Chamber Music from Reger

Max REGER (1873-1916)

Piano Quartet in a minor, Op. 133 (1914) [38:50]

String Trio in d minor, Op. 141b (1904) [20:55]

Aperto Piano Quartet

Gernot Süßmuth, (violin)

Stefan Fehlandt, (viola)

Hans-Jakbo Eschenburg, (cello)

Frank-Immo Zichner, (piano)

Felix Schwartz, (viola)

Recorded at the Sendesaal des Hessischen Rundfunks, Frankfurt am Main, Germany 16-18 September 2002 and at Siemensvilla, Berlin-Lankwitz, Germany, 27-28 February, 2007.

NAXOS 8.570786 [59:52]

Max Reger was a prolific loner whose career seemed to vacillate readily between having success as a professor, being misunderstood as a member of the avant garde, and being again derided for his old-fashioned devotion to tonality and traditional structural forms. What is left to us is a large body of work, some of which is over-ripe and difficult to digest. Yet for all of his excursions into then uncharted chromatic harmonies, fiendishly difficult keyboard music written for himself to play and structural architecture often stretched to the breaking point, we still have a composer of often profound depth and surprising originality.

A virtuoso pianist with an active performing career, Reger had a great love for chamber music, much of which was composed for strings and piano with himself as the soloist of choice. His two piano quartets are influenced by the work of Johannes Brahms, a composer whom Reger played and admired. This second quartet is full of storms, and yet its overall demeanor is carefully shaded in melancholy so as to give it a rather sweet and autumnal feeling. The opening allegro is full of passionate outbursts with some very thick textures and heavy handed piano writing. The second movement vivace is much more playful and a welcome relief from the thunderstorm of the first movement. There follows a graceful and tender largo and a spirited allegro ending.

It would be very easy to let this music derail emotionally, as it is just close enough to the edge of excess to get syrupy in the wrong hands. The Aperos however give us a balanced and nuanced performance with romantic gush given just the right amount of restraint to keep us listening. Any more passion would be over the top, any less would result in too academic a reading. The thick texture of the piano writing is kept in check by Frank-Immo Zichner, and his string playing colleagues have ample power to keep up with what is at times some overly dense keyboard writing.

Lovely as the quartet may be, the real gem of this disc is the elegant String Trio in d minor, Op. 141b, which was reconstituted from an earlier serenade for flute. From a warm and glowing opening movement, we move to an elegant theme and variations, quite touching in its simple beauty. The work is rounded off by a sprightly little vivace. One really could not ask for a finer performance. The sound is warm and balanced and themes sing like arias in a Bellini opera.

The stretching of tonality and the frequent chromatic shifts in harmony might be a turn off to some listeners, but for anyone who enjoys late romantic music, this disc is a winner. It left me anxious to check out its companion disc (Naxos 8.570785) to see what Reger’s earlier outings in the same two instrumental line-ups might sound like.

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In Defense of Church Musicians

Most of my posts of late have been record reviews, but I think it's time that I sound off about something that's been on my mind for some time. I will try to be diplomatic, but I will also be honest.

This post concerns the plight of those who make their living or a part of their living in churches. Let me begin by saying that I hold a Master's degree in sacred music and have been a professional church musician for thirty of my forty-four years, so I speak with some experience.

Many college students depend on their church gigs for extra income while they are in school. While they do these jobs they are expected to give up their entire Sunday for some 8.50 an hour on the average. Most paid section leaders get 25-30 dollars a call for a two and a half hour rehearsal on Wednesdays and two , often three services with obligatory 45 minute warm ups for EACH service. This comes out to something like 7 or so bucks an hour. Hardly a worthy wage for people with one of the most rarefied skill sets on the planet.

Add in that they are expected to learn difficult and complicated solos, evangelist roles and the like for special concerts an holy days for an "extra call," another $25. Yeah right.

Then there are the egos of the often less than competent and abusive choir masters, the self righteous clergy, and the blatant and pervasive homophobia in many churches. (Face it girls, most of you tenor section is gay, get over it.)

This doesn't come close to addressing the crappy music that we are forced to sing week after week except in the highest of smells and bells Anglican parishes. Ugh.

A year or so ago, I went on my last (and I mean it) cathedral tour of the UK with a prominent church in Dallas. Seven years of faithful service did not exempt me from the gossip of incompetent co-workers (colleagues is by no means a fitting term) or the condescension of the bitchy queen choir administrator whose qualifications can't hold a candle to mine. After that trip I decided that I was done. And now I rarely if ever don a a cassock and surplice.

In a way this is a shame, because I do have a deep sense of gratitude for the gift of music that was bestowed upon me by the creator. But, I have no intention of serving his undereducated and incompetent minions with his gift. Sitting in the congregation and having the people around me be uplifted by what I have to offer in the hymns is all this ego needs.

To my friends who still feel called to serve in choirs, I support you and pray for your success. But until further notice, I am taking a stand for those who have to work like slaves to edify the senators and business execs who make up the congregations rich enough to pay their convenience store wages to gain bragging rights at the country club every Sunday at the buffet. You don't deserve our talents and your spirituality is a pile of dog shit.

Surprises from Bartok.

Bela BARTOK (1881-1945)

Andante for violin and piano (1902) [3:44]
Sonata for violin and piano (1903) [29:15]
Hungarian Folksongs for violin and piano (1934/54) [9:41]
Sonata for solo violin (1944) [28:33]

Elise Båtnes, (violin)
Håvard Gimse, (piano)

Recorded 3-5 September 2005 and 20-21 November in Sofienberg Church, Oslo.

SIMAX PSC 1174 [71:24]

It is interesting that Bela Bartók, a pianist, should devote so large a part of his output, and indeed some of his deepest thoughts to music for the violin. This may be due in part to his relationships with some of Hungary’s finest violinists, namely, Jenö Hubey, Stefi Geyer, Jelly d’Arányi, Joseph Szigeti and with the great Yehudi Menuhin. Thankfully these friendships spawned not only the works on this recording, but also the six string quartets and the two violin concerti.

Opening with Bartók’s earliest known violin work, Elise Båtnes and Håvard Gimse give us a tender performance of the Andante for violin and piano, which is possessed of so sweet a melody that we are led to wonder if this isn’t a piece of salon music by a lesser composer. No indeed, this is the work of a young master composed oddly on the back of twelve postcards and given to a friend and fellow student Adila d’Aranyi as a little musical greeting card. Would that Hallmark™ could produce such gems.

The sonata of 1903 is another student composition, and although very well crafted, it shows the influence of Brahms and Dvorak on the young composer. The melodies are bold and sweeping and the accompaniment is lush and romantic and full of the late nineteenth century harmonic progressions. Of particular interest and merit is the gypsy themed second movement, played here with a dark and compelling passion.

Bartók, along with his colleague Zoltan Kodaly, were pioneers in the field of ethnomusicology, and the both of them travelled throughout the Hungarian countryside capturing authentic performances of folksongs on the newly invented phonograph. This research led both composers to integrate these songs into their more formal compositions, thus preserving the old in the clothes of the new. The nine little gems here are brief and sometimes even abrupt, but are altogether captivating with their spicy harmonies and stirring dance-like rhythms. Ms. Båtnes and Mr. Gimse tear into them with abandon and produce a splendid contrast to the more rhapsodic and serious sonatas.

The unaccompanied sonata was written for Yehudi Menuhin and is the last work that Bartók was able to complete in every detail. Clearly modeled after Sebastian Bach’s Sonatas and Partitas, Bartók uses ancient formal structures in a kind of homage to the great baroque composer. This is the most harmonically adventuresome of the works presented here, and Ms. Båtnes gives us a sensitive and virtuosic performance. Her rich tone applied in the warmer passages, contrasted with a pointed clear sound in the more biting harmonies.

This collection was full of surprises and is a disc that I shall certainly return to again and again. For one who is accustomed to the sharper, more dissonant music of the string quartets, these generous and hearty works came as a pleasant discovery. This recording fulfills what I believe to be any recording’s biggest mission; to leave the listener satisfied and wanting to explore more of a composer’s music. In this regard, this is a most satisfying performance. Program notes are thorough, interesting and thankfully devoid of academic blather. Sound quality is up to Simax’ customary high standards.

An Old Dog, Some New Tricks

Wolfgang Amadeus MOZART (1756-1791)

Piano Concerto No. 21 in C, K467 [21:22]
Piano Concerto No. 22 in E-flat, K482 [33:36]

Jonathan Biss, piano
Orpheus Chamber Orchestra

Recorded in concert from 15-16 March, 2008 at Lefrak Concert Hall, Queens College, Flushing, New York

EMI 50999 2 17270 2 3 [61:07]

It would be nonsense to say that Mozart showed a weakness in any genre in which he chose to write, but it is in the piano concertos that we experience some of his most profound thinking, his most lyrical melodies and some of his most gregarious humor. The works presented here are two of the biggies, and EMI have trotted out another in their seemingly unending string of young artists to team up with New York’s exemplary Orpheus Chamber Orchestra to give us a very satisfying performance indeed.

Jonathan Biss is a wonderfully able technician, and he sails through the intricacies of these two mature works with ease. The opening movement of K467 is stately and well paced, and Mr. Biss’ tone is one of shimmering beauty and crystal clarity. The often over-ripe “Elvira Madigan” theme is played with operatic elegance, and with the utmost taste. I did find, however, that the rondo was, although quite cleanly played, a bit breathless. Mr. Biss didn’t miss a note, but the lightening pace he chose had me sitting on chair’s edge hoping that everyone would meet at the end. For the record, they did.

The meaty K482 receives a very well balanced and stately performance. Of particular merit is the simply stunning playing from the winds in the second movement. This at times soaring and at others achingly heart wrenching theme and variations is given a masterful performance. The finale contains some of Mozart’s most joyful music. One can just imagine him sitting at the piano and ripping through this jolly little tune with Tom Hulce’s wicked little smile plastered across his face.

It is a nice thing to hear these oft-recorded works approached with such fresh and youthful vitality. Recorded sound is alive and present, and Mr. Biss’ program essay is thoughtful and delightfully lacking in academic blather. Instead, we get a nice insight into Mozart’s mindset and the structure of the music. This is most definitely a winner. Playing like this encourages me to explore Mr. Biss’ recent Beethoven recordings.

Brilliant American Chamber Music

Paul MORAVEC (b. 1957)

Chamber Symphony (2003) [19:14]
Autumn Song (2000) [4:59]
Cool Fire (2001) [21:02]

Marya Martin, (flute)
Jeewon Park, (piano)
Stephen Williamson, (clarinet)
Erik Ralske, (horn)
Ayano Kataoka, (marimba/vibraphone)
Ayano Ninomiya, (violin)
Jessica Lee, (violin)
Cynthia Phelps, (viola)
Edward Arron, (cello)

Recorded at the American Academy of Arts and Letters, New York, December 2007.

NAXOS 8.559393 [45:30]

Paul Moravec is one of those rare composers these days who writes music that is not only original, but is also listenable, yea, even enjoyable. Ever conscious of the power of a good melody, Mr. Moravec combines a winsome way with a tune with a very careful and thought-out use of dissonance to create music that is not only instantly memorable, but worthy of repeated listening. It’s a fresh change of pace from what spills out of most copies of Finale and Sibelius these days.

Moravec’s style is clearly American and yet it is somewhat difficult to pin down his influences. His melodies are not theatrical like Leonard Bernstein’s, nor are they colloquial like Aaron Copland’s, yet they are fresh. Further, Mr. Moravec, who has won the Pulitzer Prize for music, has managed to avoid the kind of episodic and disconnected formal style that ensures only a single performance of much new music. Rather, he says what he needs to say in just the right amount of time and stops. It is this compactness of expression and his careful attention to the sound and blend of instrumental timbres that makes his music so very appealing.

The three works on this program were composed for the Brigehampton Chamber Music Festival, long a stalwart summer event in New England. The Chamber Symphony is scored for seven instruments. It opens with a virtuosic fast movement that features an energetic underpinning from the piano and percussion with lyrical swaths draped on by the winds and strings. The tender slow movement reminds me a bit of Poulenc with its spicy harmonic language the floats gently between tasty jazz chords and blissful major triads. The third movement, labeled “Quick” is just that, a sprightly romp through a musical playground with everyone running as fast as they can. The work closes with a substantial finale that begins slowly and peacefully and ends in another fun game of chase.

The tender Autumn Song for flute and piano is reminiscent of Prokofiev to these ears with some sweeping gestures in the piano and a flute part that often soars above the thick piano texture to make itself known. Marya Martin and Jeewon Park give a warm and sensitive performance, just thoughtful enough to be reflective, but not so over-ripe as to be maudlin.

Finally, Cool Fire rounds out the program. This three movement work scored for flute, piano and string quartet is more adventureous perhaps than the other two pieces, but nonetheless reflects Moravec’s penchant for lyricism and his ability to write energetic and intricate counterpoint in fast sections.

All the performances here are of the first order, and it is evident that these players have spent some time with the music and have internalized it. There is a palpable sense of purpose to the playing; serious when called for and utterly fun when appropriate. Kudos to Naxos for making a goodly chunk of Mr. Moravec’s music available to us in recent months, but at only forty-five minutes, it would have been nice to have had one more piece on this otherwise fairly flawless recording.

I was also a bit disappointed in the program notes which spent far more time flattering the good nature of the composer than they did in explaining the music to us. Those quibbles aside, this is wonderful music and well worth exploring by conservative and adventuresome listeners alike.

A Superb New Recording from Seattle

William LAWES (1602-1645)

The Harp Consorts (complete)

Consort 8 in G, Paven and divisions [8:08]
Consort 7 in G, Air [2:10]
Consort 3 in G, Allemande, Courante, Courante, Sarabande
Consort 11 in d, Fantasie [4:07]
Consort 4 in d, Air, Air, Courante, Sarabande [6:30]
Consort 9 in D, Paven and divisions [9:22]
Consort 5 in D, Allemande, Courante, Courante, Sarabande [6:39]
Consort 6 in D, Allemande, Courante, Courante, Sarabande [8:28]
Consort 10 in g, Paven and divisions [8:40]
Consort 2 in g, Air, Courante, Courante, Sarabande [6:58]
Consort 1 in g, Allemande, Courante, Courante, Sarabande [6:08]
Duo for Guitare et Harpe [6:08] (with Alman by René Meangeau) [3:49]

Maxine Eilander, (harp)
Les Voix Humaines
Stephen Stubbs, (theorbo and guitar)
David Greenberg, (baroque violin)
Susie Napper and Margaret Little, (violas da gamba)

Recorded at the Église Saint-Augustin de Mirabel, Quebec, Canada in December 2002 and April 2006.

ATMA ACD2 2372 [76:26]

The so-called “Harp Consorts” of William Lawes, court musician to England’s King Charles I, stand as unique examples of an elegant genre begun in the British court, and tragically ended by the English Civil War, a debacle that claimed the lives of both King and composer. The works stem from a tradition of music for a mixed and specified group of instruments, often called the “broken consort” that first appeared in 1599 with the Consort Lessons of Thomas Morley. Lawes adaptation of Morley’s precedent places the harp in two roles: one as a harmonic instrument placed in the center of the texture as in the Fantasies and Pavens; or as a melodic instrument in dialogue with the violin and the theorbo, the harp’s right hand providing an independent and contrapuntal voice. The debate as to whether an Irish single or French triple harp was the intended instrument for this elegant music has been lengthy and heated, and I will leave it to you, dear reader to explore this question further in Stephen Stubbs’ thorough and informative program note.

With the arrival in England in 1629 of Queen Henriette Marie, all things French became the rage. This was particularly true in the fields of music and dance, and we see that these suites are on the whole collections of French dance music. Surely these works accompanied actual dancing at the court. Nonetheless, the music is of such an elegant nature that it must also have been enjoyed in intimate chamber settings for its own sake. These instruments combine to make such a sweet and gentle tone, that listeners, regardless of their experience with early music, cannot help but come away satisfied.

Lucky are we indeed then that we have such a fine practitioner of the harp as Maxine Eilander, and more fortunate still are we to have her team with her renowned husband Stephen Stubbs and their musical friends to seek out, recreate and re-establish this repertoire in its first complete recording. The balance and nuance of this outstanding ensemble is as refined as the workings of s Swiss time piece. Ever mindful of his or her role in the weave of this musical fabric, each player seems to understand as by second nature when to play out, when to lead rhythmically or when to take a back seat, waiting for his or her turn to come again to the fore.

The music itself is packed with variety, shifting easily from slow, graceful and sometimes mournful Pavanes and Fantasies to the more spritely dances of the suites. Interestingly, the ensemble has chosen to group the works by key center instead of by their (one supposes) chronological order. One might wonder how the contrast of keys would affect a complete listening of well over seventy minutes.

One of the biggest appeals of this performance lies in the music’s ability to function in both background and foreground. You can put it on and go about your business, or you can listen intently and find a wealth of fascinating melody and interplay between the instruments. Regardless of how you choose to listen, this fully packed disc is a garland of delights. After you this charmer, you’ll certainly want to explore further examples of consort music from this period by the likes of Coprario, Purcell, Dowland, Jenkins and Hume. There are abundant recordings of this music for you to enjoy. But start here. This music making is as close to perfection as you’ll ever get.

A Hit and Miss Choral Outing

Karl JENKINS (b. 1944)
Sing we merrily unto God [4:26]
John IRELAND (1879-1962)
Greater love hath no man [5:20]
Gabriel FAURÉ (1845-1924)
Cantique de Jean Racine [4:45]
Charles Villiers STANFORD (1852-1924)
Beati quorum via [3:21]
César FRANCK (1822-1890)
Pièce Héroique [8:15]
Johannes BRAHMS (1833-1897)
Wie lieblich sind deine Wohnungen [5:37]
Charles Hubert Hastings PARRY (1848-1918)
I Was Glad [5:19]
Kenneth LEIGHTON (1929-1988)
Solus ad victimam [4:13]
Jehan ALAIN (1911-1940)
Variations sur un theme de Clément Janequin [5:20]
Samuel Sebastian WESLEY (1810-1876)
Blessed be the God and Father [6:54]
Charles Hubert Hastings PARRY (1848-1918)
Long since in Egypt’s plenteous land [4:13]
John RUTTER (b.1945)
Te Deum [8:00]

The Choir of Eltham College
OSJ Brass
Tim Johnson and Tim Garrard, directors
Henry Fairs, organ
Julian Issa, Matthew Morgan, Anna Simmons, Robbie Jacobs, Lewis Owen and Tim Garrard, soloists.

Recorded at Bromley Parish Church, 17-19 September 2006.

HEARLD HAVPCD 323 [67:07]

The Eltham College Choirs have put together yet another greatest hits sampler from the Anglican Cathedral repertoire and have achieved a mixed success. On the whole, the choir sings with a warm blended tone and with even balance between the sections. But, being a non professional university ensemble, in some repertoire the group’s weaknesses jump out at you.

Karl Jenkins, famous for his “Diamond Music” and “Adiemus” recordings has composed a festive opening motet, written to celebrate the opening of the college’s new music school in 2005. It is obviously an occasional work, and serves the purpose well. We continue with a long set of evergreens that is at times quite lovely and at others rather trying to hear.

Ireland’s Greater Love receives a well paced and finessed performance here with nice solo work by Julian Issa and Matthew Morgan. We hit some trouble in the Fauré Cantique, where the men’s tone is way too strident for the lovely unison passages at the beginning. When we get to the louder four part writing, the tenors stick out with their overheated and white tone color. Stanford’s famous motet Beati quorum via gets a lovely and elegant performance, but for the life of me, I don’t know why choirs of all young singers try to tackle the Brahms Requiem. Wie lieblich is under winded and there is an obvious lack of physical maturity in the sound that serves to only make the listener wonder why this piece was chosen. Parry’s omnipresent I Was Glad is also in need of a more mature sound, especially from the men.

Henry Fairs is an imaginative organist and contributes two fine solos to break up the pine forest. Of particular merit are the Alain Janequin Variations that receive a colorfully registered and rhythmically driving performance.

Kenneth Leighton’s music can be rather stark at times, and the harmonic darkness of Solus ad victimam is brought forth beautifully in this rendition. It is a motet that leaves the listener feeling like he’s just been struck with a hammer and the choir brings out the anguish and pain in the text to a remarkable degree. S. S. Wesley’s Brahms influenced motet Blessed be the God and Father has some touchingly tender moments, but it does tend to run on a bit. In this work I found the choir’s singing to be a bit over bright and too far forward in the mouth. A little more depth and richness, particularly from the men would have been welcome.

The tenderest performance of the whole recital comes in the beautiful hymn setting Long since in Egypt’s plenteous land. The trebles capture a lovely innocence that is touching indeed. The program is rounded out with a successful performance of John Rutter’s well crafted Te Deum.

To sum it up, this is a mixed bag of hits and misses that seems more suited to the souvenir market than international release. Given that there are literally hundreds of superb professional recordings of these standards, I often wonder why university choirs, who have the luxury of vast amounts of regular rehearsal time, do not record more challenging and obscure works. Face it, a disc like this cannot stand against ones by the Cambridge Singers or the Sixteen Choir. Wouldn’t the listeners be better served by an exciting first recording of some fantastic work that might rarely be performed outside of academia? I at least think so.

Some Interesting Swedish Songs

Wilhelm Peterson-Berger (1867-1942)

Time of Waiting a selection of songs to texts by Erik Axel Karfeldt. Helge Brilioth, tenor; Erland Hagegård, baritone; Sven Alin and Jan Eyron, pianists. Sterling CDA 1661-2. 77:27

Wilhelm Peterson-Berger and Erik Axel Karfeldt were acquainted for a number of years and from time to time were Stockholm neighbors. But it was during the first decade of the twentieth century, when both composers were bachelors and had the luxury of time to meet in the cafes and restaurants that their friendship and collaboration was the most intense. In all Peterson-Berger set thirty five of Karfeldt’s poems, most for solo voice and piano, and others male chorus. This disc presents all twenty-five of the settings for solo voice, splendidly performed here by tenor Helge Brilioth and baritone Erland Hagegård, and quite ably accompanied by pianists Sven Alin and Eyron.

The texts are sweeping and romantic and the music is made to order, at times stormy, at others lush and somewhat melancholy, and again at others dancing and almost frivolous. Karfeldt’s poetry ranges in topic from hymns to the moon, to death, to love won and lost, and Peterson-Berger finds the seemingly perfect musical mood and nuance to express the somewhat flowery language of the poet.

Both Brilioth and Hagegård sing with a refined warmth and subtlety. I never once noticed any over-singing or excessive vibrato. Both singers have a fine even timber and a great palette of vocal color in all parts of their ranges and at all dynamic levels. They are accompanied to perfection by Mssrs. Alin and Eyron.

These are songs that are worthy of any recital program, and it seems to me that the only reason that we hear them so seldom outside of Scandinavia is that many American and western European singers might have difficulty with the Swedish language, beautiful and mellifluous as it is.

Sterling have given us a very present and warm recording, never overwrought and in very clear focus and detail. Program notes are abundant and informative and texts in both Swedish and English are provided. For any lover of song this is a highly recommendable recital. You’ll want to follow the texts for the first couple of listening though in order to get a handle on the poetry and its meaning.

Kevin Sutton

Two Fine Symphonies Worth Your Exploration

Karol SZYMANOWSKI (1882-1937)

Symphony No. 2 in B flat major, Op. 19 (1911) [34:38]

Symphony No. 3, Op. 27 (Song of the Night) (1916) [26:10]

Ryszard Minkiewicz, (tenor)

Ewa Marczyk (solo violin)

Warsaw Philharmonic Choir and Orchestra

Antoni Wit

Recorded at the Philharmonic Hall, Warsaw, Poland, 16-19 April 2007

NAXOS 8.570721 [60:48]

Karol Szymanowsky was born in modern day Ukraine. A childhood leg injury prevented him from attending school as a child and he received his education, both musical and otherwise, at home. He and his four siblings would go on to be prominent musicians, poets and artists. As a young man he studied in Warsaw and in Berlin. It was in Warsaw that his Polish identity (his father was Polish and his mother was of Swedish extraction) would come to the fore. He would go on to become a prominent member of Young Poland in Music, a group dedicated to the creation and promotion of modern Polish music.

The Second Symphony is cast in three sections. The first movement is lengthy and rhapsodic. Opening with a yearning violin solo ably played by Ewa Marczyk, this is music that is packed with contrasts; at times lush and romantic, at others packed with stinging dissonance. Harmonically it is reminiscent of Mahler, but with a more compact and to the point formal structure. The second movement is a clever theme and variations and the final movement is a complex fugue. The Warsaw Philharmonic acquits itself well in this music with some outstanding playing from the horn section. Antoni Wit leads a well paced performance, coaxing a warm and rich tone from his string section.

The Third Symphony again relies on a sophisticated violin solo, but Szymanowski also adds a full chorus and a tenor soloist to set a thirteenth century song in praise of the night. The large orchestral forces and the wall of sound coming from the chorus remind us a bit of Schoenberg’s Gurre Lieder. Szymanowski ventures further afield harmonically in this work than in the earlier symphony, with more reliance on biting dissonances. The weak link here is tenor Ryszard Minkiewicz, whose voice possesses all the necessary heft in the loud passages, but lacks in subtlety when he is required to sing softly. There are moments when we are left wondering if he will be able to sustain the high soft notes without cracking. The Warsaw Philharmonic Chorus is a fine ensemble, with a warm blended tone that does not short out in the loudest passages.

Of the two symphonies, I found the earlier work to be the most satisfying. As often seems to happen when voices are added to compositions called “symphonies,” the structural integrity of the music tends to weaken and we are left with a somewhat rambling soundscape. This seems to happen in the latter work. Nonetheless, this is a recommendable recording, especially for the virtuosity of the Warsaw Philharmonic as displayed in the Symphony No. 2.

A Nice Find for Piano Lovers

Joseph MARX (1882-1964)

Six Pieces for Piano (1916) [50:05]
Herbst-Legende (undated) [5:05]
Carneval (undated) [2:46}
Canzone (undated) [2:54]
Die Flur der Engel [3:43]

Tonya Lemoh (piano)

Recorded July 2006 in the concert hall of the Royal Academy of Music, Aarhus, Denmark.

CHANDOS 10479 [54:38]

Tonya Lemoh has brought some intricate and fascinating music back to life in this recording of Joseph Marx’ Six Pieces for Piano from 1916. A staunch conservative, Marx became one of Vienna’s most respected theory and composition professors after the Second World War, but his music, except for several collections of songs, would take some years to come to light. His monumental Eine Herbstsymphonie was premiered by no less a master conductor than Felix Weingartner in 1922, and would lay inexplicably silent until 2005.

An unashamed romantic, Marx was completely convinced, contrary to his contemporary Arnold Schoenberg, that traditional western tonality still held the key to artistic expression through music. With the explosion of the twelve-tone system of composition between the world wars, Marx found himself on the receiving end of frequent criticism for his conservatism. Only in the years since his death has he come to be appreciated for his original and highly polished compositional style.

The Six Pieces open with a Rhapsodie, cast in three sections. Structurally, we are reminded of Brahms, and harmonically one can hear Reger and even Mahler, except in the case of Marx, the ideas are kept in tighter control and the listener has a definite feeling of actually going somewhere. The Prelude and Fugue are remarkable for their contrapuntal intricacies. The Arabeske was undoubtedly influenced by Ravel and Debussy with its dreamy arpeggios and its somewhat elusive and jazzy harmony. The closing Ballade is a serious and somewhat melancholy work very Lisztian in its virtuosity.

The recital is rounded out with five unpublished and undated works: a quirky Humoreske rife with odd ball twists of harmony and rhythmic jauntiness; a solemn and surprisingly dramatic Herbst-Legende; a delightfully dreamy little night piece deceptively named Carneval; a beautifully lyrical Canzone that is reminiscent of Chopin and Die Flur der Engel, a quiet and beautiful miniature tone poem for piano.

Australian born Tonya Lemoh has thought this music through thoroughly and as has arrived at interpretations that are the perfect complement to the works. She delivers deft and fleet finger work where necessary, is very conscious of balance and voicing in the contrapuntal works, and for the sheer romantic pieces, she provides a rich, sonorous tone. This music is a real find, and Ms. Lemoh is an outstanding ambassador for it.

Some Superb Cello Playing!

Sergei RACHMANIOV (1873-1943)

Cello Sonata in g minor, Op. 19(1901) [38:31]
Vocalise Op. 34. No. 14 (1912) [6:07]
Variation 18 (Rhapsody on a Theme of Paganini) Op. 43 (1934) [3:36]
Transcriptions by Gautier Capuçon and Gabriela Montero
Sergei PROKOFIEV (1891-1953)
Cello Sonata in C, Op. 119 (1948) [26:30]

Gautier Capuçon, (cello)
Gabriela Montero (piano)

Recorded 21-23 November 2006 at Auditoria Stelio Molo, Lugano, Svizzera.

VIRGIN CLASSICS 00946 385786 2 [75:09]

Virgin Classics are pairing up two of their hottest young guns in the persons of Gautier Capuçon and Gabriela Montero for this sweeping collection of late romantic and early modern works for cello and piano.

Rachmaninov had just begun to recover from a bout of depression brought on by the failure of his first symphony when he composed both his second piano concerto and this sonata for cello. Eschewing traditional sonata structure, he created a bold work for the piano with a cello part that seldom could be called virtuosic and would more appropriately be deemed orchestral. And yet, the two parts come together to make an impressive whole; a tone poem for solo instruments of sorts.

Mr. Capuçon is one of the finer young artists to come along in recent years, and I have spoken favorably of his work both as a soloist and in chamber music performances in the past. Ms. Montero, who has made a name for herself not only as a virtuoso, but also as a fine improviser, is well paired here providing some fiery playing where called for and fully in command of the work’s demanding requirements. This is a performance of many shades and nuances, bold when needed and subtle at other times with careful attention to balance and to the rise and fall of tension within the music.

The two transcriptions that round out the first half of the recital are pleasant enough additions, but do we really need another snippet from the Paganini variations? Not really in my opinion. Its inclusion seemed more like a tacked on selling point than a real artistic expression.

On to the Prokofiev. This, strangely enough is perhaps a more melodic work than the Rachmaninov. I have always found Prokofiev to be a master of a good tune, even if that tune is a bit disjunctive at times. Written for Rostropovich, it is work full of ideas, overflowing with ear catching and beautifully constructed counterpoint. Our artists give us a fine performance here, again, exquisitely balanced and cleanly and articulately delivered.

These young artists appear fully equipped to become the legends of their generation, and it is most encouraging to see EMI putting forth an ambitious amount of new releases with these rising stars. Kudos to all concerned and a here’s a strong recommendation for some very fine performances indeed.

Kevin Sutton

Some Interesting New Stravinsky Recordings

Igor STRAVINSKY (1882-1971)

Symphony in Three Movements (1942) [22:05]
Symphony of Psalms (1930-31) [22:33]
Symphony in C (ca. 1940) [30:29]

The Berlin Philharmonic Orchestra
Rundfunkchor Berlin, Simon Halsey, chorus master
Sir Simon Rattle

Recorded in Concert at the Berlin Philharmonie, 20-22 November, 2007

EMI 50999 2 07630 0 8 [75:39]

Stravinsky composed five works that used the word symphony in their titles, but it is the three presented here that come the closest to the classical symphony as we know it, and even these have some substantial alterations. Sir Simon Rattle and the Berliners present taut and energetic performances in this latest installment of a series of live concert recordings by these forces to be released on EMI.

The Symphony in Three movements had its origins as a concerto for orchestra, and was begun in 1942. It was not completed nor was it even intended to be a symphony until Stravinsky was commissioned by the New York Philharmonic to write a sort of ‘victory’ work at the end of the Second World War. It received its first performance in 1946 at Carnegie Hall. Thicker and with more resonant sonorities than the other two works in this program, the music takes a bit more ear space to absorb. Rattle takes advantage of the Berlin orchestra’s brilliance by letting loose with a generous amount of sound. Yet he never sacrifices clarity. To these ears the live recording is a bit dry, but there is enough boom to ensure a thrill or two.

The Symphony of Psalms was commissioned by Serge Koussevitsky and the Boston Symphony to celebrate the Orchestra’s fiftieth anniversary. That the composer delivered a choral work was a bit of a surprise to all, but the choice of texts, and the work’s dedication first to the glory of God, and then to the orchestra was a clear indication that Stravinsky had not only rediscovered his Russian Orthodox roots, but had begun to delve into the thick of Roman Catholic theology. The result is an austere but rather poignant work, curiously orchestrated and full of rhythmic contrast. Rattle captures the devotional spirit of the work, but it seemed to these ears that the chorus phoned it in. The tone is professional enough, but there is little true commitment to the texts. The choir lacks warmth for the most part, and this is particularly evident in the gorgeous moments of repose at the beginning and end of the final Psalm.

The Symphony in C was also American inspired, and was given its first performance in Chicago, the orchestra to whom it is dedicated, in 1940. Stravinsky clearly had the classical symphony mind as he cast the work in the über conservative key of C major, and laid it out in the traditional four movements; vigorous and fast on the outer edges with a slow movement and scherzo for the inner workings. Of the three performances, this one is the most convincing, with Rattle drawing clear and even sparse sounds from the orchestra and paying careful attention to Stravinsky’s very well constructed counterpoint. The first movement gives us ample joie de vivre as well.

It seems logical in these days of monumental recording costs for small returns that even an orchestra as well funded as Berlin would lean toward live recordings instead of meticulously edited studio projects. It is rather refreshing to hear an orchestra play through whole works on the fly as it were. Berlin’s audiences are most kind as there is no hint of noise whatever. EMI’s entertaining “Opendisc” format, by which you can access a plethora of multi-media material via the internet and rack up points toward free downloads is an added bonus.

BPI Journal - Second Friday

This is the time in the cycle of all things BPI when things get a little confusing. In some ways, I am hanging on to the remaining hours for dear life, dreading to let go of those people, whether they are old friends or new that have become such a part of my life here. Yet, there is a bright future and as the march of time moves forward there is much to anticipate.

There can't help, however, but be a sense of melancholy mingled with all the joy. Once again, I've added another branch to my ever growing tree of stimulating, fascinating, and engaging friends.

To the new members of the family: Benji, Adam, Mikel and Niccolo, welcome aboard and thanks for becoming a part of the collective.

What's better still is the joy I feel in the renewed strength of ties that were bound in the past. James and Mark, Brent and Trevor, Bob and Patsy, Reynaldo, Katrina, Derrick and David, Ari and Cordelia, Max, Nancy and Penny, I thank you from my heart.

What awaits is the eternal. The making of music together over the next two days. May it be infused with all of the spirit of so great an art as ours~!

The BPI Journal - Week One

It's really unbelievable that week one is over already. The marathon concert was a great experience and the musical growth was quite noticeable in most of the groups. This has been quite a week of adventure.

My new nickname is Mama. Don't ask. It's time to start thinking about the end of festival letter. Gotta come up with that last line!

The BPI Journal - Friday.

It's Friday already, and it's amazing how quickly the time flies. We perform tomorrow, and of course, the newbies are a little nervous. It's going to be great. Sadly we lose some very special people after the first week. Cordy, Jamie and Niccolo will be missed in a big way.

We do look forward to seeing some old buddies that will be here for the second week tho. The power of the human spirit never ceases to amaze me. I have seen so much growth among the people that I have met, both musically and otherwise. What's even more beautiful is that in five short days, this merry band of strangers has become a family; cheering each other on, lifting each other up, helping, holding, healing.

It's beautiful. It really is.

News from BPI

Well here we are again for another total immersion in baroque music at Oberlin. I must confess that I went into this year with a bit of trepidation given that last year's festival was a real mountain top experience for me. There is always the desire to recreate something that we considered to be more or less perfect. And yet, each new year is a unique experience with a wonderful combination of the familiar and the new.

As always, 116 East Lorraine Unit C has become the social hub for everyone who's anyone! It is particularly gratifying to me that we have a splendidly talented group of youngsters here this year, and it has been a pleasure for me and some of the more experienced amongst us to be able to encourage and be mentor to such a fine pool of talent.

Before you ask: No, I haven't slept much, and yes there's been a party every night.

The week thus far has been wonderfully rewarding both musically and socially. Very little drama and much merry making. There will be many new friends to treasure for years to come, and this is cause for rejoicing.

Without being too specific, I would like to say that I have been able to see in bold relief that all that the men and women of my generation struggled to achieve in the past decades is coming to fruition in the beautiful freedom of expression of our younger friends. It's about time! And were three decades of stuggle worth the pain and the setbacks? You bet your ass they were.

Carry on my friends and make beautiful music!

Words from a Teacher

The school year is over now for just about everyone, and since I spend a lot of time teaching high school kids, I thought I would write a bit about what I have observed over the past nine months, and offer a little unsolicited advice to parents.

These thoughts all started when a friend of mine, who is a youth minister in a large church, asked me what I thought about the state of kids and their education. He had noticed some disturbing tendencies in his youth group, and wanted the input of a teacher to either confirm his thoughts or prove him wrong.

Here is what I observed:

1. Kids are ridiculously over scheduled, micro-managed and over parented. They are involved in too many extra curricular activities. They are bustled around to the point that they fall asleep in the back seat on the way to soccer practice, having just left ballet. Parents throw money at every conceivable group activity, driving kids to the brink of exhaustion and feeding a multi-billion dollar industry of uniform, equipment and league fees that is making adults rich, and causing children to be burned out before they hit puberty.

2. It's ok not to get an A. So often I see students who are driven to excel to the point that they lose their own identity. It's not the end of the world if Junior doesn't get into Hahvahd, Stanford, Princeton AND Yale. I went to a state school in Indiana and will put my career and life up against any Ivy Leaguer. I didn't turn out so bad, and neither will Junior.

3. Let the kid's interests be the kid's. Just because Junior shows an interest in rockets, doesn't mean that parents need to throw tons of money at sending him to NASA camp. Maybe the kid just wants to watch birds! You don't need to buy him an aviary. I heard one poignant quote from a ten year old just yesterday: "Why do grown ups have to mess up everything!?" 'Nuff said.

4. It's summer. Give the kids a break. They busted their little butts for nine months making Mama proud. Let 'em be kids. No enforced bedtimes for a few weeks. No prescribed reading lists. No league sports. How about an old fashioned pickup baseball game in the back yard, with Dad as pitcher?

5. Here's one for Dads. Your son's sports career is his, not yours. If you want to be a star athlete, join a bowling league or the company softball team, but for God's sake, let your kid play his own game. This means keeping your hole shut at the game when you're pissed at the referee or umpire. It also means that you cheer when the kid does well, and you act SUPPORTIVE not CRITICAL when he doesn't. You help him with his golf swing or his curve ball, you don't bitch at him from the bleachers. Get it?

I hope everyone has a great, relaxing, safe and happy summer.

Two Magnificent Violin Concertos

Ernö von DOHNÁNYI (1877-1960)

Violin Concerto No. 1 in d minor, Op. 27 (1915) [40:41]

Violin Concerto No. 2 in c minor, Op. 43 (1949) [30:43]

Michael Ludwig, (violin)

Royal Scottish National Orchestra

JoAnn Falletta

Recorded 20-21 August, 2007 in Henry Wood Hall, Glasgow.

NAXOS 8.570833 [71:24]

Ernö von Dohnányi, unlike his contemporaneous countrymen Kodaly and Bartok, held firmly to the romantic lyricism that pervaded German music in the nineteenth century, and although he lived well into the twentieth, he never forsook his penchant for the lush orchestrations and sweeping melodies that he learned while studying in Germany. A bit of a wandering minstrel, Dohnányi lived all over the place, finally settling in the United States where his reputation was seeing a bit of a cleansing at the time of his death. Admired by Brahms as a young man, he never really gave up the nineteenth century, in spite of his being surrounded by the tumultuous upheaval in music that came after the Second World War.

These two splendid violin concertos are undeservedly neglected on contemporary concert programs, and the saints are to be praised that Michael Ludwig has stepped up to give us such fine and compelling performances. The first concerto, dating from 1915 opens with a lengthy first movement, cast in three sections, first breathlessly dramatic, then calmly lyrical and ending with a large flourish. The achingly beautiful second movement is worth the ticket price with its serene pace and its gorgeous melodies. One is reminded a bit here of the music of Korngold. A flashy vivace folds into a finale that is similar in style to the opening movement.

Mr. Ludwig has a rich yet very clear tone. He is quite facile in the virtuosic demands of the Vivace, and is able to produce a warm and tender cantabile in the stunning second movement. The Royal Scottish National Orchestra is ably and nobly led by JoAnn Falletta who coaxes a vibrant and sonorous tone from the strings, and who keeps the winds and brass in fine balance. The result is a thrilling wall of sound where called for with no expense spared for the careful nuance of detail.

The second concerto begins a bit more aggressively than the first, but it is not long before its opening stridency melts into a film-score lushness that would have made Jack Warner proud. Although similar in structure to the first concerto, Dohnányi shuffles the cards a bit, moving the poignant slow movement to third position and tossing off the flashy fast movement in less than four minutes. It all ends with a triumphant finale.

Again, Ludwig and Falletta are in their elements, and it is very clear that all concerned are reveling in this stirring music. One can hope that more soloists will add either of these pieces to their touring repertoire. It would be fun to hear what James Ehnes or Gil Shaham might have to say about such music. Michael Ludwig is indeed a force to be reckoned with however, and we can hope to hear more from him, especially if he continues to plumb such fine and underrepresented music as this in the future.

A lovely little discovery!

Edouard LALO (1823-1892)

Symphonie Espagnole, Op. 21 (1874) [34:07]
Fantasie Norvégienne, (1878) [14:26]

Arranged for violin and guitar by Lars Hannibal

Kim Sjogren, (violin)
Lars Hannibal, (guitar)

Recorded May 1992 in the monastery La Cartuja de la Sierra de Cazalla, Spain (Symphonie) and in August 1992 in the chapel of HM Queen Margrethe II’s summer residence, Fredensborg Castle.

OUR RECORDINGS 8.226903 [48:33]

These two well known works composed originally for Pablo de Sarasate are given wonderfully refreshing new clothes in these tasteful and thoroughly idiomatic arrangements by guitarist Lars Hannibal. This is one of the more delightful surprises to cross the desk in some weeks, and it has received the unusual honor of repeated plays in a household that is near capacity with unheard compact discs.

The wonderful delight here is just how well these arrangements work, and how well the orchestral accompaniments suit the guitar. Couple this with the splendidly reverberant acoustics of the recording venues, and the careful balance that is achieved by the recording engineers and you get a completely winsome combination both musically and sonically.

Mr. Sjogren keeps sheer virtuosity at bay with his abundant good taste, never letting us know that this music actually takes some work to pull off. His tone is warm and with the exception of a rare miss in intonation in the very highest registers, this is playing of immaculate accomplishment and panache. Mr. Hannibal’s guitar tone is full and rich and the two work very well together as an ensemble.

The music itself is pure poetry, and I was thrilled to discover the Fantasie Norvégienne, a work heretofore unknown to me. It is full of sweeping melodies and lush harmonies, replete with crystalline beauty and thankfully devoid of romantic gush. This work alone is worth the price of admission.

Packaging and presentation are long on pretty pictures and short on content. One might have wanted a bit more meat in the program notes, but no matter. The music and these fine performances speak well for themselves, and more information about the music is but a few keystrokes away in this day and age. This recital would be a fine addition to any collection, a wonderful sojourn off the beaten path.

New Play List is Coming

Hello Friends,

Thanks to all of you who have been listening to Radio Helios of late! Our listenership is WAY up! You will have all new music to listen to come Friday morning. My new software just arrived and I am now able to update the list from home! Huzzah!

There will be 25 new pieces for you to enjoy. See you tomorrow!

Kevin

In Memory of Jo West

Dear friends,

I would like to say a couple of words in memory of Jo West, our beloved and dear friend, who left this world today to take her place amongst the angels.

Many will remember Jo for the many nights at Club West after the bars closed when we would all gather until the wee hours to keep the party going. We will never forget that J & B stood for Jo and her Boys! We'll never forget the honor that is was to be a regular at her table at Phases or Alexandre's or the Hideaway.

But what most of us don't know is that Jo's anonymous generosity made it possible for many of us in the arts community to shine. I won't be specific here because it would betray her trust. But it's enough to say that many a musician and actor in Dallas got his or her big break because of Jo's persistent and silent dedication to her friends and the artists in whom she believed.

We have lost one of the great spirits of the human race. Whether it was her love of books, her compassion for animals or her tireless crusade to give help to people whose lives were affected by HIV and AIDS, Jo West was a force of nature.

Ms. West.

She was one of the most genuine, selfless, loving and beautiful people I have ever known.

Some months ago when we all found out that she was very ill, I cried for two days straight. I cried for the impending loss of a dear friend. I cried for the loss that our community would suffer. And I cried because a great and important life would soon be over.

Now, that crying time is over. Jo fought valiantly. She faced her fate with bravery, humor and as always, dignity and grace.

She was, and is what we all should strive to be: generous to a fault, loving without condition, and as beautiful as the sunrise over the ocean.

She exemplified what we all should strive to be, and now I rejoice that she is at peace, and free from pain.

I love you Jo. I always have, and I always will. You taught me what it meant to be at one with the world and at peace with my own spirit and soul. You will never be forgotten. You are at rest with the angels, and I know that you will look down on all of us that you have left behind and protect us with the same love that you gave us while you were here.

The good news is that you now have the power of heaven behind you, and for that, we can all feel a good deal safer. Requiescant in pace. I and everyone who knew you loves you with all of our hearts....

An Update

Dear readers,

With apologies for the long delay in posting, I wanted to let those of you who come here regularly that I am alive and well, just really busy at the moment. Here's a quick list of what's been happening.

As of last Friday, I am no longer at the radio. It's been a strange transition, but it has also been wonderful to have my evenings free!

Beginning this evening, The Helios Ensemble will be presenting a three day baroque festival at St. Luke's Episcopal Church on Royal Lane between Preston and the Tollway at 8 pm. Tonight, internationally renowned harpsichordist Ketil Haugsand will be giving a solo harpsichord recital. Than on Saturday evening, there will be a program of vocal and instrumental chamber music. On Sunday, we present Membra Jesu Nostri of Buxtehude, a gorgeous work that you won't want to miss. All programs are at 8 pm. Tickets are $35 for the entire festival and $15 for individual concerts.

I hope you can come, and I will have more reviews and essays for you next week!

Kevin

A Rock Star Composes Some Spectacular Serious Music

Jon LORD (b. 1941)

Boom of the Tingling Strings (Concerto for Piano and Orchestra) (2002) [36:36]
Disguises, for string orchestra (2006) [35:38]

Nelson Goerner (piano)
Odense Symfoniorkester
Paul Mann

Recorded 11-15 December 2006 in the Carl Nielsen Hall, Odense.

EMI 3 90528 2 [72:14]

Once known as a bulwark of the staid and conservative classical music tradition, EMI Classics have moved out of their long-held mold in recent years to not only assemble one of the world’s most impressive stables of young artists, but into some adventuresome and fascinating repertoire choices. This disc of works by Jon Lord, known to many a rock fan as the co-founder of Deep Purple, is cause for rejoicing.

In an era when most composers can only manage to assemble collections of sound effects, it is refreshing indeed to hear music that is in many ways all things to all people. Jon Lord is obviously versed in his native land’s traditions, as there are ample slices of the serenely melodic English Pastoral School in these two works. And yet, he manages to intersperse elements of jazz, a goodly sprinkling of dissonance, and some jarring rhythmic gestures into two works that will hopefully become regular guests on the world’s concert stages. To his eternal credit, he avoids the episodic style of writing that is to these ears, the downfall of many a young composer’s work.

The piano concerto, based on a poem by D. H. Lawrence is highly programmatic. Lord makes every attempt to reflect the words of the 1918 poem Piano in his music. Thus he creates moments of tranquil beauty in which the orchestra is every bit as much the soloist as the pianist. Then there are more sonorous passages that are reminiscent of the busy and thundering textures of Rachmaninov. And, not to let go of his roots as a blues man, there are rollicking displays of technical prowess that make heavy demands on the soloist, and startle the listener out of a reverie or two. All of these devices live under a structural framework that is easy to follow, and belies the composer’s long experience as a popular song writer. There is much in this music to grab and hold onto.

Soloist and orchestra team up nicely here and it is especially gratifying to hear them stay out of each other’s way when the score calls for such behavior. Nelson Goerner knows how to turn an elegant phrase, and the pearly beauty he creates in his softer playing is most becoming. No slouch when it comes to hammering out a tune, he can pour on the sound when he needs to. The most impressive facet of his playing is his ability to keep all things in proportion and pull off a performance that leaves the listener anxious for what he’ll hear next.

Also on the program is the colorful Disguises; portraits in sound of some of the composer’s close friends, the entire work being dedicated to the late lamented Sir Malcolm Arnold. The work is a kaleidoscope of contrasts, each movement reflecting vividly the distinct personality of the person being portrayed. Stylistically the music runs in a steady progression from Vaughan Williams to Britten and even to Shostakovich, but in general tone, it is always lush and romantic. It is obvious that this rock star knows his classical literature, and has managed to assimilate his vast reference pool into a fresh and original voice of his own.

Disguises is given a first rate performance by the Odense orchestra, a band which I had heretofore not heard. They are a welcome addition to any listener’s options! How splendid it is to hear such well crafted music for a change. One can hope that EMI will take it upon themselves to give us more of Mr. Lord’s works in the very near future.