI (b.1940): Conzonette a 3 voci for Soprano, Flute and Cello, 3 Haiku for Soprano and 4 Players, Veni Creator No. 3 for Trombone, Veni Creator No. 2 for Trumpet, Veni Creator No. 1 for Clarinet, Recondite armonie for Harp and Percussion, 3 danze for Piano and String Quartet, Petit septuor for 7 Players, Seiner edlen Freundin for Piano. Various artists. Edi Pan PAN 3013 (Italy) 07F099 $4.98
JERZY SAPIEYEVSKI (b.1945): Mercury Concerto for Trumpet and Chamber Ensemble, LAWRENCE MOSS (b.1927): Symphonies for Brass Quintet and Chamber Orchestra, Clouds for Chamber Ensemble, VINCENT PERSICHETTI (1915-1987): King Lear for Wind Quintet, Piano and Timpani, ERNST KRENEK (1900-1991): Capriccio for Cello and Orchestra. Evelyn Elsing (cello), Armando Ghitalla (trumpet), Annapolis Brass Quintet, American Camerata; John Stephens. AmCam Recordings ACR-10305CD (U.S.A.) 07F100 $4.98
HAVERGAL BRIAN (1876-1972): Symphony No. 2, Festival Fanfare. Moscow Symphony Orchestra; Tony Rowe. Marco Polo 8.223790 (New Zealand) 07F101 $5.98
OTHMAR SCHOECK (1886-1957): Penthesilea, Op. 39. 2 CDs. Yvonne Naef (soprano), Jarmes Johnson (baritone), Czech Philharmonic Choir Brno, Basel Symphony Orchestra; Mario Venzago. Pan Classics 510 118 (Switzerland) 07F102 $10.98
GILBERT & SULLIVAN: Princess Ida. 2 CDs. Ohio Light Opera; J. Lynn Thompson. Newport Classics NPD 85675/2 (U.S.A.) 07F103 $8.98
JAMES BERNARD (1925-2001): Taste the Blood of Dracula - Original Motion Picture Soundtrack. GDI Records GDICD101 (England) 07F104 $6.98
SHEILA SILVER (b.1946): Piano Concerto, 6 préludes pour piano, d'après poèmes de Baudelaire. At 45 minutes and full of big, bold gestures, Silver's concerto is an immensely enjoyable throwback to the emotionally charged grand virtuoso concerto tradition. The solo protagonist is called upon to do much heroic striving in a context that variously recalls one's favourite Big Concertos (Liszt, Prokofiev, Busoni) with the occasional suggestion that this is what Hollywood might require a grand orchestral composition to sound like. This is not to suggest pastiche, or that the piece lacks content; it just does all the things you might like to expect of a late 20th-century essay in the form without missing a trick or resorting to the unfamiliar or obscure. The Preludes after Baudelaire don't really break new ground either, but their slightly old-fashioned chromatic charm and skillful economy in piano writing make them highly effective and picturesque additions to the repertoire. Alexander Paley (piano), Lithuanian State Symphony Orchestra; Gintaras Rinkevicius. Naxos 8.557015 (New Zealand) 07F105 $6.98
TAKASHI YOSHIMATSU (b.1953): Symphony No. 5, Op. 87, Prelude to the Celebration of Birds, Op. 83, Atom Hearts Club Suite No. 2, Op. 79a. Yoshimatsu's latest symphony has an ambitious program based on the legend of Faust with three motifs - man, the devil/fate, and woman - which are woven into its four movements. Collectors of this composer will immediately recognize his style, though, since not even having one of European Romanticism's most famous characters as inspiration will cause him to deviate from his pervasive use of rock, blues and jazz elements, often in the bass line, sometimes in the large battery of percussion used. Yoshimatsu's other regular interest - bird-song - also makes its customary appearance, especially in the quieter portions of the music. The latter is on more brightly-lit display in the 2000 prelude while all of the popular music elements are, as it were, laid out for inspection in the second suite from Atom Hearts Club. BBC Philharmonic; Sachio Fujioka. Chandos 10070 (England) 07F106 $16.98
ROXANNA PANUFNIK (b.1968): The Upside Down Sailor, MARTIN BUTLER (b.1960): Dirty Beasts, RORY BOYLE (b.1951): Cinderella. Three works for narrator and wind ensemble: in Panufnik's, the music is a character also, painting musical pictures of the yacht-race sailor whose boat capsized in the waters near Antarctica and the forces of nature which formed his predicament. The other two works are more like melodramas and, given that they both set gloriously sick and twisted texts by Roald Dahl, are a real delight. Richard Stilgoe (narrator), The Soundwood Ensemble; David Campbell. Black Box BBM1089 (England) 07F107 $17.98
DAVID STOLL (b. around 1960): String Quartets Nos. 1 & 2. The second quartet, in six movements, offers a kind of spiritual journey from worldly concerns, represented by a busy bustling texture, to a state of enlightenment, via the practice of meditation. The composer's interest in philosophy, especially of the east, informs much of his music, and these two works make these preoccupations manifest in music of touching simplicity. Stoll's chosen vocabulary is very tonal and approachable, mostly avoiding the meanderings of 'spiritual' new-ageism. The first quartet, from five years earlier, skates a little closer to this new spirituality, and there is less obvious connection to the Classical quartet literature, though the music remains very accessible and enjoyable. Sonia Slany, Jacqueline Norrie (violins), Clare Finnimore (viola), Nick Cooper (cello). Riverrun Records RCCD54 (England) 07F108 $16.98 >
DAVID STOLL (b. around 1960): The Shakespeare Suite - Portraits in Music. These portaits in music of various characters from Shakespeare's plays are mostly written in an easy-going tonal style (owing something to Vaughan Williams in pastoral mood, and with a suggestion (rather than much in the way of actual derivation) of early music. As character studies they succeed admirably, and while not exactly 'light' music, they are certainly on the lighter side of much late 20th-century music. A thoroughly enjoyable and undemanding suite, warmly inviting and containing nothing to shock or alarm even the most conservative listener. Riverrun Records RCCD52 (England) 07F109 $16.98 >
ANDREW KEELING (b. around 1956): Quickening the Dead, Unseen Shadows, In the Clear, One Flesh, Tjarn, O ignis spiritus, Off the Beaten Track. Andrew Keeling started out in music as a cathedral chorister and arrived at the composition of concert music via a diversion by way of rock music in the 1970s. Neither of these seem to have very much influenced the type of music he writes these days, which is broadly eclectic and unpretentiously attractive in a broadly atonal vocabulary with frequent tonal referents. The solo flute, solo piano and viol and lute works radiate atmospheric charm, while the vocal work - writtern for the Hilliard Ensemble - which is really quite tonal, suggests the influence of the Ensemble's work with early music and Arvo Pärt-like modern mysticism (and seems to be the work of greatest emotional depth here). Sections of jazzy vitality in the work which gives the disc its title add to the visceral appeal of this extrovert composition. The Hilliard Ensemble, Bacchanalia and other artists. Riverrun Records RCCD55 (England) 07F110 $16.98 >
ANTHONY PAYNE (b.1936): A Sea-Change for , ELIZABETH MACONCHY (1907-1994): Reflections, RICHARD RODNEY BENNETT (b.1936): Sonata after Syrinx, DIANA BURRELL (b.1948): Double Image, TANSY DAVIES (b.1973): Undertow, ALASTAIR STOUT (b.1975): Empty Fathoms for . This disc of works for various small, somewhat unconventional chamber ensembles showcase a fairly broad range of British music loosely connected by having been composed in the latter part of the 20th century while largely avoiding anything that might be described as 'avant-garde'. Bennett's sonata (here preceded by the work that inspired it) elaborates the Debussy while sticking very closely to an impressionistic atmosphere, also shared with the Stout. Payne's piece explores similar sensuous textures but in a more modern vocabulary and with an improvisational feel. Maconchy's four brief movements are, as one might expect from this rigorous and meticulous composer, tightly constructed with neoclassical economy and astringent harmonic bite. The unpredictable rhythms of Davies' piece and Burrell's study in contrasts provide the most 'modern' music here, though succinct and readily approachable. Chroma. Riverrun Records RCCD56 (England) 07F111 $16.98 >
MAURICIO KAGEL (b.1931): Rrrrrrr... for Piano Two and Four Hands, Ludwig van for Ensemble, Der Eid des Hippokrates for Piano Three Hands, Unguis incarnatus est for Double Bass and Piano, MM 51 for Metronome and Piano. With Kagel you can pretty much expect to be entertained, no matter what else is going on, and this disc does not disappoint. The teasing subversion of the listener's expectations is of course a Kagel trademark, and the piano version of Rrrrrr does just that, over and over again, taking forms and ideas as diverse as ragtime and raga and gleefully serving them up distorted with piano-preparation, savage cross-accents and a winking dare to take it seriously, or not to. Ludwig van is a serious piece of music theatre, incorporating gentle foreground mood music with offstage fragments of Beethoven's music, half heard, suggesting the composer's late experiences of his own work. The other pieces, with their odd instrumentation and extended techniques also reinterpret the familiar through the distorting lens of the composer's surreal imagination. Alexandre Tharaud (piano), Eric Le Sage (second pianist), Marc Marder (double bass) and other artists. Aeon AECD 0311 (France) 07F112 $17.98
PIERRE BOULEZ (b.1925): Rituel in memoriam Maderna, Notations I-IV & VII, Figures-Doubles-Prismes. Boulez' spatial writing in these works is very nicely represented despite the inevitable compromise attendant upon two-channel stereo. The early (and evolving) Figures-doubles-prismes demonstrates Boulez' mastery of the orchestra even at this stage in his career - everything is presented with exemplary clarity, and while the indebtedness to the Schoenberg of the Orchestral Pieces is very apparent, the work has an astounding level of originality and approachability - the "French-Romantic" aspect of Boulez, much underappreciated. The ongoing series of Notations is based on a germ of an idea from early in the composer's career, and the sheer ingenuity of the writing is simply marvellous. Again, the textures, even when minutely subdivided and complex, with performance-specific overlapping of sectional durations, has a chamber-music clarity. This disc could do much to suggest the approachable, downright enjoyable, aspects of the music of this groundbreaking composer, often represented as the thorniest and most inaccessible pioneer of the European avant-garde, and as such could win him converts even among those deeply suspicious of contemporary post-Second-Viennese music. Orchestre National de Lyon; David Robertson. Naïve/Montaigne MO 782163 (France) 07F113 $16.98
PASCAL DUSAPIN (b.1955): Watt - Concerto for Trombone and Orchestra, Galim - Concerto for Flute and String Orchestra, Celo - Concerto for Cello and Orchestra. Watt (after Beckett) will readily appeal to those who enjoy the Sandström Motorbike Concerto, as it similarly pits a virtuosic and almost continuous solo stream of consciousness against a variety of orchestral textures. The relationship between tonality (very present) and extended playing techniques (multiphonics etc) and microtonal textures is also reminiscent of the 20th century's most celebrated (or notorious) trombone concerto. Galim and Celo share a greater seriousness, being among the works that Dusapin has written in recent years concerning the questions of death, bereavement (from personal experience) and eternal repose. Less extrovertly dramatic than the trombone work, the flute concerto is at once less flamboyant and more emotionally intense. The cello concerto (the title puns on the name of the instrument and the Latin "I keep secret, do not reveal") is if anything even more intense and agonised, and makes a powerful emotional statement - cello concertos have a long and honourable history of this sort of thing, and this piece fits the tradition perfectly. The writing is very harmonically based, with many moments of lush romanticism, and provides an emotionally charged conclusion to this fine and involving, and very personal, disc. Alain Trudel (trombone), Juliette Hurel (flute), Sonia Wieder-Atherton (cello), Orchestre National de Montpellier; Pascal Rophé. Naïve/Montaigne MO 782153 (France) 07F114 $16.98
MINAS BORBOUDAKIS (b.1974): Chorochronos I for 2 Pianos and 2 Percussionists, Chorochronos II for Solo Kettledrums, Piano, Percussion and 7 Brass Instruments, Evlogitária (in memoriam Iannis Xenakis) for Solo Percussion, S-Cassiopéia for Solo Metallic Percussion and String Orchestra. A car carrying Lou Harrison, a young John Cage and Iannis Xenakis goes out of control and collides head-on with a mini-van full of minimalists; the hospital in which the victims are treated belongs to the New Age Diocese. This young Cretan composer is the end result of this musical car-wreck, managing in the four works recorded here, to produce music like each of the above influences singly and, at times, all at once in a single piece or section of a piece. Maybe it's just because I have a weakness for percussion works which are inspired by or describe the depths of the cosmos or its sparkling stars and planets, but this is the most fun I've had with a percussion disc in many years. Peter Sadlo, Jens Hilse (percussion), Minas Borboudakis, Andreas Skouras (pianos), Modern Art Percussion Ensemble, Munich Chamber Brass, Schloss Werneck Chamber Orchestra; Ulf Klausenitzer. Cavalli Records CCD 417 (Germany) 07F115 $17.98
JACOB TER VELDHUIS (b.1951): Paradiso. Dante and Beatrice jouney to Paradise, passing through Earthly Paradise, the Garden of Eden, the Heavens of Love and Lust, of Religion, of Drugs, of Nirvana and more. They run into the Apollo moon-landing astronauts, a ranting American TV evangelist and a heavily-drugged Chet Baker among others. Obviously made for video (a DVD of the premiere performance is also available), Paradiso doesn't work too badly as sound-only either, as long as you don't mind the complete lack of any kind of dissonance or minor keys. Ter Veldhuis makes it clear in a polemical note that he's sick and tired of composers writing depressing, difficult and atonal music and that he is going to provide nothing but sweetness and light. That he does, with a lot of the necessary variation in mood provided by using sampling of the aforementioned televangelist, the astronauts and Mission Controllers, etc. to provide rhythmic variation. Not really New Agey but not completely "straight" either. Italian and English texts, English translations. Claron McFadden (soprano), Tom Allen (tenor), Karel Gerritsma (sampler), Pulsatu (video), North Netherlands Concert Choir and Orchestra; Alexander Liebreich. Chandos 10050 (England) 07F116 $16.98
British Light Overtures, Vol. 3
MATTHEW CURTIS (b.1959): Open Road, CAREY BLYTON (1932-2002): The Hobbit, MONTAGUE PHILLIPS (1885-1969): Hampton Court, Op. 76, JOHN FOX (b.1926): Summer Overture, BRUCE MONTGOMERY (1921-1978): Overture to a Fairy Tale, ADAM SAUNDERS (b.1968): Comedy Overture, ROGER QUILTER (1877-1953): A Children's Overture, Op. 17, PHILIP LANE (b.1950): Celebration Overture, JAMES LANGLEY (1927-1994): The Ballyraggers, MATTHEW TAYLOR (b.1964): The Needles, Op. 26. (Are you keeping your White Line serieses straights?) The three longest here are also the three oldest: Quilter's 1914 overture strings together twelve childrens' tunes (some of which will be known to Americans as well), Phillips' (1954) portrait of the royal castle is as good as anything in the same genre his good friend and contemporary, Eric Coates wrote, and Montgomery's 1946 piece is rather Elgarian (not what you'd first expect from the composer of many of the Carry On and Doctor films). Royal Ballet Sinfonia; Gavin Sutherland. ASV White Line WHL 2140 (England) 07F0117 $11.98
JOHANN STRAUSS I (1804-1849): Volume 1 - Täuberln-Walzer, Op. 1, Alpenkönig-Galopp, Op. 7/1, Döblinger Reunion-Walzer, Op. 2, Wiener-Carnevals-Walzer, Op. 3, Champagner-Galopp, Op. 8, Kettenbrücke-Walzer, Op. 4, Seufzer-Galopp, Op. 9, Gesellschafts-Walzer, Op. 5, Wiener Launenwalzer, Op. 6, Schauer-Galopp, Steldichein-Galopp, Alte und neue Tempête. Recorded over seven years ago, this first volume of Strauss the elder finally sees the light. These are intimate, chamber-like compositions, a far cry from the massed drums and cymbals and large orchestras of the younger Strauss' heyday. Schubert was still alive when the earliest of these pieces were written and they have the same naive, comfortable air of that master's light music (the German dances, quadrilles, etc.). Camerata Cassovia; Christian Pollack. Marco Polo 8.225213 (New Zealand) 07F0118 $15.98
CARL MICHAEL ZIEHRER (1843-1922): Selected Dances and Marches, Volume 4 - Weaner Mad'ln, Op. 388, Augensprach, Op. 120, Duck- dich, Manderl!, Op. 548, Liebesgeheimnis, Op. 538 (orch. Pollack), Liebeswalzer, Op. 537, Frauenlogik, Op. 445, Ohne Sorgen, Op. 104, Natursänger, Op. 415, Ein Blümchen im Verborgenen, Op. 202, Buberl, komm'!, Op. 505, König von Sachsen, Op. 64, In Reih' und Glied, Op. 159, Seculo nuovo, vita nuova, Op. 498. Razumovsky Sinfonia; Christian Pollack. Marco Polo 8.223817 (New Zealand) 07F0119 $15.98
ELMER BERNSTEIN (b.1922): The Buccaneer - Original Soundtrack Recording. Good old brazen, late 50s stereo with the original LP cover and notes reproduced along with several color photos from the film. Conducted by Elmer Bernstein. Original 1959 Columbia LP release. DRG Movies 19051 (U.S.A.) 07F120 $14.98
ARTHUR BLISS (1891-1975): Piano Concerto, IGOR STRAVINSKY (1882-1971): Concerto for Piano and Winds, DMITRI SHOSTAKOVICH (1906-1975): Concerto for Piano, Trumpet and Strings, Op. 35. For pianophile collectors, here is the first historical reissue from the British Music Society. Noel Mewton-Wood (piano), Utrecht Symphony Orchestra, Residentie Orchestra The Hague, Concert Hall Symphony Orchestra; Walter Goehr. Original Concert Hall recordings, 1952-3. British Music Society Historic BMS101CDH (England) 07F121 $17.98 >
Somnia Imperii - Music of Ancient Rome - Composed by David Marshall and played on reconstructed instruments by Praecones Britanniae. We know even less about Roman music than about Egyptian (see our May catalogue's 05E097), so everything here is composed based on the attributes of the instruments which have been painstakingly recreated from the wealth of graphic and written source-material which is available (in all, there are over 20 used here, so a listing is impractical). But that's not the point! It's just plain fun listening to the sounds those instruments make, isn't it? Private issue by the composer. ROMCD-1-02 (England) 07F122 $16.98 >