Many thanks for the Bennett upload!

Thanks

No.1261
Modern: Tonal/Neo-Classical

A collection of works for string orchestra by Franz Schreker, Hans Kr�sa,
Pavel Haas (all victims of the Nazi regime) and Bohuslav Martinu.



Music by [see above]
Played by the Westf�lische Kammerphilharmonie
Conducted by Frieder Obstfeld





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Thank you for sharing Schreker!

BIG thanks for the Martinu Sextet, String Orchestra version, never heard before.

No.1262
Modern: Tonal

Trade Mark �Bad Boy� � After all the experimental episodes the audience has faced in the field of New Music
in recent decades, today the oeuvre of George Antheil will be welcomed with a great deal of sympathy and
many a friendly smile. The American knew full well not only how to meet the expectations of an audience
�prepared to protest�, but also how even to challenge them more overtly. An excellent example is the
Jazz Symphony, written in 1925, shortly after George Gershwin�s Rhapsody in Blue (1924), that
bursting the limits of the customary listening experiences of the age in a similar way to e.g. Stravinsky�s
Le sacre du printemps of 1913.



Music Composed by George Antheil
Played by the Deutsche Staatsphilharmonie Rheinland-Pfalz
With Frank Dupree (piano)
Conducted by Karl-Heinz Steffens

"Antheil sometimes plagiarises so unashamedly that listening to his music with real enjoyment demands a
suspension of disbelief. His First Piano Concerto (1922) and A Jazz Symphony (1925), for example, lift ideas
straight from Stravinsky�s Petrushka and The Rite of Spring respectively. What was Antheil thinking? Why did
he feel compelled to insert such jarring appropriations when there�s so much actual invention and vitality in
both these pieces? Or are these borrowings simply a form of homage to one of his musical heroes?

Thanks in large part to Karl-Heinz Steffens�s interpretation, I�d argue that A Jazz Symphony ultimately rewards
that suspension of disbelief; that its references to Rite, while blatant, are woven inextricably into the music�s
narrative structure. Steffens underscores the work�s unifying characteristics rather than emphasising its
incongruities. The jazz elements may sound stiff and hard-edged in comparison with, say, Maurice Peress�s
breezy account (Nimbus or MusicMasters, 4/94), but the overall effect conveys a compelling singularity of
purpose.

The First Piano Concerto is considerably more diffuse. Some may hear Bart�k in the opening minutes (as I do),
though in fact Antheil�s work predates the Hungarian master�s piano concertos by several years. And perhaps
that�s the problem with Antheil�s occasional poaching: one�s always wondering what�s his and what�s not.
Certainly the long lyrical passage beginning at 5'40" is evidence enough of Antheil�s originality and genius.
Frank Dupree�s finely chiselled performance maintains a tighter grip overall than any of his rivals.

Steffens�s tenderly expressive reading of a suite from the Latin-inspired ballet Capital of the World (1953)
lacks the dramatic �lan of Robert Irving�s pioneering 1954 recording for EMI and offers a more severely
truncated version. In the Archipelago �Rhumba� (1935), too, Steffens comes across as relatively straitlaced �
at least when heard alongside Barry Kolman�s unbuttoned performance with the Slovak State Philharmonic
(Centaur). Still, Steffens�s uncompromising view of A Jazz Symphony � like Storg�rds�s of the Fourth
Symphony (Chandos, 6/17) � proves Antheil worthy of reappraisal."
Gramophone





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No.1263
Modern: Tonal

Heitor Villa-Lobos�s first two symphonies take the European tradition head-on, absorbing French models
prevalent in Brazil in the early 20th century. The confident swagger of the First Symphony is characteristic
of Villa-Lobos�s �Brazilianness�, while the cyclical Second Symphony filters myriad influences including
the music of Tchaikovsky, Rimsky-Korsakov, Debussy and Puccini. Its slow movement 7 heralds the affecting melodic
content that would later become the trademark of the Bachianas Brasileiras [Naxos 8.557460-72]. This is
the sixth and final volume of an acclaimed complete edition of Villa-Lobos�s symphonies in which �Karabtchevsky
leads the way� (Gramophone).



Music Composed by Heitor Villa-Lobos
Played by the Sao Paulo Symphony Orchestra
Conducted by Isaac Karabtchevsky

"This is the sixth and final release in an award-winning series of the complete symphonies by Heitor Villa-Lobos
from the S�o Paulo Symphony Orchestra. Today his name usually carries the words �Latin America�s greatest composer�,
a title he was avidly trying to avoid in his early symphonic works, the tag giving him scant recognition on the international
scene. That was particularly important to him in his first two symphonies that came at a time when he wanted to join
the European musical world, particularly that of the French composers who were becoming very popular in Brazil. His
First Symphony, composed in 1916 was daring, to say the least, in creating a sound-picture of �The Unforeseen�. That
he had a firm grasp of instrumental sonorities is quite obvious, though how Wagner arrived in his music is less clear.
In essence the symphony is an extended tone-poem on a given theme of otherworldliness, and as such I have always
found it both fascinating and riveting. Not over-long, its four movements share out its thirty minute duration, the
second shimmering like an Impressionist painting, while the finale has an impact as if we have discovered the �unforeseen�.
Though begun the following year, the fact that the Second was not performed until 1944 probably indicates it had been
the subject of much revision. Its title �Ascension� is difficult to link with the sounds we hear, the score lasting around
fifty minutes. It is punchy in the first movement; the second is joyful with a �pop� classical main melodic theme,
while the finale is rather weak in structure and did require something that was more readily memorable.
Throughout the cycle the playing of the superb S�o Paulo Symphony has been deeply committed for the
conductor, Isaac Karabtchevsky, while the sound quality is among the finest I have heard from any label
in recent times."
David's Review Corner





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No.1264
Modern: Neo-Classical

�neas, Albert Roussel's last major work for the stage as well as for orchestra, was composed in March-April 1935
at the request of conductor Herman Scherchen, for a World Exposition that same year in Belgium. Unlike Roussel's two previous
ballets, The Spider's Banquet (1912) and Bacchus et Ariane (1930), he wrote �neas to a libretto by the Belgian
poet Joseph Weterings that included texts for chorus, and ended with a "Final Hymn: The Roman People." By 1935, however,
Rome was the capital of Mussolini's Fascist dictatorship. Typically of the French (Berlioz and Saint-Sa�ns had suffered a similar
fate), Paris didn't produce �neas until 1938 -- three years after the Brussels premiere, one year after the composer's
death, and one year before the outbreak of World War II.

Despite Roussel's characteristic contrapuntism, chromatic dissonance, and extended passages in minor keys, �neas is
rooted in C major, as Bacchus was in A major. It is the danced and sung story of the trials, travail, and ultimate triumph
of Virgil's hero over vainglory. Structurally, Roussel wrote a reiterative Interlude before each major happening, but always in a
different key and with its own variation, following a spooky opening scene in the Cumaean Sibyl's cave, where �neas' future is
revealed to him. Before tragedy and loss forge a man who finally "casts off his personality, like a worn vestment," the hero
moves from somber solitude in A minor to a section depicting the "Fatal Joys" of life's traditional stages -- youth, love,
springtime. But the sad fate of Dido follows in D minor -- the work's lyrical epicenter -- while the chorus chants "Carthage
must burn! Destroy Carthage!" Next, �neas must reject the pleas of his former comrades-in-arms to join them (a scarifying
dance in rondo-form accompanied by male chorus) to be purged of his former self. Only then can he found Rome and begin
his work there, culminating in the C-major paean to the city's historic achievements.



Music Composed by Albert Roussel
Played by the Orchestre Philharmonique du Luxembourg
With Benjamin Butterfield (tenor)
And the EuropaChorAkademie
Conducted by Bramwell Tovey

"Bramwell Tovey here directs Aeneas with fervour. The only competition is the 1968 Martinon recently reissued by Warners
(ERATO 25654 60576-2). Tovey jollies the ballet forward more than Martinon. He is about two minutes quicker overall. Martinon
has much to commend him in Roussel but Erato did his memory few favours by reissuing the 39 minute ballet in a single track.
Timpani do the right thing and band the ballet into its thirteen component scenes.

The Tovey version is brazen, dark, barbarous, pregnant with tragedy (tr. 12), alive with motoric energy, though sometimes
oddly suave and even jaunty (tr. 16 in the Hymne Final) where the choral writing is concerned. Only in the final Hymn do things
develop a ponderous gait but this rests more at Roussel's door. Pagan exaltation is there but the pesante tread prevents the
music taking wing. The final hymn rather hobbles this substantial piece of Rousseliana.

Psalm 80's weighty choral effects speak of an Old Testament fervour. There is a Dies Irae edge to this writing. There are
resonances with a work of similar dimensions and inclinations: Howard Hanson's Lament for Beowulf. While orchestrally
brighter than Havergal Brian the work also recalls Brian�s Fourth Symphony Das Siegeslied (also on savage Old Testament
texts - and recorded on Marco Polo). At this stage in Roussel's career his music evinces a more emotional yield. It is sung in
Roussel's preferred English version. Canadian tenor Benjamin Butterfield has the sort of plaintive and imploringly needy
voice that some may know from the singer Rogers Covey-Crump. Balance between orchestra and choir is well contrived
when it would have been easy to allow predominance to one or the other.

With this issue Timpani sustain their reputation for fastidious excellence. The choice of works is perceptive with recording
premieres in the shape of the minuscule Fanfare and the short Bardit. The other two have been in want of modern recordings
for years. Here they receive their due and if Aeneas is flawed but fascinating, Psalm 80 works superbly. It can be counted in
the same company as Lili Boulanger�s psalms, Florent Schmitt's even more deliriously abandoned and over the top Psalm 47,
Howard Hanson's emotive Lament for Beowulf and Havergal Brian's stupendous Das Siegeslied."
Musicweb





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Thank you for sharing Villa-Lobos!

Many thanks

Thanks for the new Roussel version!

No.1265
Modern: Neo-Classical

Bohuslav Martinu considered his ambitious 1937 opera, Juliette (The Key to Dreams), his most important work. The composer
discovered the surreal and poetic play by Georges Neveux during an extended stay in Paris and began working on the opera to his own
libretto in French, although he switched to a Czech version for its premiere in Prague. The opera was a success in its initial and subsequent
productions, but has never gained a foothold in the international repertoire. It's a shame, because it's full of rhapsodic, evocative music.
Martinu acknowledged that the opera, an exploration of the hazy world between dreams and consciousness, memory and reality, lacked
a real plot, but the vividness of the characters and their dilemmas give it the coherence it needs to be dramatically compelling. Musically,
its most obvious predecessors are a Debussyian impressionism, Stravinsky, from the period of the Rite of Spring, and the operas of
Martinu's countryman, Jan�cek. The opera's fragrant lyricism, brilliant orchestration that sometimes foreshadows Messiaen, profligate
inventiveness, and harmonic lushness make a strong case for its revival, a work that should grab the attention of fans of post-Romantic
opera. The composer prepared the Three Fragments from the opera soon after its premiere. The scenes are heard here in French.

The CD also includes a Suite of orchestral excerpts from the opera made by Zbynek Vostrak.



Music Composed by Bohuslav Martinu
Played by the Czech Philharmonic Orchestra
With Magdalena Kozen� (soprano( & Steve Davislim (tenor)
Conducted by Sir Charles Mackerras

"Juliette is Martinu’s operatic masterpiece and one of the most distinctive of all 20th-century operatic works. The plot is hallucinatory
and wonderfully weird. Michel, a traveling salesman, arrives in a town where people have no memories. He encounters Juliette,
whom he may have met before, or she may already know him, and in a series of stream-of-consciousness encounters they meet in
a forest, where Michel shoots her, sort of, only she may not be dead, or even shot. In the third act, which takes place in the Bureau
of Dreams, Michel arrives looking for Juliette, and the office clerk tells him that he has been dreaming, and if he does not give up
his search he will never wake up, forever trapped in his dream. He refuses to relinquish Juliette, and the opera returns to the exact
scene with which it opened.

I know it sounds strange, but what makes it work is Martinu’s music, which matches the story moment for hallucinatory moment.
He knew how important the opera was for his artistic development, and he tried desperately to get it performed as often as possible.
The orchestral suite was arranged in 1969, after Martinu’s death, but he assembled three fragments for concert performance that
give an excellent idea of the complete work. These include, crucially, the entire forest scene in Act 2 and the Act 3 finale in the
Bureau of Dreams. There’s an old recording of the complete opera on Supraphon (in Czech), which is splendidly performed but
dimly engineered.

This production more than makes up for that deficit, even though there’s some audible variation between the Three Fragments
(recorded live) and the Suite. Martinu’s scoring is particularly luminous and really needs modern sound to make the necessary
impact. Charles Mackerras delivers his usual outstanding results, the Czech Philharmonic plays amazingly, and the principal
singers, especially Kozen� and Davislim, sing beautifully. We still need a new recording of the complete opera, but until then
this will do nicely. Essential for anyone who cares about 20th-century opera, or Martinu generally."
Classics Today





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No.1266
Modern: Neo-Classical

Eugene Z�dor�s (1894-1977) long and productive career brought him success on both sides of the Atlantic, his
music admired for its assured orchestration, confident mastery of form and unstoppable flow of melodic invention.
The Christmas Overture captures both the festivity and solemnity of the season, while the iconic portraits of the
Biblical Triptych form one of Z�dor�s most ambitious and colourful orchestral works. The Rhapsody is filled
with distinctive Hungarian flavours, and the Fugue Fantasia concludes this programme with majestic triumph.



Music Composed by Eug�ne Z�dor
Played by the Budapest Symphony Orchestra M�V
Conducted by Mariusz Smolij

"The fourth of a series of music by the Hungarian composer, Eugene Z�dor, finds him in the United States where he sought
sanctuary from the 1930�s political events. It brought about a massive change in the basic sound of his music, he soon
realising that film music coming out of Hollywood was the way to achieve financial stability. That becomes evident when
you compare the Rhapsody, composed during its last period in Vienna, with the Biblical Triptych completed in 1943, by
which time he was engaged orchestrating scores for epic films. In the earlier work we hear the influence of Hungarian folk
music, similar to that of Bart�k and Kod�ly but rather more lightweight in character. The Triptych, for all of its sacred
content in the pictures of Joseph, David and Paul, has New York glitz gently sprinkled over it, and a ready audience
appeal is the result. The disc opens within the popular world aimed at the Christmas market, its four tuneful sections
packed into a quite short score. It was completed in 1961 and if that was pure Americana, he had gone back to his
roots three years earlier�his composition teachers having been Heuberger in Vienna and Reger in Leipzig�for the
structurally complex Fugue Fantasia. The Budapest orchestra, under the direction of Mariusz Smolij, have been dedicated
performers throughout the series, though I guess they had never cast eyes on the music before. Here they have
added to the CD catalogue world premiere recordings of the Biblical Triptych and Fugue Fantasia. Studio sound
of a good quality."
David's Review Corner





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No.1267
Modern: Tonal

"In 2009 the Hall� Orchestra of Manchester approached me to write a work for their whiz-bang Children�s Choir.
My answer was an immediate �yes� and an idea followed swiftly. I had in mind the underlying theme of the Kindertransport
Movement of 1938-39 � children abandoned and saved by a quirk of history. The shape of the choir stalls at Manchester�s
Bridgewater Hall seemed to echo the dimensions of a railway carriage. When filled with a hundred or so children it could
recreate the critical scenes from the Kindertransport story � the rescue by train from three key cities, Prague, Vienna and
Berlin, of thousands of Jewish children from inevitable death at the hands of the Nazis, to safety in England.

What evolved was a sequence of songs (we looked carefully at Schubert�s song cycles) each of which moves the story
further along. The events that preceded the train journey from the three cities to London�s Liverpool Street Station are
told in flashback, young actors linking the set pieces with historical context. The work ends with the arrival of the children
at Liverpool Street Station as they face a new life in England.

Now what about the music? First, the sound; I wanted to limit the range of sonorities, a sort of black and white feel, so
no woodwinds or brass. I chose strings, percussion and piano four hands � the stark line-up present in many interwar
concert works. And the style? I thought of what music the children might know from their life before the journey.
Of course they would have heard, and the older children played, the classical masters but also the popular music of
the day, sometimes rather Broadway-ish, as well as Jewish songs, hinting at tragic separation and tempered with humour
and I knew the work had to end optimistically in a major key. After all, thanks to the British, these children were saved
from the camps, a cause for celebration.

In 1994 I was commissioned by the Simon Wiesenthal Foundation in Los Angeles to compose a score for Arnold
Schwartzman�s documentary film �Liberation�, a follow-up to his 1991 film �Echoes That Remain�: there was only
one problem � due to the production schedule the film would not have completed editing before my already booked
recording sessions in Ljubljana. I fell back on one of my favourite devices, that of creating a library, a series of mood
pieces reflecting all aspects of the subject i.e. I was composing for a film yet to be created.

I enjoy working this way in that I have the freedom to interpret the historical themes without being forced into a specific
time frame. It also means that instead of being a series of short cues, explicable only with pictures, I can compose
complete movements. With the exception of combining a few cues I had a ready-made suite to hand over to the
editing team and I could draw inspiration directly from the story: World War II with a particular emphasis on the
Holocaust."
Carl Davis



Music Composed and Conducted by Carl Davis
Played by the Czech National Symphony Orchestra
With the Children's Opera Choir, Prague
And Hiawyn Oram (narrator)

"Last Train to Tomorrow tells the story of the Kindertransport, its sequence of songs with words by children's author Hiawyn
Oram recalling the experiences of Jewish children from Berlin, Vienna and Prague travelling across Europe to Liverpool Street
Station in the late 1930s. It's not an easy subject, but Davis, better known for orchestrated pop songs and soundtracks,
deserves huge credit for tackling it in such a thoughtful, sober way. The unfussy scoring for strings, piano and percussion
reflects the sound of mid-20th century music by the likes of Bart�k and Martin , with salient nods to Mozart, Johann Strauss
and Jewish folk music. The disparate elements mesh together beautifully. Oram's libretto is poetic and lucid. The stretches
of narration tell us just enough, the story mostly told through sung melody. The equivocal, cautiously optimistic closing pages
aren't overblown. This is a powerful, effective and moving work, and one suspects that it would be much better known had
it been composed by a trendier, less self-effacing composer. It was commissioned by the Hall� Orchestra for its Children's
Choir, and the premiere was given in Manchester in 2012. This recording doesn't use the same forces; the cantata's second
performance was given in Prague, translated into Czech which led its composer Carl Davis to ask if the Czech singers could
perform it in English, which, being good Europeans, they were happy to do. Pronunciation and diction here are flawless,
the accents lending the work extra authenticity. Davis also conducts the Czech National Symphony in a suite of film
music composed for Arnold Schwartzman's 1994 documentary Liberation, and arrangements of La Marseillaise, Rule
Brittania and Hatikva."
Arts Desk


Children of the "Kindertransport".



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Much obliged for another great Davis score (you seem to have an inhexaustible supply...)!!

a wonderful surprise, the juliette opera! thank you, wimpel

No.1268
Modern: Americana

The Mormon Trail is the 1,300-mile (2,092 km) route that members of The Church of Jesus Christ of Latter-day Saints traveled
from 1846 to 1868. Today, the Mormon Trail is a part of the United States National Trails System, known as the Mormon Pioneer
National Historic Trail.

The Mormon Trail extends from Nauvoo, Illinois, which was the principal settlement of the Latter Day Saints from 1839 to 1846,
to Salt Lake City, Utah, which was settled by Brigham Young and his followers beginning in 1847. From Council Bluffs, Iowa to
Fort Bridger in Wyoming, the trail follows much the same route as the Oregon Trail and the California Trail; these trails are
collectively known as the Emigrant Trail.

The Mormon pioneer run began in 1846, when Young and his followers were driven from Nauvoo. After leaving, they aimed to
establish a new home for the church in the Great Basin and crossed Iowa. Along their way, some were assigned to establish
settlements and to plant and harvest crops for later emigrants. During the winter of 1846–47, the emigrants wintered in Iowa,
other nearby states, and the unorganized territory that later became Nebraska, with the largest group residing in Winter
Quarters, Nebraska. In the spring of 1847, Young led the vanguard company to the Salt Lake Valley, which was then outside
the boundaries of the United States and later became Utah.

During the first few years, the emigrants were mostly former occupants of Nauvoo who were following Young to Utah. Later,
the emigrants increasingly comprised converts from the British Isles and Europe.

The trail was used for more than 20 years, until the completion of the First Transcontinental Railroad in 1869. Among the
emigrants were the Mormon handcart pioneers of 1856–60. Two of the handcart companies, led by James G. Willie and
Edward Martin, met disaster on the trail when they departed late and were caught by heavy snowstorms in Wyoming.

Utah-based composer Merrill Jenson's (Windwalker) series of orchestral tableaux, Pioneer Portrait,
celebrates the courage of the Mormon settlers and the history of their descendants to the present day.



Music Composed and Conducted by Merrill Jenson
Played by the National Philharmonic Orchestra

"My only previous exposure to Merrill Jenson was his music for an all-but-forgotten independent film called "Windwalker.
The soundtrack album was briefly available on some obscure record label. Having enjoyed his score for that film I conducted
a Google search under his name. I came across the recording of "Pioneer Portrait," the composer's celebration of the trek
of the Mormon pioneers from their first settlement in Nauvoo, Illinois to their final home in Salt Lake, Utah.

I highly recommend this album, which was performed by my colleagues at the National Philharmonic Orchestra [I recorded
2 albums with them, including Max Steiner's "King Kong" and a collection of Americana Film Scores, both of which
were conducted by the late Fred Steiner]. Mike Ross [misspelt in the printed notes as "Rose"], who also worked with
me on another recording, recorded Jenson's music at CBS Studios in London. Excellent sonics.

Lots of Americana here. Jenson eschews the harmonic language of Aaron Copland, staying closer in style to that of
Virgil Thompson, Victor Young and Jerome Moross. Kudos all around."
Amazon Reviewer





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No.1269
Modern: Americana

The exploration by John Wilson of Aaron Copland�s major orchestral output with the BBC Philharmonic has now
reached Volume 3. It opens with An Outdoor Overture, a cheerful and breezy piece which Copland composed in 1938, intending
to spearhead an initiative encouraging �American Music for American Youth�. Originally written for organ and orchestra, the First Symphony
is presented here in its revised version (1926-28) for large orchestra. The six concise movements of Statements (1932-35) introduce
a new style, their gritty soundscapes being stunning examples of what Copland later would refer to as �hard-bitten� pieces. The concluding work
is the expressive, fantastical Dance Symphony (1929) which explores different styles of symphonic movements, its dark aura a
residue of its origin as a ballet on a grotesque vampire theme, composed 1922-25 and named Grohg. The symphony has remained
a highly controversial piece ever since.



Music Composed by Aaron Copland
Played by the BBC Philharmonic Orchestra
Conducted by John Wilson

"What was popular in the 1930s and '40s is finding new audiences in the 21st century under the baton of John Wilson,
but his skills and interests are appreciated by colleagues, as well. Wilson graduated from the Royal College of Music in
London in 1995, having gathered all the school's major conducting prizes along the way, and founding the John Wilson
Orchestra while still a student. His particular interests in film music and English light music are what drives the orchestra's
programs and appeals to its listeners at the BBC Proms. A couple of his early successes were the orchestrations of Richard
Rodney Bennett's music for the mini-series Gormenghast and Howard Goodall's score for The Gathering Storm. His talents
as a scholar and arranger were noted by MGM Studios, which asked him to reconstruct the orchestrations from its major
musicals, such as Singin' in the Rain and An American in Paris. This led to live orchestral accompaniment for screenings of
The Wizard of Oz with the Royal Liverpool Philharmonic and with the RT� Concert Orchestra (with which Wilson is principa
l guest conductor) in 2007, and of Singin' in the Rain with the Philharmonia in 2010. He also arranged the music for the
film Beyond the Sea (2004), which was later nominated for a Grammy.

Wilson's commitment to British music is just as strong, especially the light music of the first half of the 20th century and
orchestral jazz. He's made a number of recordings for Dutton Laboratories featuring concert and film music of Edward
German, Robert Farnon, Eric Coates, Angela Morley, and others. He's also appeared on the Avie label and the Hall�'s label,
and in 2011 signed with EMI. He was named a co-principal conductor of the Northern Sinfonia, and frequently works with
the Royal Liverpool Philharmonic, City of Birmingham Symphony, and Philharmonia orchestras, plus several of the BBC's
ensembles, and groups in Scandinavia and other European countries. Wilson has developed a professional relationship
with Paul McCartney, arranging and conducting McCartney's music for the London Symphony Orchestra, and conducting
the recording of the 2011 ballet Ocean's Kingdom. In 2010, Wilson conducted his first operetta, Gilbert and Sullivan's
Ruddigore, with Opera North."





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Thank you for sharing this!

No.1270
Modern: Tonal/Neo-Classical

The Symphony No.4 is a dramatic, colorful, and passionate symphony, written out of the recent experience of World War I by a
composer in a land distant from it. Although Heitor Villa-Lobos (1887 - 1959) was already becoming recognized as one of Brazil's
first major composers (and would become the most famous of all classical composers from South America), this symphony has been unduly
neglected. But that is the fate of all the composer's 12 symphonies, an output that crosses virtually his entire career across a span of 41 years.
The symphony is in a somewhat more populist style than much of the music Villa-Lobos wrote during the fertile years of his attainment of
artistic maturity (roughly, 1914 to 1922), when he was quite "modernistic" in many works. Villa-Lobos said the symphony was part of a
"symbolic cycle" with scenarios by Doria Escragnole. The symphony is a half hour long, and is scored for an expanded orchestra.
In addition to a large orchestra there is a band of clarinet, saxophones, and percussion, and a fanfare group of extra brass instruments.
None of the movements is in a standard symphonic form.

The ballet Amazonas was written in Rio in 1917, (possibly a re-working of the earlier - now lost - score Myremis) but didn't
receive its premiere until 1929 in Paris. It's a work of real power and focus - one of the young composer's greatest early works.



Music Composed by Heitor Villa-Lobos
Played by the Sim�n Bolivar Symphony Orchestra of Venezuela
With Andr�s D�az (cello)
Conducted by Enrique Arturo Diemecke

"If any single work from Villa-Lobos�s vast output could be said to typify him, that might well be the 1917 symphonic poem
(later ballet) Amazonas: extravagantly scored for an extremely large orchestra, and employing all kinds of special effects (playing
on the wrong side of the bridge, string arpeggios in harmonics, uncouth brass noises, etc.), it creates an exotic image of an
exuberant landscape dear to the composer�s heart. The evocative and intriguing opening, punctuated by violent eruptions and
strange bird-song, broadens out into a dense texture that parallels the tangled luxuriance of the Brazilian rain forest. There is a
story (carefully indexed) of an Indian girl bathing in the river, to punish whose pride the god of the winds sends a monster to
pursue her, but I�m inclined to recommend listening to this simply as an orgy of colourful sound. Absolutely spectacular recording!

An even larger orchestra is needed (including an �internal ensemble� of E flat clarinet, saxophone quartet and percussion, and
a brass fanfare group) for the Fourth Symphony of two years later, depicting varied emotions at victory after the First World War.
Commentators have spoken of French and Stravinskian influences in Amazonas: here a more generalized Russian influence is
unmistakable in the cast of some of the themes, even if the scoring is over the top in a big way (though there is delicacy too in
parts of the scherzo-like second movement, and a beautiful quiet episode in the finale). The finest part of the work, to my mind,
is the elegiac third movement, which shows the composer at his most inspired, concentrated and disciplined. For outstanding
performances of these two works the orchestra merit the highest praise.

The Second Cello Concerto is a very much later and altogether more restrained affair, but still calling for considerable virtuosity,
written in 1953 for Aldo Parisot. The Chilean cellist Andres Diaz responds confidently to all its demands (particularly the long
and brilliant cadenza in the third movement, with its chordal glissandos), and invests the extended cantilena of the Andante
with a gentle, poetic melancholy. In contrast to the original Parisot recording (HMV, 4/64 � nla), which excessively highlighted
the soloist, the balance here is much truer, with orchestral detail better observed (even if Diaz�s tone is not of the largest).
A warm recommendation for the whole disc."
Gramophone





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No.1271
Modern: Tonal

Navona Records is proud to announce the release of Daniel Crozier�s enchanting "East of The Sun and
West of The Moon", orchestral album. Using music, rather than words, to tell his story, Crozier�s music is full of
startling detail and narrative. The two pieces comprising this album serve as windows into Crozier�s theory of
musical story telling. Listeners are challenged to find a better narrative voice than the delicate oboe positioned
against the profound strings.

Specifically, one feels this texture in Ballade: A Tale after the Brothers Grimm, rendered exquisitely by
the Moravian Philharmonic Orchestra conducted by Stanislav Vavr�nek. The piece flows with scenery
and drama experienced through, what Crozier has referred to as, �three ideas� representing characters whose interaction
creates the story of the piece.

His compositions have been praised by both The New York Times and The Wall Street Journal. The Baltimore Sun wrote,
�Composer Crozier has responded � with music of extraordinary depth and power.� Crozier�s movement, �Capriccio�
(performed by the Seattle Symphony Orchestra and conducted by Gerard Schwarz) was awarded first prize in the
Jacksonville Symphony Orchestra�s Fresh Ink competition for Florida composers.

Crozier has been a recipient of grants or awards from organizations including the Florida Department of State,
the Ernst & Elfriede Frank Foundation, ASCAP, and the National Opera Asscociation.



Music Composed by Daniel Crozier
Played by The Seattle Symphony & the Moravian Philharmonic
Conducted by Gerard Schwarz & Stanislav Vavrinek

"Described as �harmonically lush and lyrically soaring� by the New York Times, and as having �abstract elegance,
structural coherence, and tender feeling� by the Wall Street Journal, music by Daniel Crozier has been performed or
recorded by the Fort Worth Opera, the Boston Symphony Chamber Players, the Seattle Symphony Orchestra, the New
York City Opera, the Jacksonville Symphony Orchestra, the Bach Festival Society of Winter Park, Songfest 2004, Winsor
Music, saxophonist Branford Marsalis, oboist Peggy Pearson, and pianists Heidi Louise Williams and Vivian Choi. His operatic,
orchestral, and solo works have been recorded for release on the Albany, ACA Digital, Navona Records, and MARK labels.
His awards include a fellowship from the State of Florida�s Division of Cultural Affairs, an ASCAP Foundation Morton Gould
Young Composers Grant, four nominations for awards from the American Academy of Arts and Letters, first prizes in the
National Opera Association Chamber Opera competition and Fresh Ink, the Jacksonville Symphony Orchestra�s commissioning
competition for Florida Composers, and ASCAP Special Awards annually since 1996. Daniel Crozier holds the Doctor of
Musical Arts degree from the Peabody Conservatory of the Johns Hopkins University. He currently serves as Professor of
Theory and Composition at Rollins College."





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No.1272
Modern: Tonal/Avantgarde

"Composing for voice is my first passion in life, and as a result the largest part of my catalogue is music for
voice: solo voice, small groups of voices, small or large choirs, with and without orchestral or other kinds of
accompaniments. For me, the human voice-possibly the most subtle, complex, and fragile yet forceful, flexible,
seductive, and persuasive carrier of musical ideas and meanings-has always been an inspiration for and influence
upon my entire musical thinking. Emily Dickinson's poems are intensely personal, intellectual, introspective,
and offer a meditation on life, death, and poetic creation; her poems share a close observation of nature as well
as consideration of religious and philosophical issues. The poems used in Gathering Paradise (2004) are
marked by the intimate recollection of inspirational moments which are suggestive of hope and the possibility of
happiness found in art and in the observation of the natural world. (Augusta Read Thomas)

"Summer Lightning (1991) is the latest and perhaps most brazen step my music has taken in recent works
toward simplicity and candor. At times I feel like some fate-driven Istar, shedding veils of complexity and
sophistication, moving inexorably toward a blinding light of simple truth. Perhaps it is, on the other hand,
simply a regression to a child-like state of delight in those simple harmonies and rhythms that made being a
musician the only path my life could take." (Jacob Druckman, on the work's 1991 premiere)

"Maestro Maazel invited me to consider creating a piece which might reflect on the anniversary of the September
11 attack. Shortly thereafter the idea of using this text came to mind because of the beautiful way it affords
a broader historical context within which to view the crises of our own time. The resulting Symphony No.3 (2003)
is something of a sacred work, though from a humanist point of view.

"The text is an Old English elegy, perhaps one of the oldest surviving Old English poems, from the eighth or
ninth century. In it the poet describes the ruins of a Roman city (perhaps Bath), contrasting the decay he sees
with imaginings of the splendor that once was. What is particularly striking is that it does not moralize, as
later memento mori poems do, but rather celebrates the creative spirit of the city's vanished inhabitants.
The text is somewhat fragmentary owing to the age of the volume in which it was found and the damage it had
sustained. Thus the poem fades in and out, and the actual ending is entirely missing (though the final surviving
line, ‘That was spacious,' provides a satisfying close). The piece is cast in a single movement, but is clearly
divided into four main sections: the slower ones (the first and the third) treat the descriptions of the ruined
city, and the faster ones are the evocations of the greatness of the city at its height." (Stephen Hartke)



Music by Augusta Read Thomas, Jacob Druckman & Stephen Hartke
Played by the New York Philharmonic Orchestra
With Heidi Grant Murphy (soprano) & The Hilliard Ensemble
Conducted by Lorin Maazel

"This disc contains two hits and a miss, drawn from excellently recorded live performances with the New York Philharmonic
under Lorin Maazel. The first piece well worth getting to know is Jacob Druckman�s Summer Lightning. A late work (1991)
lasting less than 10 minutes, it has all of the composer�s technical brilliance in its exploitation of the potential of the modern
symphony orchestra, but it also shows an additional degree of harmonic consonance that will appeal to even comparatively
conservative listeners. The title says it all: the music is warm and darkly sonorous, with frequent flashes of brilliant color and
sudden bursts of rhythmic energy. Although placed in the middle of the disc on this program, it would make an excellent
concert opener and calling card for touring orchestras looking for an attractive modern novelty.

The disc closes, though, with Stephen Hartke�s extremely moving Symphony No. 3, for orchestra and male vocal quartet
(in this case the always impressive Hilliard Ensemble). One of a seemingly endless series of tributes to the events of 9/11,
most of which have been opportunistically horrible when not downright offensive, Hartke�s symphony shows exactly how
such a thing ought to be done. He has selected for this single-movement work a lovely and evocative fragmentary (ca. 9th
century) English poem called �The Ruin�. The choice of text, combined with the use of the vocal quartet, gives the music a
sense of distance, of universality that makes the piece far more than a mere occasional work inspired by recent tragedy."
Classics Today https://s18.postimg.org/tc46wcns9/p9r9.gif





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Thanks for Augusta Read Thomas!

No.1273
Modern: Tonal

There may come a day when Arthur Berger (1912-2003), with his twin talents as composer and critic,
will be regarded as his generation's Robert Schumann, who likewise excelled at both. Their impact on the music
and thought of their respective eras is similar. Both composed works of great beauty, while maintaining a
keen ear for the musical achievements of others-Schumann instrumental in Brahms' success, Berger championing
the work of Ives, Copland and many others.

Berger freely acknowledges beginning his mature career as a neo-classicist-taking the lead from Copland
and mid-century Stravinsky-then shifting his methods to twelve-tone processes in the mid-fifties, influenced
by Schoenberg and Webern. But ferreting out supposed mentors proves nothing more than intellectual name-
dropping with a composer like Berger, whose own voice is so distinctive. Berger's synthesis of neo-classical
and dodecaphonic approaches marks him as the foremost arbitrator between the two camps.



Music Composed by Arthur Berger
Played by the Boston Modern Orchestra Project
Conducted by Gil Rose

"While Arthur Berger (b. 1912) is one of the most distinguished voices in American music, both as a writer and
composer, his complete orchestral music consists of these five pieces. Unwilling to put himself forward and compete for
commissions and performances, not to mention the fact of his extremely self-critical disposition, you might compare
his output to that of Carl Ruggles, Manuel de Falla, Paul Dukas, and other such perfectionists whose works, though limited
in number, exhibit a uniformly high degree of craftsmanship. If forced to choose one composer who Berger most resembles,
it would be Falla, not for any stylistic similarity, but because the output of both shows an extremely refined level of surface
polish and an asceticism that never sounds inhibited--quite the opposite in fact. Both composers avail themselves of the full
range of instrumental color, and it's the precision in its application to the orchestral canvas that makes such a striking impression.

The music on this disc ranges from sweetly neo-classical works such as Ideas of Order, Serenade Concertante, and Prelude,
Aria, and Waltz--music rooted in the Stravinsky/Copland school and also having something in common with Berger's Brandeis
colleague Harold Shapiro--to the quasi-12 tone Perspectives II. Polyphony stands somewhere in between, being clearly tonal
in orientation but comparatively acerbic in harmonic cast. Berger's music also has aptly been compared to Webern's, again not
so much in sound as in means: all of these works are short (Polyphony, the longest of them, lasts just 13 minutes) and above
all non-repetitive, which gives them a largeness of incident that belies their small size. There's not a note out of place, and
although the lack of formal recapitulation might prove a barrier to enjoyment for some listeners, the lucidity of the music's
progress from simple melodic cells to larger sentences and paragraphs is never in doubt and rewards repetition.

Indeed, even in the toughest work here, Perspectives II, the tone colors are so ear-catching that the music quite effortlessly
sustains its modest length. Take, for example, the lovely passage for solo strings about seven minutes into the piece, or the
evocative atmosphere supplied by quiet strokes on the tam-tam through the last couple of minutes. In these cases, instrumental
timbre supplies the formal glue, rendering literal repetition unnecessarily redundant--and nothing, but nothing in this music
is redundant!

The performances, beautifully turned out and recorded with amazing consistency given the different venues and the three-year
time span of this project, present each work with the care and attention to detail that they require. Special praise must go to the
wind soloists in the Serenade Concertante, who play with captivating tone and absolutely no annoying breathiness. Berger's
production likely will remain connoisseur's music, the special province of those who admire this type of severely self-disciplined
art, but that doesn't lessen its importance or its perfection. He never descends to mere pedantry or self-denial for its own sake,
and listeners with an ear for something stylistically pure and as satisfyingly colorful and refreshing as, say, a mature painting
by Kandinsky, will find plenty to savor here."
Classics Today https://s9.postimg.org/u4sfokdy7/p10s10.gif





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Just listened to amazon samples and must say this is the most boring music I came across for a long time....lol There is just absolutely nothing interesting to awake any serious interest, so only recommended for hard drive collectors. Luckily your gorgeous Huppertz post asks for repeats and repeats, so there is no time anyway.. ;-) .Thanks again for that posts!!!

No.1274
Modern: Tonal

BMOP performs David Del Tredici�s landmark orchestral work Child Alice in a rare complete
performance of Part I, In Memory of a Summer Day, and Part II, Quaint Evens�Happy Voices�All in a Golden Afternoon.
Del Tredici�s ongoing fascination with both Lewis Carroll�s classic tales and the process behind their creation has
led to an evolving project of song cycles that stand out for their vivid characterizations and complexity of meanings.
Probing the gray areas between innocence and knowledge, imagination and reality, form and chaos, Child Alice sets
texts from the preface poems to Carroll�s Alice�s Adventures in Wonderland and Through the Looking Glass for amplified
soprano, interspersed with orchestral movements that Del Tredici describes as �chapters from Alice's Adventures in
Wonderland that got away.� Part I of Child Alice won the Pulitzer Prize in music in 1980.



Music Composed by David Del Tredici
Played by the Boston Modern Orchestra Project
With Courtenay Budd (soprano)
Conducted by Gil Rose

"If the holidays are a time for fantasy, what better way to celebrate than with the first complete recording of David Del Tredici's (b. 1937)
absolutely fantastic fantasy, Child Alice for soprano and orchestra? Based on the "Alice" adventures of Lewis Carroll�Alice's Adventures in
Wonderland (1865) and the sequel, Through the Looking Glass and What Alice Found (1871)�the first part of Child Alice, entitled In
Memory of a Summer Day, won the 1980 Pulitzer Prize in Music, and helped solidify the then 43 year-old composer's position as the
foremost exponent of the Neo-Romantic movement in music.

As explained in a wonderful essay by my friend, Frank J. Oteri, Del Tredici's obsession with Alice first found its musical voice in
Pop-Pourri (1968). Almost three decades later, Del Tredici brought his Alice adventures to a close with Cabbages and Kings (1996).
Along the way, as Alice piece after Alice piece flowed from his pen, his musical language transformed from 12-tone (atonal) to
unabashedly tonal.

No amount of biographical information, however, can adequately prepare you for Child Alice. Recorded by the Boston Modern
Orchestra Project (BMOP) under Gil Rose, the two-SACD hi-resolution album reveals that Del Tredici's description of the work as
"very extravagant" (in his extensive 13-page contribution to the album's 20-pages of liner notes) is a major understatement.
For an example of what Del Tredici created, take a listen to this YouTube clip of the first section of Part I, "Simple Alice."
Although all the other sections of the work seem to be on YouTube, listening there will only give you a hint of how colorful
and overwhelming this music can sound on a good system.

Looking at the personnel Rose assembled for the project�soprano Courtenay Budd was supported / dueled by six percussionists,
one flautist, two piccolo players, four clarinetists, three bassoonists, four hornists, four trumpeters, three trombonists (including
bass trombone), one tuba player, a pianist and two harpists as well as large string sections, included�gives a sense of the
immensity of Del Tredici's fantasy. In measure after measure, Budd and the orchestra whirl through the stratosphere, down
the metaphoric rabbit hole, and back out again. That they succeed in meeting the music's demands and emerge intact is
awe-inspiring.

Although Budd's aptly little girlish sound is curiously tremulous, she somehow manages to negotiate the music's extremely
high tessitura and continuous assaults on the vocal chords with seeming aplomb. Her control is complete, and her extended
trill and breath control most impressive.

As I listened to the orchestral scherzo in Part I of Child Alice, my thoughts turned to the cacophony of sounds and clash of ideas
created by an earlier pioneering American maverick composer, Charles Ives. Truth be told, some of Del Tredici's orchestral
writing sounds like watching Ives' proverbial Fourth of July parade on acid. (That's LSD for the uninitiated.)

"As a boisterous scherzo is to a courtly minuet, so might my . . . well . . . SuperMarch be to more familiar specimens of the
genre," Del Tredici writes in the notes. "Instead of the usual military associations, the piece suggests to me the brightness of
mid-day�a blazing overhead sun reflecting dazzlingly, blindingly off the water's surface."

That's another way of saying that the musical barrage is relentless. In Part 1, you will hear a succession of climaxes�that's
climax after climax�that at one point includes a wind machine. Just as you think the music can't possibly get any bigger as
the same theme repeats over and over, a siren goes off. To think that, in Del Tredici's mind, the seeds of this huge piece were
visualized as two short lieder (songs) that would have been a perfect fit for any soprano's song recital makes you wonder if
he downed an entire gallon of Miracle Grow before setting to work.

Del Tredici's musical transformations continued after Alice, as he moved on to unabashedly explore gay life in all its facets.
This did the San Francisco Symphony under Michael Tilson Thomas first deliver, in 2000, an astounding performance of two
parts of Del Tredici's Adventures Underground (1971, rev. 1977) that showcased the incomparable soprano Lauren Flanigan
imitating a mouse as she squeaked out 29 high D-flats�I was there, watching huge video screen close-ups of Flanigan going
bananas�and then commission Del Tredici's Gay Life (2001), for amplified solo baritone and orchestra.

Perhaps the fact that Del Tredici's subsequent foray into gay life has included an immersion in S&M leads to my conviction
that Child Alice is a novel exercise in aural bondage. Its Pulitzer Prize-winning Part I does nothing if not capture you and
refuse to turn you loose. Lord almighty, it even includes an extended section for voice and orchestra that comes across as
a late 20th century answer to Richard Wagner's Liebestod.

Excess upon excess, repetition to the point of numbness . . . by the end of Part I, you may feel like a prizefighter needing
to be hosed off before moving on to Part II. What you'll experience there, I'm not even going to begin to describe.

Hear Child Alice you must. If you're not game to enter Del Tredici's amazing sound world and allow him to play with you as
he will, you're certainly not ready for what lies ahead in 2018."
Jason Serinus, Stereophile





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Gorgeous powerful music! THANKS!!

thank myou

just why does the child alice ring a bell but I cannot seem to remember hearing it in the last couple of years? did someone post some parts of it and I did not care. anyway, I will have another listen now.

Thanks for all the BMOP stuff!

Dear Wimpel69, thanks to you, I learned to know music that I did not even remotely suspect, paraphrasing "Schindler's List" if you only raise one from musical ignorance, he saved the whole music.

No.1275
Modern: Tonal

Navona Records is proud to present TOMORROW’S AIR, a collection of contemporary music for large ensemble,
written by composers in a variety of styles and genres. Listeners will recognize several names as PARMA regulars,
including Daniel Perttu, Hans Bakker, and Paul Osterfield.

The album opens with Hilary Tann’s Anecdote for solo cello and orchestra. Inspired by Wallace Stevens’s
nature musings in his poem “Anecdote of the Jar,” the work casts the cello solo as a soliloquy, its message
elaborated and transformed by wilder orchestral textures. Hans Bakker’s Cantus follows, an intriguing and
expressive work for string orchestra. The intimate drama of Cantus is contrasted by mystery and majesty
in Daniel Perttu’s lyrical overture To Spring. Written in honor of his daughters, To Spring was
inspired by William Blake's poetic ode of the same name. In his profoundly emotional string orchestra piece
In Memoriam, Jan J�rvlepp honors the memory of his late brother—conforming to no style or influence
but that of his own intense grief. Following In Memoriam is Pierre Schroeder’s Late Harvest,
a lush, emotional work for strings, clarinet, and piano that forms a part of his eleven-movement magnum opus
Voyage. Closing the album is Paul Osterfield’s concertante wind ensemble piece Silver Fantasy,
a vibrant celebration of the flute and piccolo with lyrical melodies, dynamic rhythmic energy, and Ivesian
pastiche. Together, the works that make up TOMORROW’S AIR encompass a wide spectrum of emotion and drama.



Music by [see above]
Played by the T�rgu Mures State & Moravian Philharmonic Orchestras
With Lindsey Goodman (flute) & Ovidiu Marinescu (cello)
Conducted by Vit Micka & Petr Vronsky





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No.1276
Modern: Neo-Romantic

One of Spain�s most internationally admired living composers, Lorenzo Palomo is the natural successor to
Joaqu�n Turina. His orchestral music shares a sense of rhapsodic freedom with Turina�s, perfectly exemplified
by the Sinfon�a C�rdoba. This rapturous portrait of the city conjures its architecture and spirit with
dance rhythms and vivid, poetic lyricism. Written for the unique combination of guitar, violin and orchestra,
Fulgores skilfully blends these three voices in music that possesses a wealth of tonal colour and
expressive beauty.



Music Composed by Lorenzo Palomo
Playerd by the Orquesta Sinf�nica de Castilla y Le�n
With Pablo Garc�a L�pez (tenor) & Javier Riba (guitar)
And Ana Mar�a Vaderrama (violin) & Rafael Aguirre (guitar)
Conducted by Jes�s L�pez Cobos

"About to enter the list of octogenarian composers, the disc contains two of Lorenzo Palomo�s most recent scores written in
a style where Joaquin Rodrigo had left off. Born in Spain, but having spent much of his mature life living and working in Berlin,
his music and his heart have remained with his origins, his most recent work, Sinfonia Cordoba, taking us on a musical journey
around the ancient city of Cordoba, its opening movement, a Stroll to the mosque-cathedral, has a tenor in the distance as a
street singer serenading his beloved with a love song. The river that flows through the city forms the second movement as a
Nocturne, while the finale, Los patios en el mes de mayo, relates to the May Festival that takes place in Cordoba, the city
bedecked with thousands of flowers. First performed in 2015, it again demonstrates his penchant for creating orchestral
colours, whether in the soft hues of the Nocturne or the blazing colours that end the opening movement. Fulgores came in
response to the conductor, Rafael Frubeck de Burgos, who thought that Palomo should look at the idea of writing a guitar
concerto. That evolved into the otherwise unused combination of violin, guitar and orchestra, the resulting work heard for
the first time in 2011 with Frubeck de Burgos conducting. In one continuous score divided into several sections, it lasts for
twenty-five minutes, much of it cast in soft-grained colours, and at all times in tonality. Both works receive their world
premiere recordings with Spanish artists in the key roles, my particular admiration going to the sensitive violin and guitar
soloists in Fulgores, Ana Mar�a Valderrama and Rafael Aguirre. The engineers have created a nice transparent sound quality."
David's Review Corner





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No.1277
Modern: Impressionism/Neo-Classical

Florent Schmitt (1870-1958) studied composition under Massenet and Faur� at the Paris Conservatoire, where he was awarded
the Prix de Rome. He was also a Wagner enthusiast, with Erik Satie and Maurice Ravel among his close friends. Schmitt�s own style is often
described as �eclectic��blending influences and inspiration from wherever the spirit happened to be. For most of his career he worked
as a music critic with a sharp pen for wit and irony. Occasionally brash but most often with humour, he �praised� mediocrity as a reference
for highlighting masterworks from composers as diverse as Saint-Sa�ns, Rimsky-Korsakov, Stravinsky and Schoenberg. Schmitt also
signed on early to the influence jazz would have on the future of serious music. With such divergent interests, we are not surprised that
Schmitt�s original scores comprise a potpourri of titles, with many salon pieces for piano and voice, a small wealth of chamber music,
orchestral settings and scores for theatre, including ballet and stage plays.

Of the latter, Schmitt�s incidental music for Shakespeare�s Antoine et Cl�op�tre is a standout for its imagery in sound. The music
was initially performed as ballet scenes between the acts of a new production of the play at the Paris Op�ra in 1920. The French poet
Andr� Gide provided an updated translation, and the principal dancer in the r�le of Cleopatra was the inimitable Ida Rubinstein, whose
legendary mystique held the audience in thrall (she later inspired Ravel�s Bol�ro).

Suite No. 1 begins with Antony and Cleopatra in the throes of love, set within an idyllic canvas tone-brushed with the horns over lush
colours in the strings and woodwinds. An Eastern-mode chant in the oboe represents Cleopatra�s allure, which the conflicted Antony
cannot resist. A brass fanfare marks the scene for Le Camp de Pomp�e (At Pompey�s Camp), a descriptive intermezzo prior to imminent
chaos. Bataille d�Actium (Battle of Actium) occurs first on land, then at sea, and ultimately ends with the defeat of Egypt by Rome.
The music opens with nervous, jagged horns, marked by a spate of Stravinsky-like effects. Various fragments offer brief souvenirs
of the lovers, but the scene is soon retaken by brazen accents from the orchestra en masse.

Suite No. 2 opens with Nuit au Palais de la Reine (Night in the Palace of the Queen)�a nocturne intoned by the English horn over
scintillating timbres in the orchestra. Sultry progressions suggest a lovers� tryst at the queen�s Mediterranean domain. In turn follows
Orgie et Danses (Orgy and Dances), a night of sensual revelry. With coy rhythm and harmony on the wing, listeners may note a
stylistic blend of Stravinsky�s Le Sacre (The Rite of Spring) and Ravel�s Daphnis et Chlo�. The frenzy reaches a climax on a massive
chord, which conjures another love scene, with oriental intonations cast for sensuous oboes, doubtless suggesting the antique
Egyptian shawm. With serpentine phrases, Cleopatra�s last moment is at hand at the languorous close.

The last major work completed by Schmitt was his Symphony No.2, Op. 137, which was composed in 1957 and had its
premiere performance at the Strasbourg Festival in June 1958 in a concert conducted by Schmitt�s fellow Alsatian-Lorrainer
musician, Charles Munch. Although it has never achieved widespread fame, the Second Symphony is a highly interesting piece of
music. It is an intriguing synthesis of the various musical styles that marked the composer�s output from his earliest years forward.
The symphony is quite �contemporary� sounding, yet is rooted in tonality. The outer two movements treat us to the colorful,
even luxuriant orchestration for which Schmitt was so well known, along with his jaunty rhythms and the sometimes-acerbic
�pronouncements� from brass and woodwinds. The use of percussion is quite interesting � not merely the usual timps, triangle,
cymbals and bass drum, but also tam-tam, celesta, xylophone and concert bells. There�s a kind of nervous energy to the
composition, and the overall effect in these outer movements is one of �exuberance.�



Music Composed by Florent Schmitt
Played by the BBC Symphony Orchestra
Conducted by Sakari Oramo





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No.1278
Modern: Neo-Classical

Lord Berners (1883-1950, born Gerald Hugh Tyrwhitt-Wilson), educated at Eaton, was an eccentric English gentleman.
He had some musical training in Dresden and in England and also received some advice from Stravinsky and Casella, but he was
essentially a self-taught composer. A dilettante with ample means to pursue his interests, Berners created whimsical works such
as Three Little Funeral Marches (1914), written for a statesman, a canary and a rich aunt. He also wrote works for the stage.
These efforts enabled his feeling for parody and irony to find full expression. The Wedding Bouquet (1936) is a choral ballet
with words by Gertrude Stein and costumes and settings by Berners. He was also a painter and showed his work at the Lefevre
Gallery in London in 1931 and in 1936.



Music Composed by Lord Berners
Played by the Royal Liverpool Philharmonic Orchestra
Conducted by Barry Wordsworth

"This is a most welcome reissue of some of the most attractive British music of the period in fine performances.
It is a reminder of the attention given to Lord Berners in 1983, his centenary year, when every major daily had
a feature about him, the Wigmore Hall concert was sold out and had to be repeated, and he was the subject of an
exhibition at the Royal Festival Hall. Although the Suite from Diaghilev's ballet, The Triumph of Neptune, is far from
neglected�the Beecham recording has usually been available (EMI, 6/92) and the work has often been one of the
best features in the Last Night of the Proms�the other pieces are less familiar, although the Fugue was recorded
on a 78rpm disc.

The original EMI release was a breakthrough since Barry Wordsworth is particularly sympathetic to the dance
influences in Berners, ranging from Tchaikovsky and Delibes to Stravinsky, Ravel and Satie. But Berners is not
overshadowed and was original in the way he operated in his various capacities of composer, writer, painter
and eccentric.

The melodic appeal and attractive textures of this orchestral music are easy to live with. Take the catchy number
called ''Sunday Morning'' (track 5) from The Triumph of Neptune for sheer affability, or the delicately scored
charm of the Prelude (track 16) to the Fantaisie espagnole. The stronger numbers, such as the finales to the two
triptychs (tracks 15 and 18), come off splendidly and the whole release is vividly played and recorded. Above
all Berners enjoyed what he did and that comes through in every bar. What good news that more orchestral works,
as well as the Ashton ballet to a text by Gertrude Stein, A Wedding Bouquet, have recently been recorded by
Marco Polo.'"
Gramophone





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No.1279
Modern: Tonal

Igor Stravinsky completed his Symphony in Three Movements in 1945. The first movement was begun in April 1942, and
the final work was completed a few months after the end of World War II. During this time the composer was engaged in contract
negotiations to write film scores. Among the film moguls interested in commissioning Stravinsky was Louis B. Mayer, then president of
MGM. Stravinsky had already written music before the projects were scrapped, and much of it found its way into Symphony in Three
Movements. The outer movements involved wartime news footage, and the central movement was written for the appearance of
the Virgin Mary in the film "The Song of Bernadette", based on the Franz Werfel novel. To integrate the different groups of material,
Stravinsky chose to feature the piano and harp in separate, concertante roles in the first two movements, and then combined them
in the third movement in an extended fugal arrangement. The symphony is a great balancing act, weaving together disparate musical
ideas. The outer movements are explosive, indicative of the film score style common to American war footage. Ironic artifice, a
signature sound in his music, is particularly understated in this symphony. Likewise, the middle movement, originally intended for
the Virgin apparition, is suitably wrought with veneration, though perhaps not to the extent that would have please the film's producers.

In 1941, Stravinsky composed music for a Hollywood film about the Nazi invasion of Norway, "Commandos Strike at Dawn". Using a
number of Norwegian folk melodies as a point of departure, the fecund Stravinsky produced a score before even seeing the film;
the result, unfortunately, was deemed unacceptable by the movie studio. As the composer notes in his memoirs, he refused to
compromise, and his music was never used in the film - - and the score was ultimately written by Canadian composer
Louis Gruenberg. With typical economy, Stravinsky recycled his lone attempt at film scoring as the basis for a four-movement
concert suite entitled Four Norwegian Moods. The Four Moods--Intrada, Song, Wedding Dance, and Cort�ge--are scored for
full orchestra.

Paul Hindemith wrote his compact, three-movement Concerto for Orchestra for The Louisville Orchestra,
one of many works the orchestra commissioned in the 1950s and 1960s. It is entirely characteristic of the composer's
busy, counterpoint-focused style.



Music by Igor Stravinsky & Paul Hindemith
Played by The Symphony Orchestra of Norrlands Opera
Conducted by Kristjan J�rvi

"There are plenty of recordings of everything here, although Stravinsky's arrangement of Sibelius's Canzonetta is not easy
to find. He'd been given the Wihuri-Sibelius Prize in 1963 and wanted to pay tribute after meeting the composer's widow
and visiting his house. Stravinsky said he liked this kind of �Italian melody gone north� so he fixed up the Canzonetta for
eight instruments, treating Sibelius with considerably more respect than earlier victims such as Pergolesi and Tchaikovsky.

The Norrlands orchestra is not as crisp as some in the Symphony in Three Movements but the acoustic of the Norrlands
Opera Concert Hall is quite resonant. The two Suites are simply arrangements of the sets of pieces for piano duet - great
fun in both versions, here with some nifty trumpet playing in the Galop.

Hindemith's 13-minute Concerto for Orchestra (1925) comes from the period of his sets of Kammermusik and Konzertmusik,
and convincingly embodies the philosophy of what was called The New Objectivity. The sources are the contrapuntal
techniques and regular rhythms of Bach as well as the early neo-classical pieces of Stravinsky. Hindemith brings the
virtuosity of his chamber concertos into all departments of the orchestra in a thoroughly attractive piece, an approach
that affected later composers. Decent performances: unreliable CD booklet."
Gramophone


Scene from "Commandos Strike at Dawn" (1942).



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No.1280
Late Romantic/Modern: Jazz

Richard Strauss once claimed that he could translate anything into musical sounds, that he could take even the events
of something so mundane as the process of eating -- using one utensil and then another, sampling this dish and then that one --
and craft a musical equivalent. He put his own claim to the test when composing the Sinfonia Domestica, Op. 53, of 1902-1903;
here is a tone poem (it is not strictly called such, but it is certainly not a real symphony either) whose subject is not a figure of legend
, as in Don Juan, or the mysteries of Death and Transfiguration, or a portrait of the composer as hero, as in Ein Heldenleben, but
rather a simple day in the life of a family man. The Sinfonia Domestica is a warm, tender, and often lightly humorous work, scored
for a massive orchestra (Strauss even adds four saxophones to his orchestra). It received its world premiere all the way across the
Atlantic Ocean during a 1904 festival of Strauss music in New York City. Strauss originally wrote many programmatic indications in
the score of the Sinfonia Domestica, but he eventually opted to take almost all of them out. Still, even without them, the "action"
is easy enough to follow.

Harlem is a symphonic jazz composition by the American composer Duke Ellington. Originally commissioned by
Arturo Toscanini in 1950 as part of a larger New York City�inspired orchestral suite, Toscanini never conducted it. Ellington himself
first recorded it on 7 December 1951 (as "A Tone Parallel to Harlem (Harlem Suite)" for his Ellington Uptown album), and it
had been given its live premiere on 21 January 1951 in a benefit concert for the NAACP at the Metropolitan Opera House. It was first
performed by symphony orchestra in 1955 at Carnegie Hall by Don Gillis and the Symphony of the Air. The piece lasts for around fourteen
minutes and exists in Ellington's large jazz orchestra version as well as a full symphonic version orchestrated by Luther Henderson.
Both versions begin with a distinctive trumpet solo which intones the word "Harlem."

Igor Stravinsky's forays into the world of jazz (or at least his plundering of jazz idioms and devices) resulted in a handful
of works that, while by no means the equal of such warhorses as The Rite of Spring or the Piano Concerto, nevertheless demand
that we find for them a place in our basic appreciation of the composer's work. The tiny Praeludium of 1936-7 has the distinction
of being the first of them. Praeludium, the original version of which has never actually been published (the 1953 reorchestration
of the piece was published during the 1960s), is a work that takes barely over a minute to perform; it is thus both compact and witty,
and shows how, once again, Stravinsky could absorb musical elements seemingly foreign to his own compositional language to both
good effect and impeccably good taste.



Music by Richard Strauss, Duke Ellington & Igor Stravinsky
Played by the MDR Leipzig Radio Symphony Orchestra
Conducted by Kristjan J�rvi

"Kristjan J�rvi is the youngest member of the talented J�rvi family of musicians, which is headed by world-renowned conductor
Neeme J�rvi, Kristjan's father. Kristjan's siblings are Cincinnati Symphony Orchestra conductor Paavo J�rvi and flutist Maarika
J�rvi. Kristjan has established quite a successful career as a conductor of classical music in his own right, but, with his Absolute
Ensemble, has also delved into other genres of music, including rock.

Kristjan J�rvi was born in Tallinn, Estonia, then a part of the Soviet Union. The J�rvi family immigrated to the United States in
1980, and Kristjan was raised and educated in Manhattan. He studied piano at the Manhattan School of Music, where his teachers
included Nina Svetlanova. Further piano instruction came from master classes he attended at the Salzburg Mozarteum conducted
by Tatiana Nikolayeva, and in Israel by Arie Vardi and Viktor Derevyanko.

Absolute MixJ�rvi's exposure during his youth to various musical styles in New York led to his establishment of the Absolute
Ensemble in 1993, an eclectic group since praised for its performances of both Baroque and rock compositions. Based in New
York, the ensemble has regularly made tours of the United States and Europe, and received a German Record Critics Award
in 2000 for its disc Absolute Mix, issued on the Ccn'c label.

In 1998 J�rvi was appointed assistant conductor of the Los Angeles Philharmonic Orchestra and held the post through 2000.
The year he left Los Angeles he was given a principal conducting post in Sweden, at the Norrlands Opera and Symphony
Orchestra of Ume�. Meanwhile, he continued concertizing and recording with the Absolute Ensemble, and appeared
ubiquitously as guest conductor of numerous orchestras, including those in Gothenburg, Detroit, and Bamberg, the Royal
Stockholm Philharmonic and Russian National orchestras, the Tallinn Chamber Orchestra, and many others. It was with the
Tallinn ensemble that J�rvi made a recording of flute music with his sister Maarika. The 2001 CD, also on the Ccn'c label,
featured works by Peter V�hi and Urmas Sisask.

Ezequiel Vi�ao: Arcanum In 2004 J�rvi left his post at Ume� to accept the appointment of principal conductor of the
Vienna-based Tonk�nstler Orchestra. Absolute Ensemble's 2005 release Arcanum, which contains a selection of chamber
and vocal pieces by Messiaen prot�g�e Ezequiel Vi�ao, has also garnered much praise. In 2010, J�rvi became an exclusive
Sony artist, and his first release for the label, Cantique, included the premiere recording of Arvo P�rt's Stabat Mater."



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No.1281
Modern: Americana

Aurora Orchestra�s ROADTRIP takes listeners on a journey across America with a programme that juxtaposes
core American compositions by John Adams, Charles Ives and Aaron Copland with specially commissioned folk/pop-song
arrangements by young American composer Nico Muhly, including Paul Simon�s hit 'Hearts and Bones'. The collaborations -
with Muhly and American singer-songwriter guest soloists Sam Amidon and Dawn Landes - are inspired and refreshing; words
that have become synonymous with this dynamic British ensemble.



Music by John Adams, Aaron Copland & Charles Ives
Played by the Aurora Orchestra
With Sam Amidon (voice) & Dawn Landes (voice)
Conducted by Nicholas Collon

"Road Trip, the Aurora Orchestra�s first release for Warner Classics, is conceived as a musical journey through the
landscape of a mythical America. Three of the works discovered en route are classics of 20th-century American music,
by Charles Ives, Aaron Copland and John Adams, while the other stopping points are three songs arranged by
Nico Muhly and featuring folk singers Sam Amidon and Dawn Landes.

I�m not sure how convincing the connections between all these elements are, but it is an imaginative and carefully
thought out scheme, and certainly becomes a highly attractive package when it�s performed with the panache that
the Aurora Orchestra and its conductor, Nicholas Collon, bring to everything. Their performance of Adams�s Chamber
Symphony has real rhythmic snap, pungency in the instrumental textures, and just the right edge of aggression; the
last of Ives�s Three Places in New England, The Housatonic at Stockbridge, becomes a wonderfully subtle study in
drifting textures with the ghostly presence of a hymn tune threading through it. Best of all is Copland�s Appalachian
Spring, which the Aurora performs in the original (and to my mind, always the most effective) scoring for 13 instruments,
managing to conjure up its perfect marriage of folksy naivety and art-music sophistication, which can easily get lost
in the versions for full orchestra.

But Muhly�s arrangements are fascinating too, and sometimes recall one of the best of his own works, The Only Tune,
a haunting deconstruction of a folk ballad that also featured Amidon. Here, he adds a typically laconic yet immensely
suggestive and increasingly threatening accompaniment to Amidon�s singing of the broadside ballad Reynardine; and
adds more discreet reinforcement to his performance of Paul Simon�s Hearts and Bones, as well as creating a ticking,
tinkling instrumental web around Landes�s voice in The Brown Girl. All of them work perfectly."
Andrew Clements, The Guardian





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No.1282
Late Romantic

Alexander Glazunov's colorful incidental music for the Lermontov play "Masquerade" exists only in manuscript.
Much of the dance music evokes Tchaikovsky's great ballets, though the orchestration is somewhat more reminiscent
of Rimsky-Korsakov, Glazunov's teacher. The Romantic Intermezzo, is lightweight and colorful and goes well with
the theme of this ballet.

Written at the same time as the extremely accomplished First Symphony, the Overture No.2 on Greek Themes is
big music indeed for a seventeen-year-old composer. Like its predecessor, the Overture No.1 on Greek Themes, it owes its
thematic inspiration to a collection of music made by the French composer Louis Albert Bourgault-Ducoudray, who was instrumental
in arranging the increased performances of Russian music in Paris. Dedicated to Balakirev, who conducted the first performance,
the Overture No.2 shows Glazunov's melodic inspiration and mastery of orchestral textures at its early height.

The decadence and eroticism of Oscar Wilde's French play "Salom�" was both a scandal and a musical inspiration. Within a few
years Florent Schmidt wrote his "The Tragedy of Salom�" and Richard Strauss wrote his opera, "Salome." This opera caused fresh
scandal and outrage, and rekindled interest in the original play. Glazunov agreed to write incidental music, comprising an introduction
and an accompaniment for Salom�'s famous dance, the most famous strip-tease in theatrical history. (All Wilde wrote for the scene
was the stage direction: "Salome performs the Dance of the Seven Veils"). This became one of the freshest and most colorful pieces
Glazunov had written in some years.

In the dramatic overture The Song of Destiny, Glazunov seems to be telling a personal story about his development of as a
composer. The Overture begins with a quotation of the famous motive from Beethoven's Fifth Symphony (which is popularly
supposed to have been meant to represent Fate - or Destiny). Other musical influences are hinted at, including Brahms and
Wagner. It may represent the sudden impact that Wagner's music had on him at an unexpected moment.



Music Composed by Alexander Glazunov
Played by the Hong Kong Philharmonic Orchestra
Conducted by Antonio de Almeida

"Born in Paris to an American mother and a Portuguese aristocrat father, Antonio de Almeida retained French citizenship
throughout his life and identified most closely with French culture. As a musicologist, he was the twentieth century's leading
expert on the music of Jacques Offenbach. As a conductor, he applied himself to a wide range of repertory, notably opera,
but he worked especially hard to gain attention for neglected French music. His final project was to record all the symphonies
of Henri Sauguet and Charles Tournemire; he died of cancer just one disc short of his goal. (The engineer for these last discs,
incidentally, was Almeida's son, Tony Jr.) Almeida's godfather was pianist Artur Rubinstein and it was Rubinstein who persuaded
him to give up a scholarship to study nuclear chemistry at the Massachusetts Institute of Technology and switch to music.
Almeida had already studied musicology in Argentina with Alberto Ginastera, and he quickly took Rubinstein's advice and
transferred to Yale, where he studied music theory with Paul Hindemith and conducting with Serge Koussevitsky and George
Szell. Almeida began conducting on Portuguese radio in 1949, and soon was appointed music director of the Oporto Symphony
Orchestra. There, he met guest conductor Thomas Beecham and within a year, Beecham invited Almeida to London to conduct
his Royal Philharmonic Orchestra. A busy guest-conducting schedule developed, as did a series of appointments as chief
conductor and music director: Portuguese radio from 1957 to 1960, the Stuttgart Philharmonic from 1962 to 1964, the
Op�ra de Paris from 1965 to 1967, and the Moscow Symphony Orchestra from 1993 until his death. For his efforts to
promote French music around the world, Almeida was named a Chevalier of the Legion of Honor in 1976, later rising
within that organization to the rank of commander. He was also elected a Commander of Arts and Letters in France in 1996.
While devoting much time to conducting and recording, Almeida also steadily worked as a musicologist. He became
co-artistic director of the Haydn Foundation with H.C. Robbins Landon in 1968. Almeida prepared performing editions
of all the Boccherini symphonies and compiled a thematic catalog of the works of Offenbach, which was not published
until shortly after his death."





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No.1283
Light Music

The Chinese composer Du Ming-Xin was born in 1928 in the province of Hubei. His early studies were in Chongqing,
but he later moved to Shanghai, a centre of musical influence. In the 1950s Du Ming-xin studied further in Russia, and
became a professor of the Central Conservatory in Beijing. Du Ming-xin�s compositions include a share in the famous ballet
score The Mermaid, written in collaboration with Wu Zu-qiang, and in The Red Detachment of Women . He also composed film sound-tracks, of which "The Savage Land" and "She Died Alone" are
widely known. Several of Du Mingxin�s composition students have already made names for themselves in China, Hong Kong
and the rest of Southeast Asia.

The [B]Ten Xinjiang Dances form a suite for violin and orchestra. The suite takes the folk-songs and instrumental music
widely popular in Xinjiang as its material and, by retaining the regional characteristics of the originals, the suite has
enriched its expressive power by means of variation and development, with the violin finding free scope for displaying
its melodiousness and various techniques.



Music Composed by Du Ming-Xin
Played by the Singapore Symphony Orchestra
With Takako Nishizaki (violin)
Conducted by Choo Hoey

"Located on the northwest border, the Xinjiang Uygur Autonomous Region is the largest provincial administrative area of
China. On a vast stretch of land of 1.6 million square kilometres resides a population of 13 million made up of 14 nationalities,
including the Uygurs, Hans, Kazakhs, Huis, Mongolians, Kirgiz, Sibos, Tajiks, Tartars, Daurs , Manchus, �zbeks, Tibetans and
Russians. In ancient times, Xinjiang was known as Xiyu, the West Regions, and was an important channel for China�s cultural
and economic exchange with West Asia, Europe and Africa. The famous �silk road� cutting through Xiyu appeared about the
fourth century. Based on the inheritance of the ancient Xiyu music and on exchange with the music of Zhongyuan (the central
areas of China), India, Persia and Arab countries through the ages, the music of the various Xinjiang nationalities has gradually
developed into a rich modern form. Historically, the music of Qiuxi, an ancient Xiyu city-state near the present Kuche, once
effected a positive influence on the development of the Zhongyuan music. Today the colourful Xinjiang folk-songs and
instrumental pieces enjoy wide popularity among the people of all the nationalities throughout China."





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No.1284
Light Music

Billy Mayerl was born on May 31, 1902, in London's West End. His talent for the instrument was immediate, and by the age of seven
he was studying at Trinity College of Music. By his late teens he was earning decent money tinkling the ivories at dances and silent movie
cinemas throughout London and its environs. As a natural showman he enjoyed the attention. However, the gigs also afforded Mayerl
plenty of room to improvise, and this would come to influence his own compositional style. In 1922, Mayerl was in residency at a
Southampton hotel when he was discovered by bandleader and saxophonist Bert Ralton, who recruited the pianist for his Havana
Band at London's Savoy Hotel. Mayerl's charismatic style was a hit. Listeners loved his classically inspired yet flashy style, which
incorporated nimble finger runs and fluttery, crowd-pleasing melodies. Between 1923 and 1926, he was a featured soloist for the
band's frequent BBC radio performances. The steady work allowed him to marry his sweetheart, fellow pianist Jill Bernini, and also
afforded him the opportunity to record some of his own compositions. In addition, he gave the first British performance of Gershwin's
"Rhapsody in Blue," on October 28, 1925.

But it was the sunny melody and lighthearted, lightning-fast keyboard work of Marigold that made it his signature tune.
Upon his death from a heart attack in 1959, "Marigold" remained his most memorable composition.



Music Composed by Billy Mayerl
Played by the Slovak Radio Symphony Orchestra
Conducted by Gary Carpenter

"Since we nowadays think of Billy Mayerl almost entirely in terms of his piano output, he was perhaps not the most obvious
candidate for inclusion in Marco Polo's light music series. However, such is the burgeoning interest in the composer, that this
collection will undoubtedly find a particularly warm welcome. Most of the items are in fact orchestrations of novelty pieces
that will already be familiar in piano performances. Eight of the 21 tracks are orchestrated by Mayerl himself, the others
being the work of various orchestrators who themselves include some noteworthy names in British light music Ray Noble
for the Four Aces suite, Hubert Bath for From a Spanish lattice, Herman Finck for Autumn Crocus and Arthur Wood for
Pastoral Sketches.

The version of Marigold, which opens the collection, is not a straight orchestration of the piano piece but Mayerl's own
dance-band arrangement. And what a splendidly evocative period sound it is! Other arrangements of the novelty items are
in similar vein; but there are also pieces specifically intended for orchestra and very different in style�the Pastoral Sketches,
written for the Boosey ''Light Music Catalogue'', and three late compositions orchestrated by Mayerl, namely Minuet by
Candlelight, Waltz for a lonely heart and the rousing Busybody."
Gramophone





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No.1285
Ethnic/Light Music

The Five African Songs, originally arranged for massed choirs by Mzilikazi Khumalo (*1932), are presented here in an
orchestra-alone version arranged by P�ter Louis Van Dijk (*1953) - and they would make splendid film music. Van Dijk
himself composed the two most substantial works on this album: the San Gloria for choir and orchestra, and the related San Chronicle
for small orchestra. San Gloria, inspired by San (or Bushman) themes and rhythms attempts to blend the music of these gentle,
virtually extinct and ancient African people with an abridged version of the ancient (and virtually extinct) Latin poem Gloria in excelsis Deo.
This work seeks to represent two totally unrelated cultures�both ancient, symbolic and relevant in their own right�thereby highlighting
exactly those elements in Southern African society which, at times, excite us and sometimes mutually exasperate. While San Chronicle is
not specifically programmatic, the work does contain many sounds and symbols associated with Bushman life: the wide open spaces of the
Kalahari, the San�s reticent, private nature, his sense of humour, his singing and dancing, the pronking of the Springbok, the celebration of
the hunt, the plaintive and prophetic song of the Mantis and the Moon (English horn solo), but most of all, a sense of foreboding and decay:
a chronicle of the inevitable virtual annihilation of these gentle folk.

Samuel Akpabot was born in the Etinan district of Eastern Nigeria. As a young man, he showed unusual musical talent and studied
Western music with European-trained teachers. Later he was awarded a bursary to study organ, trumpet and composition at the Royal
College of Music in London. Several of Akpabot�s compositions juxtapose African and European instruments, while others, like
Three Nigerian Dances, use Western instruments only (strings and timpani in this case). The Dances do, however, convey a
genuine sense of West African musical characteristics with their use of �call and response� patterns and idiomatic rhythmic motives.



Music by [see above]
Played by the National Symphony Orchestra of the SABC
With the SABC Chamber Choir
Conducted by Richard Cock

"The performances are accomplished and often imbued with a great sense of Commitment...
This is an unusual but interesting recording which will probably win over most listeners
who give it a chance."
Fanfare



Source: Marco Polo CD (My rip)
Formats: mp3(320), DDD Stereo
File Size: 152 MB (incl. covers & booklet)

Download Link (mp3) - https://mega.nz/#!SiIg1LiJ!moRcxe7BHUOs1wRMzypjSybN_L1AAmnF0hGqRNQfLuA

Enjoy! Don't share! Buy the original! Click on "Reputation" button if you downloaded this album! :)

No.1286
Light Music/Romantic

Fini Henriques (1867-1940) was a Danish composer and violinist. He took private lessons with Valdemar Tofte
and Johan Svendsen, and studied additionally in Berlin � Niels W. Gade, head of the Royal Danish Academy of Music
advised him not to apply to the Academy. From 1892-96 he was employed at The Royal Danish Orchestra, but left in
order to focus on playing chamber music.

Due to his energetic and often humorous performances as a violin virtuoso, he was very popular in his time.
His music is also characterized by a profound understanding of methods of expression and a passion for playing.

Henriques� most well-known compositions are the ballet Den Lille Havfrue (�The Little Mermaid�) (1909)
and V�lund Smed (�Wayland the Smith�) (1896). He also wrote chamber music, songs and other small pieces.



Music Composed by Fini Henriques
Played by the Helsingborg Symphony Orchestra
With Christina Astrand (violin) & Max Artved (oboe)
Conducted by Giordano Bellincampi

"Light, charming, unpretentious, and tuneful, Fini Henriques� (1867-1940) music recalls happier times and
a more elegant, civilized era (which never really existed, but never mind). As a composer of �pops� favorites,
he certainly deserves his high standing in Denmark, and this lovely disc should make him many friends elsewhere.
Everything here is simply delightful, from the witty and not terribly demonic Devil�s Dance for violin and
orchestra, to the charming �Gallop� taken from his ballet The Little Mermaid. The Suite in F for oboe and
orchestra ought to enter the repertoire of enterprising oboists everywhere, and the most substantial work
here, the incidental music from Wayland Smith, shows the composer at his colorful and tuneful best.
Giordano Bellincampi leads the Helsingborg Symphony Orchestra and the two fine soloists in enthusiastic,
loving performances and they�re vividly recorded too. There�s really nothing else to say: if you enjoy
exploring the nooks and crannies of high quality �light� music, you�ll find this a disc to treasure."
Classics Today





Source: Dacapo CD (My rip)
Formats: mp3(320), DDD Stereo
File Size: 137 MB (incl. covers & booklet)

Download Link (mp3) - https://mega.nz/#!j3QxESpR!lXhibtJPD5RyeIa0ahyv5mKcmlnInxJa853BIbmZkbg

Enjoy! Don't share! Buy the original! Click on "Reputation" button if you downloaded this album! :)

Mayerl, Henriques, Du - what a feast of delightful music! Thank you wimpel69!

No.1287
Impressionism/Romantic Nationalism

This programme of music by Irish composer Ina Boyle (1889-1967), a one-time student of Vaughan Williams,
collates several of her major orchestral works. The rhapsodic Violin Concerto of 1935 is in three continuous
movements, and both conductor Ronald Corp and soloist Benjamin Baker interpret the music with sympathetic
attention to detail, maintaining its natural ebb and flow. Boyle wrote three symphonies, and this disc presents the
long overdue recording of the First Symphony, subtitled "Glencree" (In the Wicklow Hills), which dates from 1924-27.
The young cellist Nad�ge Rochat gives a powerful reading of the Psalm for cello and orchestra, written in 1927,
while four short but captivating orchestral pieces complete the programme – which reveals Ina Boyle as a composer
of originality and invention.



Music Composed by Ina Boyle
Played by the BBC Concert Orchestra
With Benjamin Baker (violin) & Nad�ge Rochat (cello)
Conducted by Ronald Corp

"Among Northern Ireland's twentieth century composers Harty and Ferguson have been reasonably well served. Both had
reputations as distinguished practical musicians: Ferguson in his self-sacrificing support for Finzi in the songs and elsewhere;
Harty as conductor of the Hall�. Appreciation of their own music followed on the coat-tails of those reputations. What, however,
of two others: Ina Boyle (1889-1967) and Norman Hay (1889-1943)? I certainly hope that Hay will be recorded, not least for
his Tintagel-like tone poem Dunluce and his Yeats sequence for voice and orchestra, The Wind Among the Reeds, both revived
by the BBC and RT� in the last quarter century. There have been stirrings for Boyle, a pupil of Ralph Vaughan Williams and
friend and contemporary of Elizabeth Maconchy, including the Elegy for cello and orchestra and the Carnegie Award-winning
tone poem The Magic Harp, the latter taken up by Dutton. That said this is the first time Boyle's music has been treated to a
single-composer anthology of her orchestral works. It is here performed with sympathetic insight and some rejuvenating zest.

Boyle's Overture was well thought of by Vaughan Williams; no wonder. Lively innocence, occasionally soulful pages, airy
poetically melancholic textures (7:01) and folksy vitality place it midway between Vaughan Williams' Poisoned Kiss overture
and Moeran's Overture to a Masque. The overture ends gently in a poetic breath rather than an outdoorsy whoop. It's not
especially 'Irish' in the sense of Harty's Irish Symphony. It was premiered by Jean Martinon and the Radio �ireann orchestra
in 1948. Sadly, it lacks only a catchy title. The poetic Violin Concerto is all over in three movements and in just short of 17
minutes. Another work of the 1930s, it has more in common with RVW's Lark Ascending than with the big British Isles
statements (Bax, Walton, Dyson� Creith and Moeran) of that decade and is none the worse for that. Its contemplative,
affectionate melancholy is understandable given that it is dedicated to Boyle's mother who had died in 1932. Even the final
Allegro is qualified with a "ma non troppo". It reminded me of another genuine 'unshouty' British concerto - that by John
Jeffreys, recorded on Meridian. The Boyle concerto also ends on a gentle gesture. Benjamin Baker is a faithful and attentive
advocate for this unflashy score. I see that the work was rehearsed with the BBC by Andr� Mangeot, conducted by Aylmer
Buesst but never attained a broadcast at that time.

Symphony No. 1 Glencree has been heard in recent years as part of RT�'s Composing the Island series in 2016 (program
notes). Its three movements are: 1. On Lacken Hill; 2. Nightwinds in the Valley and 3. Above Lough Bray. The soft lyrical
contours of the first sing in a typically open way that brackets RVW's Pastoral and Moeran's First Rhapsody and
In the Mountain Country. There are affecting solos for oboe and trumpet. Breaking the spell, the short middle movement
at first lashes along. Although not as lush and romantically dense, its sturdy storm-clouds are typical of Harty's
With The Wild-Geese. That said, Boyle returns to her true North with pages of Tranquillo. The impressive finale is more
darkly flecked but with strong parallels drawn with Vaughan Williams at his most intense. It too ends thoughtfully
without bravado or heroics.

Wildgeese - the latest work here - is described as a "sketch for small orchestra". Its melancholy, languor and romantic
"Dover Beach" swell recalls Constant Lambert's Aubade H�ro�que. The soloist in Psalm for cello and orchestra has also
recorded Boyle's 1913 Elegy. Nad�ge Rochat is commandingly placed in the audio picture without obscuring the orchestral
detail. The music on occasion touches base with the Copland of Appalachian Spring, a score then lying many years in the
future. A Sea Poem: "Theme, variations and finale" is the earliest work here. There are six variations which, with the
other sections, are helpfully laid out in eight tracks. The writing strides along a pathway marked out on one side by the
lighter Elgar and on the other by Rimsky-Korsakov. On the evidence of the other works here this is Boyle finding her
way towards her own voice rather than being typical of her maturity. That said, the last track (tr.18) (which I initially
and erroneously thought was the Colin Clout "SACD Bonus track") is a sun-warmed pastoral and fits well into the green
lyrical traditions of the British Isles.

As for the Colin Clout track this is said to have found its inspiration in one of Edmund Spenser's eclogues. It's referred
to by Dutton as an "SACD Bonus Track". Judgment on that nine minute piece will have to be deferred until the track is
playable or a revised disc issued or download made available. I am grateful to Colin Mackie for pointing this out and
identifying my error in ascribing the Finale of Sea-Poem to this piece.

It seems that there are many other Boyle works of interest including two other numbered symphonies (1930, 1951).
Glencree has been heard in part before. One movement of it was on RT� Lyric FM CD153.

These premiere recordings, which sound very well indeed, were produced in association with BBC Radio 3. In case
you have any anxiety about the circa 84-minute playing time my experience was that I had no difficulty playing
this disc on a conventional CD player: no blips or stutters. More to the point, the music-making here is personable,
tuneful and completely approachable."
Rob Barnett, Musicweb





Source: Dutton Epoch CD (My rip)*
Formats: mp3(320), DDD Stereo
File Size: 185 MB (incl. covers & booklet)

Download Link (mp3) - https://mega.nz/#!Oi4mkSKR!Lqy3ZsxEnEipmN1w6ZWNMzcqP4TJ2Urx1Mx0WMtOJOM
missing SACD track (Colin Clout) - https://mega.nz/#!7r4DRJBI!uQRweZ6rXjrseT50RYD_SICOO3YiZFdvAdbZujMOjYA

Enjoy! Don't share! Buy the original! Click on "Reputation" button if you downloaded this album! :)

After so many years, you still manage to surprise me with a delight like this.... thanks for all your work!

Thanks for the Ina Boyle!

Thanks for the Mayerl - a nice discovery!

Thank you - esp. for the Ina Boyle!

Many thanks for this great collection!

Paul S.

What a remarkable, outstanding thread! Thank you so very much for all the wonderful, hard work. :D

No.1288
Light Music

Light music�s golden years were during the first half of the twentieth century. Of the countless composers who wrote for the middlebrow
listeners of seaside and festival orchestras, salon groups, caf� orchestras and broadcasting light orchestras, the name Eric Coates stands
out as a master composer of beautiful melodies and wonderful orchestrations enhanced with a refinement, sophistication and truly symphonic
orchestral sense that few light-music composers could match. Born in Nottinghamshire in 1886, Coates had a pedigree classical training at the
Royal Academy of Music, with Frederick Corder for composition and Lionel Tertis for viola. He became a freelance viola player, rising to principal
viola of Henry Wood�s Queen�s Hall Orchestra in 1913, where no doubt he would have played in many first British performances. He left in 1919
to dedicate his lime to composing songs and light music, writing (in all) 160 songs, thirteen suites, four phantasies, one ballet, seventeen
marches and 24 other short orchestral works. His contract with his publisher Chappells called for one major orchestral work a year, that is a
suite or phantasy, and one short orchestral piece, such as a waltz, a march, a serenade or a romance. This CD contains a selection of
these major and shorter orchestral works.



Music Composed by Eric Coates
Played by the Slovak Radio Symphony Orchestra
With Kenneth Edge (saxophone)
Conducted by Andrew Penny

"Andrew Penny was born in Hull and entered the Royal Manchester College of Music in 1971 to study the clarinet
with Sidney Fell. As a postgraduate he was the first holder of the Rothschild Scholarship in Conducting at the Royal
Northern College of Music, studying with Sir Charles Groves and Timothy Reynish, subsequently receiving the Ricordi Prize.
He gained invaluable experience with the Opera Unit during this time and was associated with many of the operas presented
by the college in its early years both in Manchester and at Sadlers Wells Theatre. He also studied with Sir Edward Downes
on courses in Holland and on the BBC Conductors Seminar in 1985. Since 1992 he has made over 35 recordings for the
Naxos and Marco Polo labels. Much of the repertoire is of British Music and includes symphonies by Sir Malcolm Arnold
and Havergal Brian, film music by Vaughan Williams and Walton, theatre music by Sullivan and Holbrooke and light music
by Coates and Arnold. His complete cycle of the nine Symphonies by Arnold was produced in time for the composer�s
eightieth birthday in October 2001 and has subsequently become BBC Music Magazine�s top recommendation. In the
Gramophone Awards of 1999 the Editor�s Choice Award was made to 22 Naxos discs as an outstanding contribution
to 20th-century British Music. Three of those releases were conducted by Andrew Penny; the Arnold Third and
Fourth Symphonies (8.553739) and two discs of Walton�s music for the Olivier films of Shakespeare�s Henry V,
Hamlet and As You Like It. In October 2010 his premi�re recordings of the complete Shakespearean Overtures
by Mario Castelnuovo-Tedesco were released on two Naxos discs (8.572500 & 8.572501). Andrew Penny became
musical director of the Hull Philharmonic Orchestra in 1982."





Source: Marco Polo CD (My rip)
Formats: mp3(320), DDD Stereo
File Size: 146 MB (incl. covers & booklet)

Download Link (mp3) - https://mega.nz/#!e3IlwSgD!vb3ZOC0MC377NKK8_m2dL3uzFK3Om1b4suhTPGHOENo

Enjoy! Don't share! Buy the original! Click on "Reputation" button if you downloaded this album! :)

No.1289
Modern: Tonal

At first glance, Sergei Prokofiev's masterful Cantata for the 20th Anniversary of the October Revolution - based on
texts by Karl Marx and Vladimir Lenin that extol the Bolshevik revolution -- would seem to be a hymn to the Soviet Socialist state.
However, it is in fact quite satirical. This element of satire was overlooked for many years because of the 30-year delay in the work's
premiere (an abridged premiere, at that), by which time the social commentary was no longer current. The huge forces listed in the
headnote (including two full choirs and an enlarged orchestra) do not quite convey the size of the ensemble Prokofiev called for.
He also included a brass band, an orchestra of accordions, and a speaker, bringing the total number of performers to about five
hundred. The work is divided into ten movements, beginning with a dissonant and grim orchestral "Prelude." There follows
"The Philosophers," whose combination of rhythm and lush melody make this one of Prokofiev's most memorable choral creations.
"A Tight Little Band," is framed by two interludes, the last of which is raucous and augurs the coming number, "Revolution."
Once Stalin's reign of terror began in 1937 -- the year this work was completed -- Prokofiev withdrew it and abandoned ideas
of a performance during his lifetime. He certainly feared the dire consequences that befell so many other Soviet artists of the
period, like theater director Vsevolod Meyerhold, arrested in 1939 and executed in 1940.

Eventually, parts of the Cantata became film music when James Horner ripped off "The Philosophers" for his score "Red Heat". ;)

Flourish, Our Mighty Land! (Cantata on the 30th Anniversary of the October Revolution) lasts less than ten minutes in
performance and is a relatively modest work, especially when compared with the previous work. Finished during Stalin's first
reign of terror, Prokofiev wisely withdrew it and the work was never heard in his lifetime. In this Op. 114 choral piece he
deliberately kept the music simple, refusing to give it the grandiosity Soviet arts commissars wanted. Using a text by Evgeni
Dolmatovsky, Prokofiev opens the work with a charming march played on the trumpet. The mixed chorus then enters to introduce
a rather solemn but attractive theme a cappella. For the remainder of the work the chorus dominates the proceedings,
with the orchestra relegated to an accompanimental role and brief musical commentary between choral passages,
although it does reprise the opening march at the close.

Finished during Stalin's first reign of terror, Prokofiev wisely withdrew his A Toast! (Hail to Stalin) and the work was
never heard in his lifetime. In this Op. 114 choral piece he deliberately kept the music simple, refusing to give it the grandiosity
Soviet arts commissars wanted. Using a text by Evgeni Dolmatovsky, Prokofiev opens the work with a charming march played
on the trumpet. The mixed chorus then enters to introduce a rather solemn but attractive theme a cappella. For the remainder
of the work the chorus dominates the proceedings, with the orchestra relegated to an accompanimental role and brief musical
commentary between choral passages, although it does reprise the opening march at the close.



Music Composed by Sergei Prokofiev
Played by the New Philharmonia Orchestra of Russia
With the St. Petersburg Philharmonic Choir
Conducted by Alexander Titov

"You will need to see past the political and historical apparatus to appreciate this. It's worth the effort. After all, Prokofiev
could not help writing out of his untempered imagination regardless of the circumstances that called forth the creative spark.
Still, there are whole paragraphs where it's a blessing to English-speakers that these performances are, quite rightly, sung
in Russian.

The epic 20th Anniversary cantata begins with a prelude that is all brassy growls and snarls. The Philosophers movement
is fiercely aspiring and suggests Prokofiev could not get the Romeo and Juliet ballet out of his head. This aspiring theme
is contrasted with some Orff-like ostinati. The following Interlude is ponderous and sinister. Prokofiev was a brilliant film
music composer and this section sounds like a clay golem coming to horrific life. The savagery of We are marching in close
ranks prepares the way for the savagery of another Interlude and a wall-shaking brass battle. Revolution opens to haunting
effect with high women's voices and the men featuring in a whispered night march. Soon the words are spat out vehemently.
The next pages take us through a massive deafening blast with drum salvos before the men reappear, singing at breathless
speed. Rolling horns can be heard braying en masse. Trumpets shriek and bayans (inevitably queasy-sounding folk accordions)
dance (7:00). The orator shouts loud but his voice is not caught with the clarity to be found in the Chandos/J�rvi version.
On the other hand Titov's air raid sirens (8:30) are more imposing than on Chandos. Victory is celebrated through sweet
singing which rises to a glorious glowing bloom (3:10). At 3.42 the women's voices find the high uplands of hope caught
in descant with the trumpets (4:00). These are evidence that the fruity warble has not yet been expelled from Russian
brass - long may it stay in the cause of individuality. Let's not have them sounding like the Chicago or Berlin benches.
The pledge takes the form of a typically Slav subdued march, gloriously contained, with the poetically understated
bayans putting in a fresh appearance (3.49). Part IX is called Symphony: it includes a helter-skelter rush (Romeo and
Juliet and Kij�), some gawkily progressive pages and a glowing upbeat (Symphony No. 7). The final section is
Constitution. It begins in forbidding mood but the women's voices rise high towards starry skies. The feet of the
People stand firmly planted with a piano providing a grounding ostinato. Things come to a close with an indomitable
march transformed into a rising optimistic up-blast.

The 20th Anniversary cantata was recorded first by Melodiya with Kondrashin conducting in 1965. HDTT resurrected
that experience but the work was savagely cut - shorn down to 31:15, being minus ten-plus minutes of Stalin adulation.
Titov has the unexpurgated work running to 44:13 while Jarvi on Chandos takes 46:32. The recent Praga disc doesn't
really count as it is of extracts only and is not the 'main act'."
Musicweb




Note: The order of the shorter works is wrong. Track 11 has "A Toast!",
while track 12 features the short "30th Anniversary Cantata".

Source: CuGate Classics CD (My rip)
Formats: mp3(320), DDD Stereo
File Size: 165 MB (incl. covers & booklet)

Download Link (mp3) - https://mega.nz/#!nrhTULaQ!q4cgnH5yZ0Su0XL09P12gUiKyBBKRuNtg91Shmaoew8

Enjoy! Don't share! Buy the original! Click on "Reputation" button if you downloaded this album! :)

No.1290
Late Romantic

Prominent Viennese music critic Julius Korngold must have known exactly how Leopold Mozart felt. Just as the elder Mozart had
watched the astonishing development of his son Wolfgang, Julius saw his own son Erich Wolfgang Korngold developing musical
talents so rapidly and spontaneously that the boy fully lived up to his middle name. Erich burst on Vienna as child who stood out
even among the great Wunderkinder of history. When he was 11 he wrote an opera, Der Schneeman (The Snowman), that was
performed at the Vienna Opera House in 1910. Although the eminent composer Alexander von Zemlinsky did the orchestration,
young Korngold watched him do it, and that seems to have been all he needed in the way of orchestration lessons. The great
conductor Arthur Nikisch conducted the boy's first overture when Erich was 14.

By that time Erich was writing this Sinfonietta. The modest title conceals what is no less than a full-scale (45-minute)
symphony for large orchestra. In it Korngold's mature style is present, nearly completely formed. It is in the key of B (in German
notation, the key of H), a tonality that is especially bright because of its five sharps. Korngold's formal sense and control over his
material is utterly astonishing. The entire work is based on a single theme, making prominent use of what the composer called
"The Motif of the Cheerful Heart." (An upbeat attitude is also characteristic of Korngold's music and is certainly the dominant feeling
of this Sinfonietta.) This motive is three upward perfect fourths (for instance, B, E, A). His rich harmonization is already
well ahead of its time. While his contemporaries were deserting tonality in order to use all 12 chromatic notes, Korngold wrote in
a kind of extended polytonality, using all 12 notes as adjuncts to a central tonality. The layout of the Sinfonietta is that of a standard
symphony with a scherzo and trio placed second among the four movements.

Korngold's most popular movie scores included King's Row, The Sea Hawk, Anthony Adverse, and Robin Hood. But despite the
acknowledged quality of his works for the silver screen, it would be idle to pretend that these served greatly to enhance
Korngold's repute as a "serious" composer. What did help enormously in this regard was the support and patronage of great
artists, among them the celebrated violinist Jascha Heifetz, for whom Korngold composed his Violin Concerto in D, Op. 35,
during 1945. Other key orchestral works by Korngold included a cello concerto for Piatigorsky, and a brilliantly accomplished
Symphony in F sharp minor. The Violin Concerto is an unashamedly romantic work, with a vibrantly cinematic character,
begging the lie that no "hack" celluloid composer could write a work that not only ranked as one of the best concertos of its time,
but also retained the populist feel of a Hollywood movie in the unforgettable contouring of its thematic material. The concerto
comprises three movements.



Music Composed by Erich Wolfgang Korngold
Played by the Dallas Symphony Orchestra
With Ulrike-Anima Math� (violin)
Conducted by Andrew Litton

"This must be amongst the crowning achievements of Dorian - a company noted for its professional presentation as
much for its low profile on the world market. Confounding (my) prejudiced expectations of tungsten carbide soulless
playing the Texan orchestra play their hearts out in a Sinfonietta that for me jostles for first choice with Bamert on
Chandos. The Sinfonietta is neither small in dimensions (at circa 45 mins - longer than most symphonies) nor in
breadth of mood. There is a lightness and lift about it which perhaps merits the description as well as an avoidance
of bitter tragedy - but then this was written by a composer in his mid-teens. The ideas tumble out in luxuriant
profusion and each idea has staying power. Forget the played out references to precocious child prodigies. This music
is wondrously mature and it has, settled over its contours, a star-dust enchantment. Reference points include Strauss,
Zemlinsky, Joseph Marx, Schrecker and Delius. The movement which will leave you with your heart in your mouth is
the tr�umerisch third which, if you have never heard this work before, will leave you with a sense of wonder. I am
listening to it now as I write and the goose pimples are running up my arms. Korngold had genius there is no doubt
about that. The dewfall motif at 1.42 [track 3] is beyond price but there are so many such moments in this affluently
generous souled work. Bamert is quite as good and as well recorded. Gerd Albrecht (Varese-Sarabande) and
Werner Andreas Albert (CPO) are not quite as well served by their orchestras.

Then we come to the violin concerto. For years this was the province of Heifetz (1953 recording) whose violin sat
inside our head as well listened so assertive was the RCA Victor recording balance. Then along came Ulf Hoelscher (EMI)
who was accorded a far more 'democratic' balance. Gil Shaham (DG) I have not heard but friends speak highly of this.
Ms Math� (rather like Chantal Juillet in her Decca Entartete series disc) treats the music with dignity and allows it to
breathe where Heifetz hectors and presses the music forward. The music does not need to be force-fed to the listener.
The mood is wonderfully sustained by soloist, orchestra and conductor and I dare to say that these sessions must have
been models of happiness. Recording quality: open and subtle. Notes by Korngold biographer Brendan G Carroll -
a model balance between pleading and information. A classic of recorded sound."
Musicweb





Source: Dorian Recordings CD (My rip)
Formats: mp3(320), DDD Stereo
File Size: 180 MB (incl. covers & booklet)

Download Link (mp3) - https://mega.nz/#!GvIWhLZQ!gNaE0v60tHGT5_A0ljT0jp9dvPg7BJZO76fG8aDkEpo

Enjoy! Don't share! Buy the original! Click on "Reputation" button if you downloaded this album! :)

Another FFS member who saw my Ina Boyle post (Thread 121898) has kindly supplied me with the missing "SACD-only" track "Colin Clout" and allowed me to share it. I have appended it to the original upload.

No.1291
Late Romantic/Modern: Tonal

Austrian-German composer Franz Schreker (1878-1934) made his first great public success with his ballet/pantomime
Der Geburtstag der Infantin based on the novella by Oscar Wilde. Composed in ten days in 1908, Der Geburtstag was
the centerpiece of a Gesamtkunstwerk arranged by the Jugendstil painter Gustav Klimt for the opening of the Kunstschau Wien
(Vienna Art Show) on June 27 of that year. Combining Schreker's music with the paintings of the exhibition, plus dancing, architecture,
literature, staging, and even garden design, Klimt's Gesamtkunstwerk went far beyond even Wagner's Bayreuth. While the ballet-
pantomime was written for string orchestra, the suite Schreker drew from it is arranged for very large orchestra, including two
harps and four guitars. Arranged in 1923 and dedicated to Willem Mengelberg and the Concertgebouw Orchestra Amsterdam,
the piece was premiered by the dedicatees on October 23 of that year.

In his Tanz-Suite for chamber ensemble, with prominent percussion, Ernst Toch (1887-1964) comes to terms with
contemporaries such as Igor Stravinsky and B�la Bart�k. Bart�k composed his Tanz-Suite like Toch in 1923; Stravinsky had compiled
already before the First World War excerpts from his ballets into suites for concert performance. Toch's Dance Suite consists of six
characteristic movements of different lengths, written like miniature dance scenes, structured in short but distinctive sections
which are partly repeated and varied. One can imagine various kinds of choreographies: a ballet with a fantasy story (the music
assumes a narrative quality over a longer period), an abstract ballet which leaves the responsibility for the inner coherence to the
music, or a piece in the mood of Oskar Schlemmer's Triadic Ballet, replacing human dancers with movable puppets. All three types
were cultivated during the 1920s, and Toch was more or less focused equally on all three forms (even if the Triadic Ballet only
appeared a few years after the Tanz-Suite).



Music by Franz Schreker & Ernst Toch
Played by the Kammersymphonie Berlin
Conducted by J�rgen Bruns


Ernst Toch, Franz Schreker.



Source: Edition Abseits CD (My rip)
Formats: mp3(320), DDD Stereo
File Size: 175 MB (incl. covers & booklet)

Download Link (mp3) - https://mega.nz/#!byAUDASJ!hyJlECw3jV5NUbOATNhhlS_3uRD5nUgYtSV1XiF8yYA

Enjoy! Don't share! Buy the original! Click on "Reputation" button if you downloaded this album! :)

Thanks for the Toch, very rare!

Again (and again) another jewel for which you are so famous for! Thanks for allowing us to join the journey!!

Thanks, j! ;)


No.1292
Late Romantic

Rudi Stephan (1887-1915), was a German composer who shortly before the First World War was considered as one
of the most promising composers of his generation: Rudi Stephan constructed a “colour piano” at an early age. His development
as a composer was shaped not only by his studies with Rudolf Louis, the leading representative of the so-called Munich School,
but also by his engagement with the work of contemporary composers such as Schoenberg, Debussy, Stravinsky and Scriabin.
Drafted into war service, he died at age 28 in Russia.

If Stephan had been blessed with a life as long as Stravinsky’s, he would have died in 1976 – and, if we may be allowed to
speculate, Stephan could have played an important role in the age of Neoclassicism and the so called Neue Sachlichkeit.
In fact, his liking for pointedly neutral titles along the lines of 'Music for ...' has caused him to be seen as a
forerunner of the New Objectivity , in the post-war era, but his music is in fact in a hyper-expressive late- Romantic
idiom which has more plausibly been seen by some as a kind of proto-Expressionism.



Music Composed by Rudi Stephan
Played by the Deutsches Symphonieorchester Berlin
With Dietrich Fischer-Dieskau (baritone) & Hans Maile (violin)
Conducted by Hans Zender

"While it is politically correct to identify genius among allied servicemen who died during two world wars any
attention paid to those who fell fighting for the aggressors who lost is considered suspect.

George Butterworth was the archetype of the young officer class British composer cut down in the Great War
slaughter in the trenches of the Somme. Quite properly his reputation stands secure on the basis of the handful
of works he completed.

In a later conflict two German composers who sided with the Nazis included Von Trapp and Hessenburg. Both reputedly
wrote fine music which we do not hear because of their objectionable political alignment. Yet what has that
to do with their music?

Rudi Stephan died at the age of 28 in the service of the German Imperial Army in the Galician Eastern front
campaign during the Great War.

Stephan's music comes from a world of saturated early 20th century romanticism.

The Magic of Love is a narrative monologue for baritone and orchestra. It inhabits a world similar to that of Zemlinsky
and Schrecker with a touch of Mahler. His textures are quite luminous and the vocal part is smoothly curvaceous.
A dramatic rictus at 3:10 leads into a dreamy recitative. Fischer-Dieskau is in good voice, sounding more youthful
than his years. The singer has to switch from singing to speech and back. The lightness of his serenading suggests
that Stephan was influenced by the burgeoning operetta world of the time as well as by early Schoenberg.

Music for Orchestra floats spectrally in and out of the miasma of a dream. At 2:48 a more positive, almost heroic and
demonstrative interlude bursts in. The harp cuts a swathe through the strata of sound. The music is somewhat
Straussian but with some of Korngold's epic wash and a grand victorious stride. The vainglory subsides and we
return to the mournful reflection of the opening but with the enchanter solo violin to spin the silk of this unusual
fantasy. A jolly fugue sets in (11:23) and gallops into a climax of exalted high ideals in a Romantic Hansonian
language with the odd hint of Sibelius. This is a most intriguing and pleasurable discovery.

After too short a silence the Music for violin and orchestra starts. This at first muses in a Hollywood haze - part Lark
Ascending, part Finzi Introit, part Delius Violin Concerto. This is intensified in a display of fireworks which becomes
increasingly warm and nostalgic. A rapid scudding from the violin (reminiscent of Sheherazade) bridges into calm
and back at (10:30) to flights of fancy and again to Korngoldian whooping horns. Gallic accents are never far away
and strangely enough neither is the Elgar violin concerto! The final 'meltdown' sunset is very Delian.

Finally we move to a surgingly romantic two-movement chamber work. The movements are of unequal length with
a sprawling quarter hour Sehr ruhig followed by a ten minute Nachspiel. The work is laid out for string quartet,
double bass, harp and piano. John Ireland, Faur�, Howells, Ravel and Schumann are the names which spring to
mind as reference points. In addition to the intense sea-swell swing of the opening, Stephan also explores more
ghostly and magically still moods. Towards the end of the first movement he attains a swinging confident life-
enhancing theme although the movement ends conventionally.

The second and last movement makes the two-movement work enigmatic. The first movement feels complete
and of a piece. It is a parallel with one of the single movement constructs featured on the first three tracks.
Perhaps we have misunderstood and Stephan simply intended to group together two independent pieces which
are simply published together because otherwise they might become lost in the flood of music. The two pieces
play quite independently. Together it is like listening in sequence to two tone poems which share the same
instrumental specification.

The second movement 'Nachspiel' is a throatily romantic piece with a lifting free-floating dance theme which
suggests a dream ballroom. The work seems to rake over and revive intense and painfully beautiful memories.
It promises to end in resolute energy but instead fades to a high held violin note and the gently trilling piano.

This music reminds us that German music of this century is not simply preoccupied with the trendy, massive,
colossal or impenetrable.

I rather hope that this disc will launch a series of recordings of music by German composers killed in or forgotten
because of the Great War or the Second World War.

The present Koch disc is the single most generous (probably only) compendium of Stephan's music, taking in
four works. I seem to remember that this collection or at least some of these recordings have been issued
previously."
Musicweb





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Thanks as usual!

No doubt one of the best posts! A pleasant and surprising immersion in classical music universe. Thanks for your effort!!!

No.1293
Modern: Tonal

Leonid Polovinkin (1894-1949) was a Russian composer. Polovinkin had lessons in piano, violin, composition and
conducting in his hometown, studied law in Moscow and from 1917 to 1924 was a student of Georgi Katuar, Sergei Vasilenko,
Nikolai Mjaskowski, Nikolai Malko and Reinhold Gli�re. From 1924 he was involved in Leningrad in the construction of the
Marmontow Monumental Opera Studio. At the same time he served as musical director at the Aleksandrinski Theater.
From 1926 to his death he was musical director of the Central Children's Music Theater in Moscow and a life companion
of its director Natalia Saz. He was also a member and secretary of the Association of Contemporary Music (ASM).

Polovinkin's compositions were initially influenced by Alexander Scriabin. Later, his style became more avant-garde.
He composed nine symphonies, a piano concerto, chamber music works, including four string quartets, five piano sonatas,
piano pieces and songs. Collective compositions were created with Alexander Mossolov, Anatoly Alexandrov,
Dmitri Shostakovich and Nikolai Roslavets.



Music Composed by Leonid Polovinkin
Played by the St. Petersburg State Academic Symphony Orchestra
Conducted by Alexander Titov

"It's dangerous, and usually trite, to read a lot into a photograph, but the one of Polovinkin in the notes to this recording
show us a face with one of those Mona Lisa-style "I know something you don't, and I'm not telling" smiles. Maybe this is
how he survived, however modestly, as a composer. After all, he started out as one of the avant-gardists in the 1920s, but
seems to have distanced himself from that movement before the imposition of Socialist Realism forced composers to adapt
or disppear -- and before the denunciations began. Judging from his output -- or what's known in the West of his output --
he seems to have sought refuge in children's music, and with more conviction than, say, Shostakovich or Prokofiev.
Every now and then the mask falls, the smile fails to hold; the first of his 24 Postludes for Piano (you can view them on
IMSLP; there's no recording) is the last word in mourning without tears.

I have to say I like this piece a lot more than the previous reviewer did. Part of the problem, I think, is that the orchestra
is a bit underrehearsed: the spirit is all there, but the musical argument often seems to surprise the orchestra (and maybe
the conductor as well). This is particularly the case in the outer movements, where ideas repeatedly are introduced pianissimo
and then in tutti; the tuttis don't always begin firmly and with a sense of response/confirmation. So Polovinkin's often
kaleidoscopic manner of combining and contrasting motives may not always sound convincing. The previous reviewer is
right to hear all kinds of Silver Age echoes, and there's plenty of Mussorgsky and Rimsky besides, but if I had to describe
Polovinkin's sound world in terms of another composer, I'd have to say he's a somewhat less dour Myaskovsky -- especially
curious because of all Myaskovsky's pupils, Polovinkin wasn't one of them. Nor was he a Shostakovich pupil, by the way,
and I'm always gratified to find Russian-Soviet composers who managed to escape his influence."
Amazon Reviewer





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No.1294
Modern: Tonal

Richard Rodney Bennett's Concerto for Stan Getz is that rare thing, a crossover work conceived and completed not because
a record company thought it would be profitable but because both artists wanted to try something new. First impetus came from Getz;
while preparing a concert of Gershwin arrangements with the Boston Pops, the veteran jazzman noted that it would be nice to have a
saxophone concerto to present as well. Conductor John Williams agreed, and knew just the man to do the job. Although Bennett had a
career in jazz performance as well as classical composition, he had never before mixed the two musics. However, Bennett was eager to
work with Getz, whose career had flowered just as Bennett became interested in jazz during the 1950s. Bennett completed the concerto
in 1990; unfortunately, Getz was not able to play it before his death in 1991. Bennett scored the Concerto for Stan Getz for solo
tenor saxophone, strings, and timpani; the division between the "jazz" soloist and the "classical" orchestra helps to create a sense of
two musical worlds meeting.



Music Composed by Richard Rodney Bennett
Played by the BBC Scottish Symphony Orchestra
With Howard McGill (saxophone)
Conducted by John Wilson

"Howard McGill started playing the clarinet at age 7 followed shortly afterwards by the alto sax. Then came flute and piano.
He played in a local show band run by Gordon Campbell, lead trombone with the BBC Big Band and at the age of 17 he was
asked to join the newly formed NYJO II, run by Paul Eshelby, trumpet player with the BBC Big Band. By 19 he was playing
lead alto with the National Youth Jazz Orchestra run by Bill Ashton where he remained for 6 years, performing annually at
Ronnie Scotts Jazz Club, London. At 21 he won the BBC Don Lusher prize for best up and coming jazz musician in Britain.

He went to Jesus College Cambridge to read Engineering and also obtained a music scholarship for private lessons with Pete
King (alto), Roy Jowitt (clarinet) and Anna Noakes (flute). Upon graduating with honours in engineering he decided to pursue
a career in music. He studied jazz and studio music at the Guildhall School of Music and Drama with lessons in harmony and
composition from Peter Churchill and Scott Stromann.

After NYJO he formed the Rhythmic Jazz Orchestra along the lines of the Village Vanguard Jazz Orchestra of New York, playing
works by Thad Jones, Maria Schneider, Stan Sultzman and Steve Gray

He played in numerous West End Shows including Lionel Bart�s Oliver and Blitz and Andrew Lloyd Webber�s Starlight Express,
Sunset Boulevard and Jesus Christ Superstar, as well as Kiss of the Spiderwoman, Hot Shoe Shuffle, Damn Yankees,
The Goodbye Girl, Soul Train, West Side Story, Annie and Beauty and the Beast.

He also worked the Summer months from 91 to 94 in a residency in Monte Carlo where he played with Frank Sinatra,
Donna Summer, Shirley Bassey and Julia Migines.

He joined the BBC Big Band in 99 and played with Clark Terry, Ray Charles, Bobby Watson, Bud Shank, Pete Christlieb,
Georgie Fame and Michel Legrand. He worked in the pop scene, touring extensively with Vanessa Mae, playing opposite
Michael Jackson and for the Queen and Prince Charles. He also performed with the Spice Girls and Ben Folds 5.

He opened Station House Studios in 98 and was signed to Artemis music as a media composer. He produced the Go Solo
improvisation series, the Associated Board Jazz Works, Take the Lead and Jazztastic series published by IMP, and an advert
for Pet Plan Insurance. He also wrote and recorded various jazz projects.

As a session musician he is fluent in both jazz and classical styles playing Soprano, Alto, Tenor and Baritone Saxes;
Clarinet and Bass Clarinet; Flute, Alto Flute and Piccolo; Wind Synth and Percussion."





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No.1295
Modern: Neo-Romantic

Ant�n Garc�a Abril was born in Teruel on 19 May in 1933. Between 1952 and 1955, he studied at the Madrid Royal
Conservatory of Music under Julio Gmez and Francisco Cales, and at the Accademia Chigiana in Siena under
Vito Frazzi (composition), Paul van Kempen (orchestral conducting) and Angelo Francesco Lavagnino (!, film music).
During his long career, Garc�a Abril wrote dozens of film scores, including one for the popular spaghetti western "Texas Addio",
"Tombs of the Blind Dead", "Perry Rhodan: SOS aus dem Weltall" and his highly appraised music for the Graham Greene-based
TV movie "Monsignor Quixote", which lead to The Monsignor Quixote Suite uploaded earlier in this thread.

La gitanilla (The Little Gypsy Girl) is the first novella contained in Miguel de Cervantes' collection of short stories,
the Novelas ejemplares (The Exemplary Novels). La gitanilla is the story of a 15 year old gypsy girl named Preciosa, who is
said to be talented, extremely beautiful, and wise beyond her years. Accompanied by her adoptive grandmother and other
members of her gypsy family group, Preciosa travels to Madrid, where she meets a charming nobleman, named Juan de
Carcome. Juan proposes to Preciosa, only to be challenged to spend two years as a member of Preciosa�s gypsy family group,
under the alias of Andres Caballero. During these adventurous two years, much is learned both by the main characters and
about them, resulting in an unexpected happy ending. The main themes of the story include the making and breaking of
stereotypes, female power and freedom, the importance of word, and the so-called truth behind the mystery of gypsy life.



Music Composed by Ant�n Garc�a Abril
Played by the Orquesta Sinf�nica de Madrid
Conducted by Luis Antonio Garc�a Navarro

"Between 1974 and 2003, Garc�a Abril was the head of the department of Compositions and Musical Forms (Composicion
y Formas Musicales) of the Real Conservatorio Superior de M�sica in Madrid, and in 1982 he was elected a member of the
Real Academia de Bellas Artes de San Fernando in Madrid. In 1994, he was awarded Spain's Premio Nacional de M�sica
for composition, and in 2008, he was also named a member of the Real Academia de Bellas Artes de San Carlos in Valencia.
He has composed as many orchestral works as he has chamber and vocal pieces, and he has composed music for movies
and television series such as El Hombre y la Tierra, Fortunata y Jacinta, Anillos de oro, El perro, Segunda ensenanza,
Brigada Central, Ramon y Cajal, and Compuesta y sin novio."





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NOTE: This CD has some problems because of the incorrect editing of some tracks which do not segue into
the next as they should. This is an issue of the CD, not the rip!

Enjoy! Don't share! Buy the original! Click on "Reputation" button if you downloaded this album! :)

Thank you, once again, for this great music.

I really enjoyed the Bennett, thank you. And the Odyssey

No.1296
Late Romantic

"Dutton�s ninth recording session in 2017 saw a return to Watford and the BBC Concert Orchestra on 18 and 19 September,
for sessions with conductor David Lloyd-Jones, exploring Edward Elgar�s short orchestral works, many of them familiar,
and all played in David�s newly published authentic editions in his Volume 23 of the Elgar Complete Edition. As he writes in his
booklet note for Dutton they �could be considered as representing the very essence of Elgar�. There were many magical moments as
we were taken through this Elgarian panorama by a man who having edited all the editions being played had them in his very bones.
This extended from the very earliest Air de Ballet � Lloyd-Jones calls it �an Elgarian apprentice work �� of 1881, first heard in
Worcester that year by the local Worcester orchestra, led by Elgar himself. It was long forgotten and lost but now makes a
charming start to this recorded repertoire.

In the acoustic of the Collosseum (familiar to an earlier generation as Watford Town Hall) this was a rewarding recording
session as a succession of familiar themes were shaped by an orchestra that was as clearly revelling in its delights as their
conductor."



Music Composed by Edward Elgar
Played by the BBC Concert Orchestra
Conducted by David Lloyd-Jones

"�Two lost works by Elgar � plus two forgotten arrangements � have been recorded by the BBC Concert Orchestra, under
the baton of David Lloyd-Jones, who discovered the pieces while editing the Elgar Complete Edition�s volume of Elgar�s
Short Orchestral Works.

Air de Ballet and Introduction to the Gavotte were reconstructed from parts discovered in the Elgar Birthplace archive.

The arrangements � Pleading for solo violin and orchestra, originally a song for solo voice with piano, and the Canto Popolare
from In the South, for chamber orchestra � were published during Elgar�s lifetime, but remain virtually unknown.

�Only two of the four novelties are strictly �discoveries�, the others being works that we knew about without realising
quite what they were,� Lloyd-Jones told Classical Music. �The main one is Elgar�s first known orchestral composition,
Air de Ballet. This I put together from a rather amateurish set of parts (a few by Elgar himself), which had been lurking
at the Birthplace. There was no [complete] full score so I had to make one.

�The Introduction to the Gavotte is also to be found at the Birthplace and is one of the earliest works by Elgar that was
publicly performed. He discarded it [the Introduction] when he was asked by his publisher to make a suite of dances.�

Lloyd-Jones believes the version of Canto Popolare may have been mistaken for the middle section of In the South, when
in fact it is �a considerably expanded and enriched composition in its own right. For some reason, this most attractive
short piece has been very much neglected.�

The disc also includes a number of other rarely heard works and concludes with the version of Elgar�s last orchestral
work Mina, which has never been recorded in the version that Elgar heard, and seemingly approved, shortly before
he died. �The version that is usually performed was made by Haydn Wood after Elgar�s death,� explains Lloyd-Jones.

Since 2007, 15 lost works by Elgar have been unearthed in the editing of the Elgar Complete Edition volumes.

Lloyd-Jones says there is �absolutely no doubt� about the authenticity of these works. �Elgar�s handwriting is
unmistakable and several of the autograph scores are signed by him.�

The two newly discovered works provide useful insight into Elgar�s early compositional career. Air de Ballet reveals
the kernel of Elgar�s original compositional voice (compared to the perhaps imitative works for wind quintet and
the Powick Asylum band he had composed over the preceding years), while the short Introduction shows a
significant step forward in his compositional ambition over the following six years."
Musicweb





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This is gorgeous! Thank you!!

No.1297
Light Music

Alfred Reynolds (1884-1969) was, like many other British composers of light music, a man of the theatre.
Apart from an orchestral intermezzo, a few dozen songs and a few instrumental miniatures, his considerable output
was entirely associated with the stage in one way or another. Flourishing in the period from the Great War to
the 1950s, he is less well remembered than many of his contemporaries, although highly regarded in his day.
Kindly and sociable, with a command of some eight languages and a good sense of humour, he was seemingly a
delightful companion. Born in Liverpool on 15th August 1884, Reynolds was educated at Merchant Taylor�s School
and later in France; a possible influence was his family�s Reynolds� Exhibition, a kind of Northern Madame Tussaud�s.
He studied music first with J.C.Walker in Liverpool, then, for a few months at the Heidelberg Conservatory, before
some six years in Berlin with Engelbert Humperdinck. Reynolds� earliest known compositions date from this period,
some of them exercises for Humperdinck, others church pieces for the Anglican church in Berlin, where he was
organist and choirmaster from 1908 to 1910.

From the 1947 Stratford Christmas show of Lewis Carroll�s two Alice books came two orchestral suites, Alice in
Wonderland and Alice Through the Looking-Glass, the latter here included. Jabberwocky, introduced by the
woodwind and with three appearances of the siren whistle, is followed by The Ballet of Talking Flowers, a delicate waltz
introduced by a short piano cadenza and featuring a cello solo. In The Parade of the Hobby Horses, with its use of Humpty
Dumpty, the score calls for "cocoa-nuts" (sic), "clapper (like whip)", wood block and rattle among its percussion. The timpani
has six bars to itself to introduce March of the Drums which, after another intrusion of the siren whistle, gives way to the
Finale, also a march, with its own tiny trio section.

The Toy Cart, set in India, was produced at Dublin�s Abbey Theatre in 1918 and the seven-movement suite,
sometimes titled Vasantasena, from the incidental music was perhaps Reynolds� first orchestral score of note. The three
movements here included start with the Prelude, with its delicate woodwind solos, a beautiful Romanza, with a violin solo,
framing a cello solo, and the Finale, a march, recalling briefly the Romanza tune and including an otherwise absent
suggestion of Eastern colour.

The overture The Taming of the Shrew was originally composed for a 1927 production at the Lyric. Its slow introduction
leads to an attractive Baroque-sounding theme, marked Allegro non troppo, representing Katherine�s gracious mood. Her bad
temper soon appears in a Pi� animato section. A brief lyrical passage with prominent woodwind is followed by a further
outburst with Petruchio laying down the law and Katherine�s screams heard on the clarinets. The "Baroque" theme then
returns and all ends triumphantly.



Music Composed by Alfred Reynolds
Played by the BBC Concert Orchestra
Conducted by Gavin Sutherland

"Among the outstanding items in this highly diversified program are the second suite from Alice through the Looking-
Glass (which includes an unusually percussive "March of the Drums") and a set of stylized dances from a production of
Sheridan's The Duenna. Touches of 1920s popular music are heard faintly in the suite for a comic review 1066 and
All That and The Sirens of Southend from a cabaret entertainment. The concert suite, Three Pieces for Theatre, gives
an excellent cross-section of Reynold's singular strengths and virtues as an incidental composer. Every element-themes,
orchestration, and formal embodiment-is of the highest polish and professionalism, the ideas are always fetching, and
the manner the utmost in civilized music-making.

Gavin Sutherland and the Royal Ballet Sinfonia bring their customarily smooth and disciplined treatment to this most
distinguished addition to the series."
Fanfare





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Many, many thanks for Elgar Shorter Orchestral Works, nice alternative to my old Boult recordings.

Thanks for both the Elgar and the Reynolds CDs. Elgar was really a serious composer with a light composer trying to get out!

No.1298
Light Music

Though probably best known for his scores for over 150 TV productions of all kinds, Paul Lewis,
a self-confessed composer of place, has for many decades been singing the praises of his beloved native
landscape and its historical heritage in music commissioned by background music libraries that supply music
to radio, TV and film studios worldwide. �Heritage and Landscape� is a collection of such music, composed
mainly in the 1970s and 80s and recorded with various orchestras - from the Philharmonia to the Paris
Studio Symphony Orchestra - under Lewis�s baton. Among such impressionistic suites as English Country Pictures
and Sussex Variations are the sparkling Festival of London March, Battle Over Britain
(a miniature-tone poem commemorating the Battle of Britain) and the original recording of An English Overture,
Westward Television�s iconic station opening music, composed in 1971 and broadcast daily by the station until
they lost their franchise nine years later. The recordings have all been remastered and sound beautifully fresh.



Music Composed and Conducted by Paul Lewis
Played by The Philharmonia Orchestra, etc

"Paul Lewis is a composer of many TV themes and he has had several CDs of his music released. These include Serenade
and Dance and Three Decades of TV Themes of which the latter contains themes, many of which would be familiar to watchers
of serials from the 1970s to the early 2000s. Of Lewis�s delightful music EM Records � who have also championed his music
in an orchestral anthology - have brought together eight works conducted by the composer. They date from sessions over
more than twenty years and with a variety of orchestras. The collection works extremely well and in these re-mastered
recordings from the 1970s-90s the quality of playing is certainly very high.

The disc starts off in fine style with The Heritage Suite. The first movement of the suite is Cutty Sark, a tribute to the famous
tea clipper of the East India run. I love Cornish Express about the train that runs from London to Penzance and until the
1950s was of course steam. In the very detailed notes, Paul Lewis describes English Country Pictures as the musical
equivalents of landscape paintings and as a lover of English paintings, I totally concur. He has certainly captured �England�s
Green and Pleasant Land�. Lewis comes from Sussex, and in the Sussex Variations, which was written for Living with
Colour, he perfectly emulates the countryside, rather as, in a different genre, folksinger John Martyn does in Glistening
Glyndebourne.

An English Overture brings in well-known sea shanties and the orchestra play with huge aplomb, tremendous fun all round!
An English Fieldscape is, as Paul Lewis says, more intimate, and could be said at times to have, shades of Ravel.
Festival of London March was written for the 21st Anniversary of the London Festival Ballet and performed in the
presence of H.M. Princess Margaret in 1971. It is suitably full of pomp and swagger and must have been well received;
it certainly deserved to. Seasonal Variations are very short variations of the four seasons and are quite charming.
The playing here of The Philharmonia is quite outstanding. In Winter Chill the image of a cold and crisp December
day is almost tangible and gets the listeners reaching for their overcoats.

One of my favourite films is �The Battle of Britain� from 1969. The music was composed by Sir William Walton but after
controversy (review review), only Battle in the Air, towards the end of the film, was used. For Battle over Britain Paul Lewis
was commissioned in 1990 (the 50th.Anniversary of the Battle) by John Gale to write a commemorative piece. This was
performed under the composer at the Last Night of the Proms at the Derngate Proms Northampton. It�s an excellent
work and very much conveys the one-to-one combat over the Kent countryside by men who were often under twenty
years old, whose bravery still moves us today and which undoubtedly prevented a Nazi invasion. It is more concise than
Walton�s piece for the reason that the latter had to be the length of the film sequence; for that reason, I think it makes
more impact but I�m not suggesting one is better than the other. I should here commend the re-mastering. This was
done by John McMillan, except for An English Overture which fell to Lucy Woodward. All the pieces sound splendid as
indeed do the various orchestras.

This is a superb collection of works by a composer who really knows how to paint pictures in sound. I look forward to
further releases with keen anticipation."
Musicweb





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No.1299
Modern: Tonal/Neo-Romantic

This disc features the World Premi�re recordings of orchestral works by the Cornish composers
George Lloyd and Judith Bailey in committed and vibrant performances by the
Bath Philharmonia conducted by Jason Thornton. In a varied programme, Bailey�s
Havas (an old Cornish word meaning summertime) evokes Cornish landscapes; whilst
Lloyd�s Le Pont du Gard depicts the famous Roman aqueduct in France. The disc also
includes Lloyd�s In Memoriam and the Prelude to Act II of �The Serf�,
Bailey�s Concerto for Orchestra, and is rounded off by the HMS Trinidad March,
the orchestral version of which received its premi�re at the Last Night of the Proms in 2013.



Music by Judith Bailey & George Lloyd
Played by The Bath Philharmonia
Conducted by Jason Thornton

"This is a very important recording for a number of reasons. Firstly, all six works are first recordings. Secondly, it shows
the ambitions of EM Records, the publishing arm of the English Music Festival, to include works by living composers, and to
extend its catalogue of orchestral music (Over Hill, Over Dale, a collection of works for strings - EMRCD017 - and the Stanford
& Milford violin concertos - EMRCD023). Thirdly, it highlights a regional English orchestra, the Bath Philharmonia, the very
existence of which is pleasing in these times of straitened financial circumstances for orchestras around the world. Finally,
and perhaps the most important of all: the music itself is excellent.

Judith Bailey and George Lloyd were both born in Cornwall, providing a rationale for their pairing on this disc. This website
has a number of pages dedicated to Judith Bailey, including biographical information and photographs from the recording
sessions for this disc. The only other recording featuring her compositions is a 2007 Metier release of instrumental and
chamber works, reviewed here.

Havas is a Cornish word meaning �a period of summer� and the three movements portray different Cornish locations.
The music is skilfully written to depict these scenes: grandeur and gravitas for the Neolithic standing stones of Lanyon
Quoit, delicate dance music for the stone circle of The Merry Maidens and the water�s ebb and flow for Gwavas Lake, a
holy site on the coastline. The work is very cinematic and brings to mind Malcolm Arnold, with the obvious dance and
Cornish connections.

The concerto, commissioned for the principal cellist of the Southampton Orchestra where Judith Bailey was conductor
(see note), features solo parts for flute, oboe, clarinet, horn, trumpet, trombone and, of course, cello. The cello provides
the links between the various sections of the single-movement work. It begins very busily and without much in the way of
melody, relying on rhythmic interest and instrumental colour. The central slower section has much in common with the outer
movements of Havas, in terms of melody and grandeur. The closing pages are full of vigour and interest, without resorting
to immense percussion crescendos which seem to be the stock in trade for many contemporary composers.

Having been left somewhat underwhelmed by much of the earlier chamber music recording, I was not expecting to be so
impressed by these two works. Certainly, Bailey�s unrecorded three symphonies offer a tantalising prospect for an
adventurous label (hint, hint).

George Lloyd is best known for his twelve symphonies. He was unfortunate to be born into an era where tonal and melodic
art music was scorned, and was a victim of post-war BBC music programming. Given the loyal support of his music by the
Albany label which has recorded all the symphonies and a number of other works (not forgetting Lyrita), I was surprised
that each of these were first recordings. They are, as you would expect from this composer, well-crafted, conservative in
nature � by which I mean tuneful � and certainly not deserving of such neglect. The highlight is Le Pont du Gard, written
after a visit to the Roman viaduct in southern France. It has a distinct French impressionist imprint, and towards the end,
a jaunty, very Vaughan Williams-like �march�. The HMS Trinidad March was written for the commissioning of the cruiser
on which Lloyd served in the Royal Marines Band. It was performed at the 2013 Last Night of the Proms.

Presumably, the choice of the orchestra was partly based on financial grounds, but there is absolutely no sense of it
being a bargain-basement option. It sounds well-rehearsed, absolutely together and committed to music that none
of the performers would have ever seen or heard.

This will undoubtedly make my Recordings of the Year - congratulations to all concerned."
Musicweb





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No.1300
Modern: Tonal

The unjustly neglected and often dissident music of Ruth Gipps (1921-1999) is with this album finding all the resonance
it deserves by Rumon Gamba and the BBC National Orchestra of Wales, having already championed many
British composers from the twentieth century with their series devoted to British Tone Poems and Overtures
from the British Isles.

While, not surprisingly, there are echoes of the most popular composers of the time � Sibelius, Walton, and
Vaughan Williams � the music is notable for its personal voice, confident conception, and vivid writing for the
orchestra. Gipps herself actually felt her best works were those for orchestra.

In a programme of contrasting impressions and emotions, Symphonies Nos 2 and 4, the former inspired by the
Second World War, offer an approachable tuneful idiom. They are complemented by the lyrical, shorter
Song for Orchestra and the early tone poem Knight in Armour, premiered at the last Night of
the Proms in 1942.



Music Composed by Ruth Gipps
Played by the BBC National Orchestra of Wales
Conducted by Rumon Gamba





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No.1301
Impressionism

Five years after the highly-praised release of Volume 3, Sir Andrew Davis returns to his exploration
of Gustav Holst�s orchestral works with the brilliant BBC Philharmonic, a series initiated
almost ten years ago by the late Richard Hickox, then taken over by another expert in British repertoire.

This selection of orchestral works by Holst provides a remarkable overview of his career, ranging from such
early works as A Winder Idyll � composed in 1897 when he was still studying at the Royal College of Music �
to the Scherzo of a symphony on which he was working towards the end of his life. None of the music
recorded here was published in his lifetime, and the Scherzo � rarely heard though it is � is the only
work to have entered the repertoire. A Moorside Suite, originally written for brass band, is featured
here in the composer's rarely heard arrangement for strings.

The young British cellist and Classical BRIT winner Guy Johnston is the soloist in Invocation,
one of Holst�s most significant works, calling for a subtle balance of virtuosity and expressive qualities.



Music Composed by Gustav Holst
Played by the BBC Philharmonic Orchestra
Conducted by Sir Andrew Davis





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Ruth Gipps is a wonderful find for me, the new Holst recording is also a winner. Endless thanks wimpel69 for these gems.

No.1302
Modern: Tonal/Jazz

Kurt Weill's (1900-1950) collaboration with Bertold Brecht - and with it his first big hit, The Three-Penny Opera -, were
a few years in the future when the 21-year-old student composed the Symphony No.1 ("Berliner Symphonie"). It is in one movement
and is a unique distillation of the late-Romantic mood and a classical outlook. It has the often very thick counterpoint found, for
instance, in the music of Alban Berg, but remains very much a tonal and, ultimately, optimistic work, ending in a jubilant conclusion
and a firm closing in the tonality of c minor. It is one of the most promising of first symphonies, and already shows the Weill was
a potent creator of melodies.

Weill began work on his Symphony No.2 in January 1933, mere months before he was to leave Nazi Germany for Paris.
While composing this work, he sometimes referred to it as his first symphony, since his actual First Symphony of 1921 had
not yet been performed. It was also his last symphony: after completing it in Paris in 1934, he would focus almost exclusively on
theater and vocal music, never writing another piece of "absolute" orchestral music again.

The Second Symphony, which Weill alternately called Symphonic Fantasy or Three Night Scenes, is cast in three movements:
Sonata, Largo, Rondo. The work opens with a funeral march in which the main thematic material is presented. The march is followed
by a Classical allegro in sonata form. The opening march is heard again in the slow second movement. In the third movement,
thematic material from the preceding movements is carefully interwoven in a high-spirited finale. Stylistically, the Second Symphony
represents a seamless blending of traditions, with clear, Classical-inspired formal structures enmeshed with bold and expressive
Romantic gestures. Though Weill insisted that this work was not a programmatic piece, a number of commentators have noted
that the symphony seems to reflect the upheaval in Weill's life -- his exile and divorce -- and the contemporary political situation
as dark clouds began gathering over Germany and Europe.



Music Composed by Kurt Weill
Played by the Cracow Philharmonic Orchestra
Conducted by Roland Bader

"The Krakow Philharmonic under Roland Bader deliver generally efficient performances of both the Weill symphonies. However, the avoidance
of merely prosaic note-spinning is remarkable in the case of the First Symphony, whose rambling, single-movement cyclic form hovers
somewhere between the derivative and the outwardly plagiaristic. Originally based on Johannes Becher's play, sub-titled A people's journey
toward God, much of the basic material seems clearly derived from Schoenberg's Chamber Symphony No. 1. The symphony's thematic
potential is usually limited to fragmentary melodies such as that for the violins at 9'38'', which sounds curiously Mahlerian, whilst the horn
solo several bars later could easily have been lifted straight from the closing paragraph of Ein Heldenleben! The real weakness of the
work, then, is found in the fact that the material is never fully developed, as in the fugato section at 15'35''; and yet, for all its rhapsodic
grotesquerie, this is a surprising statement for a 21-year-old composer.

The Second Symphony of 1934, composed during Weill's exile in Paris, returns to a three-movement plan, in which the material is handled
more traditionally. Bader responds adroitly to Weill's terse and idiomatic writing, which is readily identifiable with the sardonic tawdriness
so typical in the music of the stage collaborations with Brecht. Indeed, there is much originality in the progress of the pessimistic stance
of this symphony, and the caustic severity of much of its content."
Gramophone





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No.1303
Late Romantic

With the end of World War I, and the sudden appearance of Negro bands in Paris and Berlin, the jazz age was launched just as
Franz Schreker (1879-1934) began his sixth opera, Irrelohe (mad blaze). "I was traveling...from Dresden to Nuremberg," Composition
was not begun until 1920, the year Schreker was appointed director of the Berlin Hochschule f�r Musik, and proceeded despite
his duties through summer 1922, with orchestration completed in the fall. The young were vocal about wishing to be "advanced,"
and Schreker's close contact with students brought home to him an unsettling aesthetic shift in Weimar Republic Germany, just
as his own art took a new turn away from the lushness of his former works and toward acerb harmony, bitonality, and
orchestral pungency. Despite a much-heralded lavish premiere in Cologne March 27, 1924, and seven subsequent productions
in theaters across Germany, Irrelohe disappeared after two years.

The Prelude to a Grand Opera, not to be confused with the Prelude to a Drama (which was based on Schreker's opera Die Gezeichneten),
is an independent orchestral work originally planned to be an overture to the opera Memnon. The opera was never completed, and
this Prelude is Schreker's final orchestral work. No longer bound by the timeworn sonata structure, the Prelude offers a wealth of
different themes, loosely presented and developed.

Schreker was intensely interested in the new medium of film. He joined the Deutsche Gesellschaft f�r Ton und Bild (German Society for
Music and Pictures) in the late '20s and became the artistic director of the Comedia-Tonfilm GmbH (Comedy Sound Film Company)
in 1932. For Schreker, films were a popular, populist, and also a didactic art form that could bring great art to the largest number of people.
However, the only musical fruits of Schreker's interest in films are the Vier kleine St�cke f�r grosses Orchester (Four Small Pieces
for Large Orchestra) from 1930. This may be the most accessible pieces of Schreker's late period. Relatively short (the pieces range from
two to four minutes in performance, which is brief compared to Schreker's 15-minute opera overtures), clearly formed (the pieces are
usually in tripartite form).



Music Composed by Franz Schreker
Played by the Deutsches Symphonie-Orchester Berlin
With Claudia Barainsky (soprano)
Conducted by Peter Ruzicka

"I normally react disagreeably whenever recording companies issue vocal music without texts or translations. Franz Schreker�s
Vom ewigen Leben (�Eternal Life�), however, is such a major discovery and is here performed so superbly that I can�t bring myself
to be too severe. You will need the words, though: Schreker responds to them with such sensitivity that it would be frustrating
to listen to these exquisite sounds without knowing what prompted them. Fortunately they are not hard to find. They are German
translations of two passages from Walt Whitman, respectively the lines beginning �Roots and leaves themselves alone� (the 12th
poem in Calamus) and the sixth section (�A child said, �What is the grass?��) of the Song of Myself. Four lines from the latter (the
ones about �Kanuck, Tuckahoe, Congressman, Cuff�) are sensibly omitted. Together they make a beautiful and very moving short
cantata on the cycle of nature and the endlessness of life. Schreker�s ample lyricism and rich orchestral palette are both here
modified towards a more sober beauty and subtly sensitive word-setting. It is a ravishingly lovely score, finely sung and
superbly played.

The three Preludes to Irrelohe are richly romantic, more sumptuously scored than Vom ewigen Leben, with big, striking gestures
and melodic writing of warm expressiveness. The Four Little Pieces are much odder, but decidedly intriguing. They were originally
written as mood pieces which Schreker hoped (vainly) might be used as film music. They are of interest because they show
how conscious of his musical environment this late romantic was: the first of them is as lyrical as one would expect from him,
but it is a lyricism that is at least aware of Schoenberg, while the strongly rhythmic second piece sounds like a gesture towards
Prokofiev. The earnest third movement and the memorably gracious middle section of the fourth are more recognizable Schreker.

And so, with a vengeance, is the vast and pile-driving Vorspiel, 24 minutes long, which appears to have been drafted as the
overture to Schreker�s last, unfinished opera Memnon, but in its present form seems to incorporate the opera�s final scene as
well. It is richly eventful, stuffed with resourcefully developed themes and huge climaxes, one or two of which verge on the
pompous or the cinematic. But the tranquil, rather Straussian epilogue is very fine, and a performance as wholehearted as this
one, an enthusiastic but sensitive and watchful conductor leading a fine orchestra that clearly relishes the almost impossible
richness and abundance of this music, makes even the Vorspiel�s excesses easy to enjoy. Vom ewigen Leben, though, stands
out as a work of major importance and the three Preludes to Irrelohe will tempt many listeners towards that and Schreker�s
other operas. Urgently recommended."
Gramophone





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ah, schreker, always a find. Looking forward to hearing what he has done here

Many thanks for the new Holst CD!

Korngold's Violin Concerto has become a favorite of mine (and a standard piece of the repertoire).
I remember an American critic (Eric Salzman, I believe) derisively calling this wonderful concerto "more corn than gold"...
I was not acquainted with this version and cannot wait to DL it.
Most grateful, wimpel!

No.1304
Modern: Tonal

The sparky and neon-vivid city-wise Serenades, by American composer Daniel Pinkham (1923-2005), works a treat in
the hands of old hand celebrity trumpeter Maurice Murphy - long associated with the Hall� and Manchester. This three movement work
has the jazzy virtuosic lightness of spirit of Bernstein yet with a dash of The Incredible Flutist by one of Pinkham�s teachers, Walter Piston.
There's some Hindemith in the broth too. It's a mercurial work of freewheeling contrasts and with more than a dash of dissonance at the
start of the final Allegro. Murphy's trumpet is by turns triumphant, querulous and confident. A tour de force of playing.

The two symphonies are pretty compact for symphonies. The Third Symphony, in four sections, was premiered in Pinkham's native
Massachusetts by the Plymouth Philharmonic Orchestra conducted by Rudolf Schlegel on 8 February 1986. This is a sterner work than the
Serenades although just as brilliant. A recurrent stutter from the orchestra sets up an expectation and a mentally supplied ostinato
undertow which accounts for the work's success. The symphony is alive with incident and yelping brass as well as desolation and discontent.
Clearly Pinkham also has another hallmark: scampering and gambolling figures for the wind instruments. Time and again Sedares surprises
you with the vivid attack and fantasy he brings to this music.

The very short �in fact overture-length - Fourth Symphony was commissioned by the National Gallery of Art. It is in three
movements, cleverly entitled Purling, Pining and Prancing. The Bernstein romping of Serenades can be heard in Purling (the motion
of a river as it wends and swirls its way past rocks and other obstructions). Pining is more thoughtful than lamenting but it does provide
a more emotional and humanely vulnerable character than the Third Symphony. Again Sedares whips an undeniable rip into this already
often furious music. Pinkham is also very good at exuberant endings and this one ends with panache.

Sonata Number Three is available in two versions - one for chamber orchestra and this one for strings. Rather like the slightly more
melodious and less neo-classical Organ Concerto by Malcolm Arnold, this work has a windy intimate chiming Christmassy feel. There are
also some delightfully inventive touches to tempt you back. A kindly Andante Dolente leads to a short and slightly reserved Vivace finale
which yet again ends with real creativity and originality in a richly populated murmur.



Music Composed by Daniel Pinkham
Played by the London Symphony Orchestra
With Maurice Murphy (trumpet) & James David Christie (organ)
Conducted by James Sedares



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Thanks for your kind words. :)



No.1305 (by request)
Modern: Neo-Romantic

New Zealand born, Canada based composer John Robertson�s (*1943) album "VALLARTA SUITE" showcases the continuation of classic
orchestral traditions into the present day. The album�s three works testify to Robertson�s flexible compositional voice, which expresses playful,
grand, and romantic materials within a welcoming style based on nineteenth century, and early twentieth century precedents.

The album�s anchors are its multi-movement works, Vallarta Suite, op. 47, and Symphony No. 2, op. 63. Vallarta Suite is a
musical postcard to the Mexican city of Puerto Vallarta and, like George Gershwin�s Cuban Overture or Ralph Vaughan Williams� A London
Symphony, uses a variety of contrasting textures and materials to illustrate its geographical subject. For example, the work�s third movement,
�Excursion para hacer compras (Shopping excursion)�, is the most concise and literal example of Robertson�s portrayal of Puerto Vallarta.
Here, a series of playful and syncopated themes encourage the listener to imagine strolling through the city�s markets. The work�s other
movements, namely, �Las Ballenas (The Whales)� and �La Noche en la Zona Romantica (The Night In The Romantic Zone)�, are more
abstract and varied in their materials and form. �Las Ballenas�, for instance, is less thematic than other movements, but leans heavily
on the orchestra�s brass to express the stately grace of whales.

The two other works present much more traditional music structures. Strut In � a March, as the title suggests, is Robertson�s take a
classic March, and, as one might expect, features jaunty themes and more percussion than is typical to the rest of the album. Unlike Sousa,
Robertson crafts a longer, more dramatic structure for his march, and, in particular, uses a wide range of textures to build towards the arrival
of its culminating and triumphant melodic material. Robertson�s Symphony No. 2 stands out as the only piece that is not wholly
defined by a reference to a specific musical style or non-musical reference. Robertson excels in the more abstract setting of the Symphony,
the first movement, in particular, is a tremendously crafted voyage of thematic and textural energy. The work�s final movement,
�Passacaglia�, suggests, as well, that Robertson always has an eye to the past, as its title refers to a type of instrumental music
that originated in the Renaissance. Marked by its grand orchestration, the �Passacaglia� serves as an intense and brilliant finale
to the Symphony.



Music Composed by John Robertson
Played by the Jan�cek Philharmonic Orchestra
Conducted by Anthony Amor�

"For those unfamiliar with the name John Robertson, as I was prior to receiving this disc for review, he is a Canada-based
composer, but born in New Zealand. I was interested to read that he actually started off in the insurance business, but after
settling in Canada in 1967 he embarked on a three-year course of private study with Dr. Sam Dolin at the Royal Conservatory
of Music in Toronto. Since then, he has composed in most genres including symphonic works, opera and pieces for small
ensembles. The music featured on this release is accessible and tonally-based. Self-assured, for the most part optimistic,
generous on melody and colourfully scored, having listened to the disc several times, I can confidently add that it's
guaranteed to lift the spirits.

The Vallarta Suite Op. 47 started life as an overture, written for the chamber orchestra that bears its name. Eventually
Robertson undertook a complete revision, and the resulting four-movement suite is what we have here. These four
vignettes depict aspects of life in the Mexican city of Puerto Vallarta.

�El Malec�n� is a broad esplanade, and the music vividly portrays people relaxed and strolling in the sunshine, almost
without a care in the world. In �Las Ballenas" the woodwind calls and deep brass interjections seem to mimic whale
vocalizations. Yet, the music also portrays the majesty of this noble creature. What better illustration of the pleasure
derived from retail therapy than in �Excursion para hacer compras�. The luminosity and stillness that opens �La Noche
en la Zona Romantica� leads into a more animated section where the pleasures of nightlife provide the perfect backdrop
for romantic liaisons.

Strut In - a March, Op. 34 dates from 1993. It struts out with sell-confidence and assurance, and ends in a mood of
triumphant pride. Percussion and brass are expertly harnessed to effect.

Robertson's First Symphony was premiered to great critical acclaim in 2014, and he wasted no time in penning his
Second; apparently he now has three symphonies under his belt. This recording is the premiere performance of the
work. It's cast on a grand scale, and sumptuously orchestrated. Fanfares herald in the opening movement, which is
suffused with geniality and good-humour. The second movement, marked Andante is lyrical, with long melodic lines
spun out. A vibraphone adds some beguiling colour. The Passacaglia finale is the composer's respectful nod to
the past. The theme is given out in the bass, and the subsequent variations reveal a wealth of ingenuity,
imagination and invention in their adept instrumentation."
Musicweb





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No.1306
Modern: Neo-Romantic

Louis Babin’s work has been acclaimed in Canada and abroad. His 2015 album features his symphonic piece
Saint Exupery: of Heart, of Sand and of Soul, an hommage to Antoine de Saint-Exup�ry, the publication of which
was supported by the Antoine de Saint-Exup�ry Youth Foundation. The album received outstanding reviews: “particularly
elegant and full of tenderness” (Sonograma), “hauntingly beautiful” (Music & Vision), “…some fine music by a composer
we should be hearing more from” (The WholeNote), and “creativity and colours that charm the listener immediately”
(La Scena Musicale).

Louis Babin is known for his modern, playful, accessible, and cinematographic (!!!) works.



Music Composed by Louis Babin
Played by the Moravian Philharmonic Orchestra
Conducted by Petr Vronsk�

"Antoine de Saint-Exup�ry is perhaps best remembered today as the creator of the famous children’s book Le Petit Prince.
Yet he was not only an acclaimed French author of several important works and laureate of high French literary awards, but
also a French Air Force pilot who lost his life during a reconnaissance mission in 1944. What a noble character to honour in music,
and that’s exactly what Qu�bec-born composer Louis Babin has undertaken here. The CD opens with Saint Exup�ry: de coeur,
de sable et d’�toiles, a three-movement work named for Saint Exup�ry’s novel from 1939. The music pays homage not only to
the author but to his whole life. Vol de vie, the first movement, is suitably bold and heroic, featuring an appealing array of tonal
colours treated by the Moravian Philharmonic with great panache. The second movement, Les adieux au Petit Prince is moody
and mysterious, making effective use of percussion, while La marche des Hommes with its stirring brass sections, is pure
cinematography.

Couleurs for string orchestra is a poignant reflection on the trials of adolescence while the Suite du promeneur is a musical
depiction of life’s passage on earth. Also scored for strings, the suite comprises four miniature movements, each a study in
contrasts, from the wistfulness of Le Curieux to the steadfast defiance of La morale de cette. Despite its French roots, this
music seems to have a Scandinavian feel to it, the sprightly rhythms and angular lines akin to those of Dag Wir�n or
Carl Nielsen. The warm and resonant sound from the Moravian strings further enhances a solid performance.

The premise behind this CD is an intriguing one and it’s resulted in some fine music by a composer we should be hearing
more from – bravo to Babin and the musicians from Moravia."
The Whole Note



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This thread is now entering its seventh year ... ;)

Our Maestro returns to give us a Halloween present — not that the music reflects Halloween, but the date alone. And this AFTER he spent the entirety of his morning making me a very Happy Birthday girl! For his patience and willingness to spoil me with his music. I thank wimpel69 again and yet again.
Bravo, Sir!

---------- Post added at 10:51 AM ---------- Previous post was at 10:43 AM ----------

SEVEN YEARS?
What an accomplishment! Thanks and congratulations!

Thanks for your kind words. :)



No.1305 (by request)
Modern: Neo-Romantic

New Zealand born, Canada based composer John Robertson’s (*1943) album "VALLARTA SUITE" showcases the continuation of classic
orchestral traditions into the present day. The album’s three works testify to Robertson’s flexible compositional voice, which expresses playful,
grand, and romantic materials within a welcoming style based on nineteenth century, and early twentieth century precedents.

The album’s anchors are its multi-movement works, Vallarta Suite, op. 47, and Symphony No. 2, op. 63. Vallarta Suite is a
musical postcard to the Mexican city of Puerto Vallarta and, like George Gershwin’s Cuban Overture or Ralph Vaughan Williams’ A London
Symphony, uses a variety of contrasting textures and materials to illustrate its geographical subject. For example, the work’s third movement,
“Excursion para hacer compras (Shopping excursion)”, is the most concise and literal example of Robertson’s portrayal of Puerto Vallarta.
Here, a series of playful and syncopated themes encourage the listener to imagine strolling through the city’s markets. The work’s other
movements, namely, “Las Ballenas (The Whales)” and “La Noche en la Zona Romantica (The Night In The Romantic Zone)”, are more
abstract and varied in their materials and form. “Las Ballenas”, for instance, is less thematic than other movements, but leans heavily
on the orchestra’s brass to express the stately grace of whales.


Strut In - a March, Op. 34 dates from 1993. It struts out with sell-confidence and assurance, and ends in a mood of
triumphant pride. Percussion and brass are expertly harnessed to effect.

Robertson's First Symphony was premiered to great critical acclaim in 2014, and he wasted no time in penning his
Second; apparently he now has three symphonies under his belt. This recording is the premiere performance of the
work. It's cast on a grand scale, and sumptuously orchestrated. Fanfares herald in the opening movement, which is
suffused with geniality and good-humour. The second movement, marked Andante is lyrical, with long melodic lines
spun out. A vibraphone adds some beguiling colour. The Passacaglia finale is the composer's respectful nod to
the past. The theme is given out in the bass, and the subsequent variations reveal a wealth of ingenuity,
imagination and invention in their adept instrumentation."[/I]
Musicweb

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A lot of thanks!

No.1307
Modern: Tonal

American composer Henry Wolking enjoys bringing complex, sometimes seemingly disparate mixes of compositional
elements to music that becomes easily approachable for listeners who appreciate its sincere, fresh cosmopolitan character. The gifts of
polyrhythms, melodic chorales, and unmistakable grooving inflections of jazz are treated with the same deep sense of artistic integrity
and respect as are fanfare motifs, classic musical forms such as waltzes and tangos, the folk sounds of Central and Eastern Europe,
and Afro-Cuban rhythms that infuse his various works.

Composer by character and performer by temperament, James Scott Balentine is as complex as his music; that is, moderately
enigmatic yet engaging. Jim�s compositions are fun and interesting to play, intriguing to the listener, and crafted in a personal language
influenced by ethnic dance, jazz and folk idioms, tonal as well as atonal and serial techniques. Jim�s fondness for wordplay and poetry
finds its way into many of his works as phonetic motifs, alliterative program notes, a poetic prologue, or formal musical structures
designed around names, prosody, and other linguistic elements that infuse his music with a sense of theater, from dramatic to playful.

The two composers whose works perfectly complement each other through musical studies of crossed paths and human togetherness.
Both composers's works consider the meaning of life, love, and music, and the relationship between each: Gone Playin', a spirited
musical riff on epitaphs and their connection of life and death; The Old Gypsy, a Hungarian-influenced piece for string quartet
that reflects on the perpetuity of musical themes and influences; and D�n �ideann Blogh, a recollection of times past with friends and
family.



Music by Henry Wolking & James Scott Balentine
Played by the Moravian Philharmonic Orchestra
Conducted by Petr Vronsk�

"Henry Wolking taught jazz theory and composition at the University of Utah for many years. The Florida native is a
trombonist, composer and arranger whose stylistic roots lie clearly in the jazz world and this music provides a very
attention getting introduction! Gone Playin� is an absolutely scintillating little jazz-inspired concerto for clarinet and
strings. The three movements are as follows, described in the composer�s own terms. Gone Fishin� has the imagery
of whirling trout; think �I�m gonna go fishin� and find me a trout�. Beginning with a lovely and poignant slow introduction,
it shifts to a jazzy rhythmic approach that requires virtuosic solo melodies that sound as if they are being improvised
(they are not) by the clarinet solo. Gone Sleepin� is a jazz lullaby. It is delicate, dreamy, lyrical, and emotional, and not
at all influenced by Brahms. (Completely tongue-in-cheek reference; this is a very pretty and sultry little melody).

Gone Dancin� is exactly what the title implies, a series of final frantic dances based upon American and Latino (Puerto Rican,
Dominican, Cuban) popular dances. The orchestra at one point taps and claps authentic salsa and clave rhythms; everyone
in the orchestra becomes a drummer. This work reminded me of some of the better jazz-inflected clarinet works out there
(aside from the iconic Copland one). The Elie Siegmeister Concerto and even the recent gem by Robert Aldridge come to
mind. Robert Walzel plays really well and was the premiere soloist with the Utah Symphony in 2006.

Wolking�s The Old Gypsy is quite a different deal but illustrates the composer�s appreciable versatility. This string
quartet (performed here with verve by the Moravian Philharmonic Quartet) is directly inspired by the composer�s exposure
to some traditional Hungarian melodies from members of the Hungarian Symphony. Wolking very cleverly accurately
depicts the sounds of strolling musicians as one might hear on a street corner or in a cafe. This quartet has some slightly
jazzy components, some Bartok-like touches and, ultimately is a wonderful and hard-to-describe melange of sounds.
This work too makes a wonderful contemporary addition to the string quartet repertoire.

The second great discovery here is James Scott Balentine, professor of jazz studies and composition at the University of
Texas, San Antonio. Jim Balentine is also a gifted performer on all woodwinds and continues to play big band, theatre
music and in backup bands of all sorts. The fascinating D�n Eideann Blogh (Gaelic for �fragments {like a blog} from
Edinburgh�) is basically a double concerto for clarinet, bassoon and orchestra and is characterized by three quite
picturesque short movements. Auld Reekie (�Old Smokey� in Gaelic) is a reference to the coal-fired past of Edinburgh
and its sooty and grimy conditions. There are sounds that echo Scottish military bands as well as pub music. Portobello
Beach is a calm and quaint suburb of Edinburgh, situated on the Firth of Forth, where Balentine stayed while writing this
piece. The composer acknowledges the feeling of sand, gulls, surf and nearby pubs. (Sounds quite nice actually!)
Lothian No. 26 is actually the name of the bus line which ran through Portobello to Waverley Station and beyond.
The composer was inspired by the meandering scenery and the skill of the driver negotiating the curvy roads while
driving the center of gravity-challenged double-decker! This work was premiered at the Utah Arts Festival in the
summer of 2007. Soloists Robert Walzel and Eric Stomberg, bassoon, do a great job and this is a wonderful addition
to what is a fairly sparse area of the wind repertory.

So, here is another wonderful new release by Navona; well-played and filled with music that begs to be played live
and heard more often. I have often been impressed by this label�s commitment to bringing forth composers of
quality who should be better known. Well done!"
The Audiophile Audition





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---------- Post added at 10:51 AM ---------- Previous post was at 10:19 AM ----------




No.1308
Modern: Tonal

Michael G. Cunningham was born in Warren, Michigan in 1937 and holds music degrees from Wayne State University in
Detroit, the University of Michigan, and Indiana University. Composition has been one of his primary lifetime activities, and
since 1958 he has concentrated on creating a large music catalog of various types of music for all manner of performance
combinations. From 1973 to 2006, he was professor of theory/composition at the University of Wisconsin � Eau Clare.
During that time, and since, he has created a number of theory, composition and pedagogical workbooks.

This album is a collection containing three of his narrative ballets and The Gastein Masterwork. The ballets are: Nyadina,
based on a Balanchine film ballet; She, based on the 1887 novel by Henry Rider Haggard; and Chrysalis at Mardi Gras,
based on the Saint Joseph story resembling Cinderella; they contain a narrative, choreographic flow with emotional and fable-like
undertones. Cunningham's knack for narration continues with The Gastein Masterwork, a "prediction" of Schubert's lost
work and Cunningham's take on what the final version may have been.



Music Composed by Michael G. Cunningham
Played by the Moravian Philharmonic & Prague Radio Symphony Orchestras
And the St. Petersburg State Symphony Orchestra
Conducted by Robert Ian Winstin, Petr Vronsk� & Vladimir Lande

"Cunningham, an American composer, has 3 ballets; Nyadina, She, and Chrysalis at Mardi Gras. Cunningham�s orchestral
realisation of Schubert�s Piano Sonata in D Major (D850), titled Gastein Masterwork. The Prague Radio Orchestra, Moravian
Philharmonic Orchestra and the St. Petersburg State Symphony Orchestra are the featured ensembles on the disk; the groups
handle the material with poise and a deft touch. The recording itself is also very well done with a nice lean pallet for the
ensemble to shine.

The three ballets are based on very different source material; Nyadina is based on a ballet by Balanchine, about a water nymph
enticed to join a garden party. She, is from H. Rider Haggard�s 1887 novel of the same name, involving, a university teacher
with a keen interest in archaeology, an undiscovered culture and an eternal tyrant queen: �She who must be obeyed�. The last
of the trio, Chrysalis at Mardi Gras is a Cinderella-like story by Ellis Saint Joseph of a girl who finds that love makes her beautiful.
They all remind me a bit of the French impressionist style, especially in Nyadina when the wind rushes and swirls in and drives
the nymph back into her pool. For She there is a tribal feel and with almost an exotic Middle Eastern tinge to the music and the
dancing and police whistle in the streets at Mardi Gras for Chrysalis. Cunningham can have lush melodies, a warm sound,
a dance-like quality�these are for the ballet, yet he does not shy away from dissonance and driving rhythms. I was also
surprised by the length of the works, after reading the stories; Nyadina, She, and Chrysalis are all under 14 minutes.
Listened to each individually I was disappointed when they ended.

In the Gastein Masterwork Cunningham switches gears stylistically and becomes Schubert. In this work Cunningham crafts
a realizatiion of a full orchestral setting of one of Schubert�s piano sonatas. The orchestration is handled deftly, and would not
stand out to the majority of listeners that Schubert himself didn�t do the orchestration. I found the piece whimsical and
charming.

I really enjoyed this CD, not only for the musical presentation but also for the special treat; the CD is enhanced. When the
CD is accessed on a computer there is a wealth of extras including a digital version of the CD booklet, the scores for each
ballet (!), and the inclusion of computer background wallpapers and two ringtones. The inclusion of the scores is a brilliant
and wonderful addition; giving us who can read music, another insight to the composer�s imagination and craft."
The Audiophile Audition





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No.1309
Modern: Tonal/Neo-Romantic

American composer Barbara Harbach (*1946) has a large catalog of works, including symphonies, works for chamber
ensemble, string orchestra, organ, harpsichord, musicals, choral anthems, film scores, modern ballets, and many arrangements
for brass and organ of various Baroque works. She is also involved in the research, editing and publication of manuscripts of
eighteenth-century keyboard composers as well as historical and contemporary women composers. Her works are available
in both recorded and published form. Harbach has toured extensively as both a concert organist and harpsichordist, and her
lively performances and recordings have captured the imagination of many American composers. The body of work written
for and dedicated to Harbach is substantial. Musical America has called her "nothing short of brilliant," and Gramophone has
cited her as an "acknowledged interpreter � and, indeed, muse � of modern harpsichord music."



Music Composed by Barbara Harbach
Played by the Slovak Radio Symphony Orchestra
With Frantisek Novotn� (violin) & Cynthia Green Libby (oboe)
Conducted by Kirk Trevor

"Anyone who read my previous review of Harbach�s chamber music will know that I am a fan. All I need say is that this
disk is well worth having for, if anything, it�s even better and more interesting than the previous disk. So if you�re with me,
you can stop reading now and rush to your local record shop and buy an hour�s�worth of the most glorious music you�ll
hear this year...[Harbach's] music is tuneful, grateful to play and a joy to listen to. I described the music on the earlier
CD as �white note� music, implying a new simplicity, and it celebrates the great American outdoors. The works recorded
here, as befits compositions for orchestra, use larger thoughts and gestures than the chamber works, but her country is
never far from her feelings. The (Willa) Cather Symphony...is very special indeed and needs to be heard. The recording
is bright and clear with a good perspective on the orchestra and the performances are obviously of the very highest
standard. The notes are straight forward and lead one through the music but don�t get technical, nor tell you too much �
so, in general, the music is allowed to speak for itself. Harbach�s music is in a class of its own and this is a CD which
must not be missed at any cost.�
Musicweb





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Nos.1310 & 1311
Modern: Tonal

Behzad Abdi (*1973) is an Iranian composer. He studied the setar and Iranian traditional music with Masoud Shoari and
Mohsen Nafar and Western classical music with Liudmila Yurina and Vadim Juravitsky at the Tchaikovsky Academy in Ukraine.
Abdi is the first composer to write Iranian traditional opera fusing Iranian traditional and Western classical music. He is also a
composer of film soundtracks and has won two awards at the Fajr International Iranian Film Festival, among others.
The Concerto for Orchestra, subtitled "Mulla Sadra" (after an Iranian Shia Islamic philosopher, theologian and 'Ālim
who lived from 1571 to 1640) is a multi-part symphonic poem in a melodic, accessible and very film music-like style. The same
goes for the more introspective symphonic poem To Pray.

Alireza Mashayekhi (*1940) is an Iranian musician, composer and conductor. He is one of the first Iranian composers of Persian
symphonic music in a Western classical style. His first teachers were Lotfollah Mofakham Payan (Iranian music), Hossein
Nasehi (composition) and Ophelia Kombajian (piano). He then studied in Vienna with Hanns Jelinek and Karl Schiske.
In 1993, with cooperation of the pianist Farima Ghavam-Sadri, Mashayekhi founded the Tehran Contemporary Music Group.
In 1995 he established the Iranian Orchestra for New Music, which released its first recording in 2002 on Hermes Records.
His Symphony No.5, "Persian" is a bit more harmonically advanced than Abdi's work, but still tonal and accessible.



Music by Behzad Abdi & Alireza Mashayekhi
Played by the National Symphony Orchestra of Ukraine
And the Radio Symphony Orchestra of Ukraine
Conducted by Vladimir Sirenko & Vladimir Sheiko



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So many new & fascinating composers!
Many thanks, wimpel!!

No.1312
Modern: Tonal

Dan Locklair (*1949), a native of Charlotte, North Carolina, holds a Master of Sacred Music degree from the School of Sacred
Music of Union Theological Seminary in New York City and a Doctor of Musical Arts degree from the Eastman School of Music. Presently,
he is Composer-in-Residence and Professor of Music at Wake Forest University in Winston-Salem, North Carolina. In its centennial year,
Dr. Locklair was named 1996 AGO Composer of the Year by the American Guild of Organists, a distinguished honor awarded yearly to an
American composer who has not only enriched the organ repertoire, but who has also made significant contributions to symphonic
and concert music. His 1995 composition, Since Dawn (A Tone Poem for Narrator, Chorus and Orchestra based on Maya Angelou's
On the Pulse of Morning), is the first musical setting of Maya Angelou's well-known and important poem commissioned for the 1993
Inauguration of President Clinton.



Music Composed by Dan Locklair
Played by the Slovak Radio Symphony Orchestra
With Jozef Zsapka (guitar) & Gregory d'Agostino (organ)
Conducted by Kirk Trevor

"Locklair writes attractive, tonal music made distinctive by spicy harmonies and a fondness for rhythmic figures and ostinatos.
His music evokes many influences, but always wrapped in his own voice. His music feels rather filmicly descriptive, but which
asks a bit more of the listener. I can see why his CV lists so many performances and commissions, his is music which never
alienates the listener but which tries not to underestimate them either.

'HUES' is a trio of short tone poems. The first makes much of repeated rhythmical figures; such jazzy ostinatos are a feature
of Locklair's music. In this movement the sonorities often approach those of John Adams. The middle movement is more
relaxed but in the final movement the ostinatos return, ultimately with a chorale underneath (again, this combination of
ostinato and chorale is one that recurs on the disc).

'Dayspring' is described as a �Fanfare/Concertino for Guitar and Orchestra�. Guitar concertos are always a problem, as the
balance remains tricky. For this work, it sounds as if the recording engineers have recorded the guitar rather closer than
the rest of the orchestra. This has the effect of falsifying the balance and doing unfortunate things to the guitar sound.
Though described as a Fanfare, this is actually quite a low key piece. Locklair's rhythmical figures are rather more understated
and the orchestra rarely gets a chance to dominate for long. Audibility for the guitar necessitates solo passages. passages
with lightly scored woodwind and rather effective percussion. Inevitably the spectre of Rodrigo wanders in and out of the
proceedings, never being entirely exorcised. Despite the solo part being balanced by the recording engineers, guitarist
Jozef Zsapka never seems to dominate proceedings though he plays admirably.

'In Autumn Days (A Symphony for Chamber Orchestra)' is arranged in five short movements which play without a break.
The opening movement, with its jazzy tunes and rhythmic chords, uses rather Ives-like sonorities. The relaxed second
movement leads to the third, in which a piano ostinato is counter-pointed with a chorale-type figure.

'Creation's seeing Order (A Prelude for Orchestra)' is based on a pun as the work is centred around the note C. The noisy
opening develops into a series of powerful interlocking ostinatos propelled by a powerful forward motion.

'Ere long we shall see� (Concerto Brevis for Organ and Orchestra)' is a one movement work written for the Centennial
Convention of the American Guild of Organists. The rather poetic title, in fact, comes from a brief essay "What the Guild of
Organists Means for the Profession" written by on of the AGO founders. The piece was premiered by Gregory D'Agostino
who plays the solo part here. The composer states in his programme note that all the musical material is based on the
initials AGO (the musical notes A, G and B), but this piece is no dry dissertation. In fact, I was struck by how Locklair
(himself an organist) has managed to make the organ partake in the rather jazzy musical material without it sounding
incongruous. This is certainly no clash of the titans, and sometimes the organ simply adds discreet concertante colouring.
But Gregory D'Agostino acquits himself well and is crisply rhythmic when needed.

The final piece on the disc, 'When Morning Stars Begin to Fall (A Tone Poem for Orchestra)'. The title comes from an old
Southern pentatonic folk tune, 'When the Stars Begin to Fall', collected in Carolina in the 1930s. This embodies a number
of influences in Locklair's music; he is Carolina based and was born there and pentatonic scales are another of the
recurring motifs in the music on this disc.

This anthology was recorded in the presence of the composer. As with all such discs, I would rather like to know what
the basis was for the choice of pieces. Dr. Locklair writes some admirable programme notes in the booklet, but nothing
is said about why these pieces were chosen. Were they, in Dr. Locklair's view, his best orchestral pieces or perhaps just
the most suitable for the forces available. It would be nice to know.

The Slovak Radio Symphony Orchestra plays this music admirably. Though no modernist, Dr. Locklair's scores are
substantial and complex. It is no easy task performing over sixty minutes of entirely new music. The orchestra come
out of the task very well, notwithstanding one or two small slips. The conductor Kirk Trevor is Principal Guest Conductor
of the Slovak Radio Symphony Orchestra and this recording is part of an ongoing series of recordings of new American
music. Trevor obviously has a strong commitment to this new music and on this disc he is admirably in control of
Locklair's sometimes complex textures.

Most of the pieces here are either short movements or longer pieces constructed from shorter sections. I would have
liked to have heard something with a rather longer breathed structure. Though attractive and well made, I felt that on
repeated listening I was also missing something else, call it passion - the need for the music to be the way it is, that
something that lies beneath the surface. But there is plenty to enjoy in this well crafted music, spiced with pentatonic
scales and quarter-tones and jazzy rhythms."
Musicweb



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File Size: 153 MB (incl. front cover & booklet)

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No.1313
Modern: Neo-Romantic/Americana

A largely self-taught composer, Byron Richard O'Keefe takes his inspiration from the American countryside,
particularly its rivers. An American Smetana, in the sense that his music evokes the rivers, hedgerows, and
forests of the eastern United States, O'Keefe's compositions can be characterized as neo-pastoral Romanticism.

"Anyone who composes music in a bygone style is likely to receive comments along the lines of “Why do you bother writing
this way? It’s all been done before.” My answer to the former remark would have to be something like “Not writing this way
it is not an option.” And as to it all having been “done before,” well, this statement is certainly worthy of some scrutiny.
And though pastoral Romanticism does not always align with 21st Century sensibilities, that does not mean it is ever
unwise to compose in this style. I would hope that these pieces evoke in the listener something of the rivers, hedgerows,
and forests of the eastern United States, which have been so much of the inspiration for them."
Byron Richard O'Keefe



Music Composed by Byron Richard O'Keefe
Played by the Kiev Chamber Orchestra
Conducted by Nazar Yakobenchuk





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File Size: 173 MB (incl. covers & booklet)

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No.1314
Modern: Neo-Romantic

English-born composer David Tanner (*1950) emigrated to Canada with his family at the age of 3 and grew up in Ottawa.
His formal music education includes a year at the Berklee College of Music (1968�69) and Bachelor and Master of Music degrees
from the University of Toronto, which he received in 1974 and 1977. From then, he became best known as a saxophone and
woodwind player through most of his career. Tanner went on to work on many concert, opera, and ballet performances with
orchestras in the Toronto area, as well as every kind of work in jazz, shows, and studios.

Jos� Elizondo began his musical studies in piano and organ performance at age 5 with Arturo Ochoa and Socorro Soto
Ponce. He continued his education in music composition, conducting and orchestration (as well as humanities, computer science
and electrical engineering) at Harvard University and the Massachusetts Institute of Technology. His main musical influences at
these institutions were composers Peter Child and William Cutter, as well as conductors David Epstein and Constance DeFotis.
Elizondo's symphonic, choral and chamber music explores folk elements from the music of Mexico, his homeland, and the
rest of Latin America. Elizondo enjoys participating in education and outreach programs, and collaborates often with community
and youth orchestras.

Navona Records presents these diverse orchestral works of two composers united by their affinity for energetic, stylistic,
and rhythmic composition. Jos� Elizondo and David Tanner, whose respective works simultaneously complement and challenge
those of the other, share their varied backgrounds and experiences to create a glorious whole with international appeal.
Stellar performances from the Moravian Philharmonic Orchestra throughout the disc further highlight the album's
dichotomy, illustrating each composer's similar styles and subtle differences.



Music by David Tanner & Jos� Elizondo
Played by the Moravian Philharmonic Orchestra
Conducted by Petr Vronsk� & Vit Micka

"These two composers have a lot in common, though one is from Mexico and the other from England. They both have an affinity
for energetic, rhythmic and tonal compositions that sound refreshing and enjoyable. In fact, I don�t believe I�ve heard another
collection of new music for a very long time that struck me as so listenable as these, and I felt I had to review it right away.
They each have varied backgrounds and experiences, but their music seems to immediately appeal to the listener, and will
probably do so internationally as well as in North America.

David Tanner was briefly part of a Canadian rock group called Lighthouse; he�s lived in Canada since 1953. He has taught
saxophone and written works for concert band and choral groups. He is now retired, but took up composing with a new vigor
in 2007, which resulted in his delightful little Tango of the Lemons heard here. The Pocket Symphony is in four short movements,
just composed last year. In it, Tanner pays tribute to Bernstein, Copland, Debussy Tchaikovsky and some other Russian composers.
His ten-minute work for horn and orchestra, I�ll Come to Thee by Moonlight, depicts a highwayman�s swashbuckling activities.

Jos� Elizondo�s music is simple and straightforward. He likes to share elements of his Latin American roots with his audiences,
and his orchestral works are performed around the world. Estampas Mexicanas was inspired by the music of Mexico�s Carlos
Ch�vez, as well as the mysticism of Revueltas and the romantic lyricism of Ponce. Its last movement brings together European
and Mexican sounds, including a symphonic version of a mariachi band. The piece has been performed around the world,
including even Antarctica. The Moravian musicians perform both composers� works to a T. This is a fine collection of new
orchestral works that one need not fear in any way."
The Audiophile Audition





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Formats: mp3(320), DDD Stereo
File Size: 162 MB (incl. front cover & booklet)

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No.1315
Modern: Tonal/Contemporary

Born in London in 1951, Philip Sawyers studied violin with Colin Sauer, Joan Spencer and Max Rostal, and composition
with Helen Glatz (a pupil of Vaughan Williams and Bartok), with guidance from Buxton Orr, Patric Standford and Edmund Rubbra.
Between 1973-1997he was a member of the Royal Opera House Orchestra, Covent Garden. He now works as a violinist,
composer, and teacher. Sawyers notes: "The three works on this disc are related by a quirk of fate. In 2002 I was invited by
David Lockington to submit a piece for possible performance opportunities. That work, the Symphonic Music for Strings
and Brass, was duly performed and widely appreciated. Its success led to a commission for a piece to celebrate in the
75th anniversary in 2005 of the Grand Rapids Symphony, my Symphony No.1."



Music Composed by Philip Sawyers
Played by The Grand Rapids Symphony
Conducted by David Lockington

"Sawyers is an important composer who has not shied away from the vital twelve-tone technique that held music in thrall
through much of the twentieth century. Yet, like Berg he is not a slave to any particular compositional technique or method
of construction. I was delighted to receive this present CD in the post and regard it as a pleasure and a privilege to review
these three works. I hold my hand up and admit that I am an enthusiast of �twelve-tone music�. Ever since hearing Berg�s
Violin Concerto as part of school studies I have enjoyed and appreciated this approach to musical composition. Searle,
Lutyens and Wellesz count amongst my favourite British composers: I guess that it acts as a corrective to my pastoral
leanings exemplified by Finzi, Butterworth and RVW.

For listeners who require information about Philip Sawyers there is an excellent website giving extensive biographical
details as well as details of his music and forthcoming events. However, a few key points may help to define his life and
career. Sawyers was born in London in 1951 and began composing in the early 1960s. He had formal lessons in violin
from Colin Sauer, Joan Spencer and Max Rostal. Compositional skills were developed by Helen Glatz who was a one-time
pupil of Ralph Vaughan Williams. He had additional lessons from Buxton Orr, Patric Standford and Edmund Rubbra.
Much of Sawyer�s career has been away from the composer�s desk: between 1973 and 1997 he was a member of the
Royal Opera House Orchestra at Covent Garden. Although he is now dedicated to writing music, he also performs as a
free-lance violinist, music teacher and adjudicator for the Associated Board of the Royal Schools of Music. It is only in
the past two decades that Sawyers has begun to be regarded as a major composer. Philip Sawyers' musical language
is characterised by the highly creative use of tone-rows, a subtle balance of tonality and atonality, excellent orchestral
colouring, rigorous development of his musical material and a general confidence that transcends much that passes for
�contemporary music�. A new Nimbus recording of his Second Symphony, cello concerto and Concertante has been
reviewed on these pages recently, and I will be adding my thoughts shortly - I was seriously impressed with all
three works.

I was bowled over by �concert overture� The Gale of Life. This work was conceived shortly after the first performance
of Sawyers� First Symphony. More about that work later, but it is important to note that the dynamic scherzo of the
Symphony was the inspiration for this overture. The work was commissioned by the Albany Symphony Orchestra which
is based in New York State. The title of the overture is derived from the well-known poem by A.E. Housman
�On Wenlock Edge�:-

'There, like the wind through the woods in riot,
Through him the gale of life blew high;
The tree of man was never quiet:
Then 'twas the Roman, now 'tis I.�

This work is also closely related to the Symphony in so far as the opening chords are a direct quotation from the finale
of that earlier work. The form and the orchestration of this overture admirably reflects the sentiment of the �unsettling
and disturbing� words of Housman�s great poem. This is powerful music that evokes Sawyers� trademark balance of
juxtaposing �quite traditional chords and a highly chromatic, freely dissonant harmonic vocabulary.�

The earliest work here is the Symphonic Music for Strings and Brass which was composed in 1972 whilst Sawyers was
studying at the Guildhall School of Music. It was first performed at that time with the composer on the rostrum. In the
early 'seventies, musical experiments were all the rage � Boulez�s �integral serialism�, aleatory procedures, electronic
music and novel instrumental playing techniques were all regularly utilised. Sawyers writes that he wished to compose
something modern that broke �from traditional tonality without throwing it overboard�. He was also interested in writing
an absolute work, free of �programmatic overtones�. The composer notes influences from Bart�k, Mahler and Hindemith.
He has synthesised these affinities and has created a confident work that is both lyrical and powerful in its exposition.
There is a good balance between intense string writing, Mahlerian brass interruptions and reflective moments such as
that with which the work closes. It is hard to believe that this complex, well-constructed, and often moving work is
that of a 21 year old student.

The Symphony No. 1 is an impressive work. Sawyers notes that the methodology of symphonic writing is more conducive
to him than that of a �rhapsodically or programmatically� derived subject. In the early years of the 21st century he
was given a commission to write a symphony for the Grand Rapids Symphony Orchestra and their conductor
David Lockington.

The opening movement of this work is based on a �12-note� row which is manipulated in both lyrical development and a
�more driven fugal section�. Nick Barnard, in his review has noted that the serial nature of this work is not an abandonment
of tonality as such, but is an effective structural device. The overall effect of this opening movement is of a long,
dramatic march with some terrific outbursts and a few pauses for reflection.

The second movement, an adagio, is the longest movement of the symphony. It begins and ends in a �pure D major�.
The composer states that he had �in mind� to write an adagio as found in the symphonies of Bruckner and Mahler.
Add to this some nods to Sibelius and Wagner and we have a deeply introspective movement that explores a huge
emotional canvas. This must rank as one of the great �adagios� in modern symphonic literature.

The scherzo and trio movement is in �traditional form� and showcases the superb technique and virtuosity of the orchestra.
It fairly zips along presenting dazzling passages and tunes toppling over each other without ever becoming na�ve or
inconsistent with the profound music that has preceded it. Rhythmic diversity gives considerable punch to the proceedings
with just a little frisson of the �sinister� creeping in here and there.

The finale is once again structured on a tone-row which balances two thematic groups � the first, some disconcerted,
edgy music and the second, a chorale-like tune. The progress of the music is really a dialogue between these two elements
with a few quieter episodes. The work concludes with a stunning peroration, ending on a not altogether unexpected D major
chord.

The liner-notes, written by the composer, are excellent, clear and legible. They include a brief note about the orchestra
and the musical director. The cover picture is taken from Philip Groom�s effective Landscape of Angels 3: it is strange that
I can find no internet reference to this clearly talented artist.

I guess that the present recording was made at the premieres of each of these works. The engineers have � wisely in my
opinion � retained the applause and the odd cough from the auditorium. One cannot help feeling that the skill and the
enthusiasm of the orchestra and their conductor is palpable.

I echo Nick Barnard�s sentiments when he declares that �fortunate indeed [is] the composer whose music receives such
dedicated and well prepared first performances.� This is a fine CD that deserves detailed listening and study."
Musicweb





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No.1316
Modern: Tonal

American composer James Cohn was born in 1928 in Newark, New Jersey, and took violin and piano lessons there.
Later he studied composition with Roy Harris, Wayne Barlow and Bernard Wagenaar, and majored in Composition at the
Juilliard School, graduating in 1950. He has lived and worked for many years in New York City. He was initiated into Sigma
Alpha Iota (International Music Fraternity) as a National Arts Associate in 1998, by the Tulsa Oklahoma Alumnae Chapter
and is now a member of the New York Alumnae Chapter. Cohn has written solo, chamber, choral and orchestral works,
and his catalog includes three string quartets, five piano sonatas and eight symphonies. Some have won awards,
including a Queen Elisabeth of Belgium Prize for his Symphony No. 2 and an A.I.D.E.M. prize for his Symphony No. 4
(given its premi�re in Florence at the Maggio Musicale).

Paul Paray and the Detroit Symphony introduced the composer�s Symphony No.3 and Variations on the Wayfaring
Stranger. His opera The Fall of the City won an Ohio University Opera Award. There have been many performances
of his choral and chamber music, and worldwide use of his works commissioned for television and cinema. Major commissions
include one from the McKim Fund in the Library of Congress and another, the Concerto da Camera, premiered at the the
Music at Gretna (PA) Festival as the Mount Gretna Suite. Maestro Guido Six, of the Conservatory of Music in Ostend, Belgium
commissioned the Caprice for Claribel, his 30-piece clarinet choir. A recent commission, The Texas Suite, was given
its premiere at the Texas Music Educators Association Convention in San Antonio.



Music Composed by James Cohn
Played by the Slovak Radio Symphony Orchestra
Conducted by Kirk Trevor

"James Cohn is a refreshing discovery. Not only is it a pleasure to discover a contemporary American composer
who extolls the role of lyricism in music (�I�ve always tended to write in a melodic, rather than in a percussive way�),
but it�s a plus to find someone who does it in so natural, straightforward, unpretentious a way. Still among the living
at age 84 and working on new commissions even as I write, Cohn (he pronounces his name co-en) believes in
writing to his listeners� emotional, and not just intellectual needs, and he brings all the sonic resources of his
orchestra to that end...

'His'' orchestra, if I may use the term, has been standard with him for more than fifty years, ever since his Third Symphony (1955)
heard on this program. It consists of five woodwinds, three brass, two percussionists, and a minimum of fifteen strings,
with the understanding that more string players, if available, could be added to each part. Within these limitations, in part
a reflection of the realities of musical life for the modern composer and the corresponding need to write with something
other than a full 100-piece symphony orchestra in mind if one expects to be performed, Cohn has done very well for himself,
as the present program bears witness. His music is immediately identifiable and accessible to listeners who have been put
on a starvation diet by all the various �isms� that have come and gone in contemporary music � serialism and minimalism
being the most odious.

In part, Cohn�s accessibility is a product of his ear for timbres and his unerring instinct for choosing the right instruments
for what he wants to say. Orchestral musicians must simply love this guy for the way he writes to their instruments� strengths,
rather than torturing them to do the unnatural just to achieve a striking effect. Listen to the glorious clarinet melody over a
kettledrum roll in the opening to Symphony No. 3, the fetchingly idiomatic use of the trumpet in the �Boogie� and �Drag�
movements of his wonderful Miniatures for Orchestra, the hauntingly beautiful horn passages in the �Sunrise� and �Sunset�
movements from the same work, or the fascinating dialogues in the strings in the Andante tranquillo of Symphony No. 4 (1956),
and you will hear what I mean. Symphony No. 8 (1978) reveals a more concise, dramatic and turbulent element in Cohn�s
music without betraying the salient qualities that I described earlier."
The Audio Society of Atlanta





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No.1317
Modern: Tonal/Contemporary

British composer David Sawer (*1961) studied music at the University of York and subsequently won a DAAD scholarship
to study in Cologne with Mauricio Kagel. In 1992 he was awarded the Fulbright-Chester-Schirmer Fellowship in Composition.
A Paul Hamlyn Foundation Award followed in 1993 and, in 1995, the Arts Foundation�s Composer Fellowship. In 1996 he was
composer-in-association with the Bournemouth Orchestras; in 2006 he was awarded a Civitella Ranieri Fellowship.
The 1990s saw a succession of important commissions. Byrnan Wood, his first large-scale orchestral piece, was premiered
at the Proms and recorded on the NMC label by the BBC Symphony Orchestra with Andrew Davis. The Trumpet Concerto
received its first performance from the same orchestra in 1995, and in 1997 the BBC National Orchestra of Wales gave the world
and London premi�res of The Greatest Happiness Principle at St David�s Hall, Cardiff, and the Proms respectively.
Tiroirs, commissioned by the Michael Vyner Trust for the London Sinfonietta, has been performed throughout Europe,
in the USA and at the 1998 ISCM World Music Days.

The first full-length disc from David Sawer, featuring the greatest happiness principle for orchestra, ensemble works
Tiroirs and The Memory of Water, and a specially-arranged orchestral suite taken from Sawer�s opera
From Morning to Midnight, heard here for the first time.



Music Composed by David Sawer
Played by the BBC Symphony Orchestra
And the Birmingham Contemporary Music Group
Conducted by Martyn Brabbins & Susanna M�lkki

"David Sawer is now in his mid-forties, and this disc charts aspects of his stylistic development since the mid-1990s.
The Memory of Water, completed in 1995, takes a homogeneous instrumental group � 13 solo strings � and explores
ideas about space as both mass and mobility. One of a pair of featured solo violins moves across the platform as the
piece flows along, and although this effect is probably stronger visually than aurally, it helps to articulate a piece in
which the evolution of quite simple patterns is basic to its appeal.Such evolution continues prominently in both Tiroirs �
a telling tribute to the virtuosity of its commissioners, the London Sinfonietta � and the greatest happiness principle.
This orchestral piece begins for all the world like a take-off of Steve Reich but it soon presents a much wider range of
textures and moods than would ever fit comfortably into the minimalist frame.

Both these pieces are attractive and accomplished, yet Sawer must have sensed their limitations when he came to
contemplate his opera for ENO, From Morning to Midnight, first performed in 2001. The orchestral suite he has now
drawn from this reveals a much broader expressive palette and doesn�t shrink from echoes of Ravel, Stravinsky and
Prokofiev in its dazzling concluding ballet of cyclists in a velodrome. The Suite is less obviously personal in style than
the earlier music, but it�s powerfully effective, and entirely positive in its projection of strong theatrical and musical
possibilities. All the performances are very good indeed, the various recordings equally efficient."
Gramophone





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No.1318
Modern: Tonal

Of all the early twentieth century American musical revolutionaries, perhaps composer Henry Cowell (1897-1965) wielded
the most vivid and far-reaching influence. Born in 1897 to a rural California family, Cowell began to study the violin at age five,
though his parents' hopes of creating a prodigy on the instrument remained unfulfilled when the lessons had to be stopped on
account of the boy's poor health. After his parents' divorce in 1903, Cowell spent several years traveling around the country
visiting relatives with his mother. It was during one such journey in 1908 that he began to write his own music, his first known
effort at composition being an unfinished setting of Longfellow's Golden Legend.

Until he began musical studies with Charles Seeger at the University of California at Berkeley in 1914, Cowell remained a
basically self-taught musician, as well as a young man who had never spent so much as a day in school in his life. Seeger
was impressed by the young Cowell's output -- over 100 compositions of varying quality by 1914 -- but was much more
interested in the young composer's hyper-creative, open-minded musical personality. Free of the often confining attitudes
which govern formal musical education, Cowell had come to view any sound as musical substance with which he could work,
and his early music owes more to the influence of birdsong, machine noises and folk music than it does to any knowledge
of earlier masterworks.

Later music, like the Symphonies Nos. 7 & 16 ("Icelandic"), incorporate generous helpings of indeterminacy,
though from the 1930s onward, Cowell's compositional language grew increasingly tonal and rhythmically simplified.
Cowell died after several years of serious illness.



Music Composed by Henry Cowell
Played by the Polish National Radio, Icelandic & Vienna Symphony Orchestras
Conducted by William Strickland

"Cowell, one of the archetypal 'bad boys' of music was fantastically prolific. There are more than 1000 works
and they are not all 'of a piece' stylistically. For sure there are some audaciously modernistic works in which tone
clusters are evident but his modernism seems to have been moderated by his contact in the 1940s with what we
now call 'world music'. From thenceforward he leaned towards a more accessible style without losing his tangy
and rangy spirit of defiance.

He wrote a large number of symphonies. After the Third The Gaelic (1942) there were 17 more before his death.

I cannot better the notes' description of the first movement of Symphony No. 16: 'sweetly dissonant'. This is
succeeded by a muscular wide open fugue in which the recording of the strings suffer the audio famine associated
with a 35 year old tape. The third movement has something in common with Ravel's Pavane and the next
movement adopts an antique pastiche style similar to E J Moeran's orchestral Serenade. The finale continues
the atmosphere of antique dances, with carefree strings. The archaism reminded me of Alan Hovhaness in
his grand baroque moments. The symphony ends very broadly with recollections of the earlier movements.

The Seventh Symphony is in four movements: I in which a Back-Stokowski 'kolossal' fugue meets a Finzian
string paean and village folk violin. II resounds with a gamelan ostinato over which a very attractive velour
string theme rings out. III evokes Irish jigs and reels, uillean pipes, hoofbeats and Western Americana.
The finale flows with vitality - a high and wide maestoso.

Synchrony runs counter to the more conservative trend. String anthems, jerky flute themes, skittering strings,
strange loose snared drum noises, jazzy xylophone rushes, oriental twists, cool pastorals and a soaring solo
violin jostle and interact.

The CRI American Masters series (reissued from LP) is handsomely packaged and the notes are always good.
In this case they are provided by H Wiley Hitchcock. Recommended listening for those wishing to explore Cowell -
a composer of many facets and, I strongly suspect, with surprises yet in store for us."
Musicweb



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No.1319
Modern: Tonal

Jonathan Alfred Clawson "J.A.C." Redford (*1953) is an American composer, arranger, orchestrator, and conductor. He is also
the author of "Welcome All Wonders: A Composer's Journey." From 1976 to the present, Redford has been concurrently writing
music for film and television, the concert hall, chamber artists, choral ensembles, and the theater. In a 2009 article, J�r�mie Noyer
wrote, "It is that rich experience that makes Redford�s music unique, drawing from an incredible array of influences . . .
J.A.C. Redford distinguishes himself from other film music composers by an incredible versatility, feeling as comfortable
in pop music or jazz as in concert music." Redford has written the scores for more than three dozen feature films, TV movies,
and miniseries, including The Trip to Bountiful, One Night with the King, What the Deaf Man Heard, Mama Flora�s Family, as
well as Disney�s Oliver & Company, Newsies, The Mighty Ducks II, and The Mighty Ducks III. He has composed the music for
nearly 500 episodes of series television, including multiple seasons of Coach and St. Elsewhere (for which he received
Emmy� nominations in 1984 and 1985).

October Overtures is a single-movement divertimento for standard orchestra. An attractive concert-opener
especially suited for POPS-style programs, college, community, and professional ensembles, along with their audiences,
will enjoy this upbeat, accessible piece, infused with the lilting rhythms and poignant melodies of Celtic traditional music.
The Ancient of Days is a dramatic music narrative. Versions for large orchestra and a speaker or brass quintet, organ,
percussion and a speaker.



Music Composed and Conducted by J.A.C. Redford
Played by the Kyviv & London Studio Symphony Orchestras



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Bravo! Another day-full of listening adventures! I must say, had you not recommended it, the cover art of David Sawer's "From Morning to Midnight" might have been a bit off-putting —*but I trust your judgment, and the reviews look amazing. Glad you induced me to look beyond the cover! Playing it first, therefore. THANKS!

Sawer's music doesn't take itself too seriously, which keeps the rather advanced harmonies accessible.


No.1320
Modern: Tonal

Regarded as Wales' leading composer of the late twentieth century, Alun Hoddinott (1929-2008) gained an international
audience through performances of his Clarinet Concerto (1949), premiered by the celebrated Gervase de Peyer at the 1954
Cheltenham Festival. Subsequently, he wrote works for a number of important artists, including Barry Tuckwell, John Ogdon,
and Mstislav Rostropovich. Singers, too, such as Dame Gwyneth Jones, Stuart Burrows, and bass baritone Sir Geraint Evans
(who named a son after him) performed Hoddinott scores composed specifically for them. Through several academic
appointments and his efforts on behalf of the Cardiff Festival of Twentieth Century Music, Hoddinott greatly enhanced
Wales' musical reputation among other nations.

During his two decades as professor of music at Cardiff (1967-1987), Hoddinott was in a position to exert considerable influence
on the musical life of his country. His 22 years as artistic director of the Cardiff Festival beginning in 1967 afforded him even
greater opportunities to guide and promote Welsh contemporary music. For his work as composer and administrator, Hoddinott
received a number of honors, among them a CBE, the Arnold Bax Medal, and the John Edwards Memorial Award. He was
awarded an honorary membership at the Royal Academy of Music and was made a Fellow at the Royal Northern College of Music.

Among Hoddinott's works are a half-dozen operas, various chamber and orchestral works, and other pieces composed for
chorus and soloists. The composer's Celtic roots are clearly in evidence in music that remains communicative and harmonically
accessible, even in moments of brooding introspection.



Music Composed by Alun Hoddinott
Played by the BBC National Orchestra of Wales
Conducted by Tadaaki Otaka

"The BBC Welsh Symphony Orchestra has always devoted much of its time to supporting Welsh composers and
musicians (if only English orchestras would do the same in such a consistent manner). Alun Hoddinott has enjoyed
a long association with the orchestra throughout his time as Professor of Music at Cardiff University and as Director
of the Cardiff Festival. The result has been a string of commissions and performances not only throughout the British
Isles but in major musical centres abroad. When given such fine and committed performances as those on this disc
by an orchestra and its Principal Conductor, both currently on sparkling form, many composers will envy Hoddinott
his good fortune.

Since his First Clarinet Concerto appeared in 1949, Alun Hoddinott has been a prolific composer with a particular
aptitude for orchestral scores. His language is reminiscent of Rawsthorne and Fricker and his soundworld derives
from Hindemith though it is more more colourful with its extensive use of percussion. Of the four works on this
disc, the earliest, Passaggio, dates from 1977 while Star Children, the most recent, was composed in 1988-9.
In between come two concertante works: The Heaventree of Stars in which the soloist is the gifted Chinese
violinist, Hu Kun, and Doubles for oboe, harpsichord and string orchestra with David Cowley as the very
persuasive soloist. To my ears, the harpsichord here is a little distant and there is some lack of clarity in the
loudest climaxes of Star Children. This may be due to Nimbus's taste for single microphone balances.
None the less, I'm sure that this is a disc which will appeal to Hoddinott's many fans.'"
Gramophone



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Tried downloading mp3 version of Alun Hoddinott: Sinfonia Fidei, Dives and Lazarus, Viola Concertino (post #1713) and discovered it has the link to Alexandre Tansman: Sinfoniettas, Divertimento (post #1701).

Otherwise, fifty lashes to me for taking so long to thank you for the brilliance that is (are?) your posts. Thanks!

Tried downloading mp3 version of Alun Hoddinott: Sinfonia Fidei, Dives and Lazarus, Viola Concertino (post #1713) and discovered it has the link to Alexandre Tansman: Sinfoniettas, Divertimento (post #1701).

Hoddinott link fixed - Thread 121898

Hoddinott link fixed - Thread 121898

Thank you!

No.1321
Modern: Contemporary

David Matthews was born in London in 1943 and started composing at the age of sixteen. He read Classics at the
University of Nottingham � where he has more recently been made an Honorary Doctor of Music � and afterwards studied
composition privately with Anthony Milner. He was also helped by the advice and encouragement of Nicholas Maw and spent
three years as an assistant to Benjamin Britten in the late 1960s. On the one hand Matthews� musical language grew out
of his English background and his special concern for the music of Tippett, Britten and Maw, but it is also strongly connected
to the central European tradition � back through Mahler to Beethoven. He has been preoccupied with working in the great
inherited forms of the past � symphony, string quartet, and lately oratorio � and finding new ways of renewing them.
He is the brother of British avantgarde composer Colin Matthews.

Two richly dramatic orchestral scores are presented on this disc. In the Dark Time takes its title from TS Eliot's
"Four Quartets" and reflects the turning of the seasons from winter to spring; and Chaconne, inspired by
Geoffrey Hill's haunting evocation of the medieval battlefield at Towton, Yorkshi.



Music Composed by David Matthews
Played by the BBC Symphony Orchestra
Conducted by Jac van Steen

"It has been some time since I last reviewed a disc of David Matthews' music. This is mainly because his works
only appear slowly and with very little fanfare. His Cantiga Op.45, a Proms commission from 1988, recorded by
Unicorn-Kanchana, is no longer available. His 4th symphony was a Virgin Classics single and some of his chamber
works are to be found on the small label Metronome. NMC have released some of his piano works [DO21S].
I am not sure if his marvellous Piano Trio Op34 recorded on the Kingdom label is available any longer.

This issue is particularly welcome and marvellously performed and recorded. Matthews is a traditionalist; he works
in his own passionate and individual way within an accepted medium. I do not wish to imply that he is easy or
undemanding. He is often intensely chromatic but with a key-centre and sometimes a recognisable tonality.
His orchestration is rich, powerful and entirely successful; not surprising for a man who helped Deryck Cooke
on the final performing version of Mahler's 10th Symphony. He also played a major part in the orchestration of
Paul McCartney's Standing Stone.

I first heard In the Dark Time in 1988 on the radio, a recording I have kept and played. It is impressively tense
and emotional but with brightness towards the end. The composer says that it was conceived as "October to
March music" and therefore has a particular shape. He tried to "keep up with [the] appropriate season" as he
wrote it. The title comes from T.S. Eliot's 'Little Gidding' beginning "Midwinter Spring is its own season."
A line most pertinent to me as I heard this new recording first on a cold fresh day in late February.

Chaconne is a 'compositional tour-de-force'. Again the composer admits to inspiration from the landscape but
"the music is not pictorial". In fact the composer talks of a medieval landscape such as Towton where
"26,000 men were slaughtered in the Wars of the Roses, but which is now at peace".

Reading through the notes the composer talks of D major, or 'the pedal note F', 'long melodic passages'
and a 'horn melody'.

Anyone who can appreciate music of warmth, power and communication will enjoy this CD. My wife, a
non-musician, heard it and thought it 'wonderful'. Not only that. NMC is an enterprising label on behalf
of British music and we should if possible support them."
Musicweb



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No.1322
Modern: Tonal/Wind Band

Composer Frank Ticheli�s (*1958) music has been described as being �optimistic and thoughtful� (Los Angeles Times),
�lean and muscular� (New York Times), �brilliantly effective� (Miami Herald) and �powerful, deeply felt crafted with impressive flair
and an ear for striking instrumental colors� (South Florida Sun-Sentinel). Since 1991, Ticheli has been a Professor of Composition
at the University of Southern California�s Thornton School of Music. From 1991 to 1998, Ticheli was Composer in Residence of the
Pacific Symphony, Carl St. Clair, music director. Ticheli is well known for his works for concert band, many of which have
become standards in the repertoire.



Music Composed by Frabk Ticheli
Played by the Dallas Wind Symphony
With the Jim Cullum Jazz Band
Conducted by Jerry Junkin

�It is a diverse collection of music that seems to have been written as much for the sheer enjoyment of the listener
as to show off the exceptional range a wind band can have in its repertoire. From the powerful to the delicate, the music
highlights what these 19 instruments and 51 musicians can achieve�The music bounces and flows � it�s Gershwin with a
beat and one of the finest mergings of classical and jazz I�ve heard� Johnson captures the small identifying touches �
the air being blown past a reed or into a mouthpiece � with a clarity that you cannot ignore, yet the the massed power
of the Dallas Wind Symphony is astoundingly realistic. When the Cullum Jazz Band is added to the mix, the results don�t
change one iota. From the brass to the bass to the drums, the jazz band sounds as realistic as I�ve heard�This HDCD
is a world-class effort well worth seeking out.�
The Audio Beat





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No.1323
Modern: Tonal

Knud�ge Riisager (1897-1974) was born to Danish parents in Port Kunda, Estonia, travelling with his family back to Denmark
at the age of three. After studying political science and music in Copenhagen, Riisager went to Paris to study composition under
Albert Roussel and Paul le Flem from 1921-1923. During his stay in Paris Riisager came into contact with the group Les Six and
became acquainted with the music of, among others, Igor Stravinsky. Riisager later studied music in Leipzig under Hermann Grabner.
Among his contemporary Danish colleagues, Riisager emerges as perhaps the most internationally minded, and he is known around
the world for his ballet music created in collaboration with choreographer Harald Lander.

Riisager had the idea for Qarrtsiluni from reading the Arctic explorer Knud Rasmussen's book Festens gave (1929), which
has a section describing the expectant stillness that bears the name qarrtsiluni in the Eskimo language. The work is arranged as
one large crescendo, and as such may recall Ravel's Bol�ro (1928), but after just a few hearings one will be convinced that the
differences between the two works are greater than the resemblances. After the brief, harsh introduction with clashing seconds,
the tom-tom player breaks the silence with a few quiet sounds which, after two bars, gather into the small rhythmic motif that
permeates the rest of the work. A few intense little figures in the high woodwinds have the effect of lightning in the series of
events, and they too end in shrill clashing seconds. A little theme surrounding the interval of a fifth appears in the flute and
is taken up by other instruments - this is incidentally an original Greenlandic theme. Yet another motif enters in the clarinet
and is immediately answered in the violas by a rocking figure in thirds. This whole complex of motifs is now exploited in an
intensification that is supported by the large array of percussion that chisels out the introductory tom-tom rhythm. After a
mighty culmination the rhythm seems to be fixed by the full orchestra, and after the original rhythm has been hammered
out with great intensity, a general pause comes, followed by a coda based on the above-mentioned flute theme, all supported
by the original rhythm.

In the mid-fifties Riisager made contact with the Swedish choreographer Birgit Cullberg, who created the ballet M�nerenen
(Moon Reindeer) on the basis of a Lapp tale by Mirjami Kousmanen. While in Qarrtsiluni Riisager had used original
Greenlandic material, in Moon Reindeer he used motifs or rhythmic ideas from Lapp music, although it should not be considered
"folkloristically authentic in style", as Riisager himself put it. Riisager's score for Moon Reindeer is end-dated 10th March 1956
and consists of a number of dances that are grouped in the five 'scenes'. In the music several phrases are used with a leitmotivic
function, for example the love motif, which can already be heard in the prelude, as well as the sorcery motif and N�iden's motif.
The music for Moon Reindeer has decidedly lyrical qualities, and as such is typical of several of Riisager's later works, where the
'Baroque' has given way to more expressiveness and psychological depth. That this is also related to a quite different range of
subjects in these late ballets is obvious. Despite this change in style, Moon Reindeer exhibits many of the important features
that characterized Riisager's music as far back as the 1920s, not least its distinctive treatment of the orchestra and its
rhythmic �lan.



Music Composed by Knud�ge Riisager
Played by the Aarhus Symphony Orchestra
Conducted by Bo Holten

"Holten and the Aarhus Symphony play the music with more than the necessary commitment and enthusiasm, obviously
relishing its many opportunities to create evocative sonorities and glowing textures, and Dacapo's sonics are simply ideal:
warm, focused, and clean. If ballet companies outside of Denmark would pick up some of these works, I have no doubt
that they would be very successful with the public. In the meantime, I can only urge listeners to snatch up whatever
orchestral music of Riisager's comes along, in the hope that someone at Dacapo or elsewhere will notice that they have
a potential winner on their hands and get behind him in a serious and methodical way. Given the vast amount of c
haracterless crap foisted on the public as "new music", Riisager is a composer whose distinctive body of work, firmly
contemporary but also listener-friendly without pandering, deserves the widest possible exposure."
Classics Today https://i.postimg.cc/4d0NnfFp/ct-p10s10.gif



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Thanks for the Ticheli.

Riisager is phenomenal, the complete Series on DACAPO is a winner. Nice to find it here. Wimpel69, your missionary work here in this thread is phenomenal too :)
Billion thanks!

You're right. Outstandingly colorful and original music. :)


No.1324
Modern: Tonal

Manfred Gurlitt (1890-1972) was a student of Engelbert Humperdinck and worked as an assistant r�p�titeur and conductor
with Richard Strauss, Carl Muck and Leo Blech. In 1929 he took a position as conductor at Berlin�s renowned Krolloper. When the
Nazis came to power, he was excluded from his profession because of his Jewish heritage.

The Goya Symphony was written in 1938, shortly before Gurlitt flew into exile to Japan. There he accomplished what had become
impossible for him in Germany: Manfred Gurlitt became an acclaimed composer, conductor and teacher. Like many other of his
works, the Goya Symphony was premiered in Japan. The first performance in German took place as late as 1952.

As in his operas, Gurlitt�s Goya Symphony also shows his opposition against the Nazi regime. The sources of inspiration for this
work are paintings of Francisco Goya that Gurlitt saw in 1933 at a visit of the Prado museum in Madrid. Indeed the similarities between
the Goya and Gurlitt are obvious. Both fled from their home countries for political reasons: Goya went to France into exile while Gurlitt
flew to Japan. Also, both artists criticized the political situation and crimes of their time in their work in a complex and encrypted way.
(This kind of �encrypted criticism� connects Gurlitt to another composer that lived during the same time as he did: Dmitri Shostakovich,
the Russian composer who always found cunning ways to express his divergent opinion in his music.)

The symphony begins with Spanish castanets in a cheerful mood, which is being overshadowed as the music progresses. The playful
theme of the first movement stands in contrast to the march-staccato-motives from the second movement. Powerful chords create
a threatening and aggressive atmosphere in the third movement. Finally the symphony ends with a movement of variations, where
tonality more and more dissolves; here the music feels like a never-ending quest.



Music Composed by Manfred Gurlitt
Played by the Berlin Radio Symphony Orchestra
With Christiane Oelze (soprano)
Conducted by Antony Beaumont

"Gurlitt�s Goya Symphony is for orchestra alone and is in four movements of which the last is a Theme and ten
variations here thoughtfully presented with each variation separately tracked.

Gurlitt is a lyric composer but he is no lavish late-romantic at least not by George Lloyd or Josef Marx standards.
His palette has clear affinities with Mahler in its patteringly confident Allegro deciso and with Hindemith and Siegfried Wagner
in the marzipan playfulness of the first two movements. The cantabile is mildly astringent�rather similar to Rawsthorne
at one moment�and less disorientatingly with Franz Schmidt in the cheerier reaches of the Husarenlied Variations.
The implacably grim and insistent Largo (III) includes, at its apex, a fusillade of rifle fire. This volley is followed by three
ringing anvil blows. The theme and variations sequence is lengthy and includes an explosively urgent and ruthlessly
exciting Allegro tumultuoso (tr. 8). Much of the cheerier material recalls for me the jaunty Schmidt or Hindemith but
there are more serious and even poetic episodes (as in tr. 11). The final (tr. 14) Maestoso has a sourly trudging and tragic
mien as the music winds towards catastrophe. A trumpet call is heard that must have been influenced by the trumpet
elegy that calls out over Franz Schmidt�s fourth symphony of about the same time. The symphony ends in a Rosenkavalier
shimmer amid a distant echo of the trumpet theme.

The Four Dramatic Songs were a musical wedding present to his new Japanese wife in 1952. That was the year in which
he divorced Wiltraut Hahn with whom he had travelled to Japan in 1937. These four songs are intense, concentrated,
darkly inward but accessible enough. They are not as florid as those by Schulhoff and Zemlinsky but they have a fascination
and concentration best exemplified by the last song in which Gurlitt�s own personal situation is perhaps paralleled.
A nobleman suffering from leprosy is healed in the arms of a young girl. The last song has the brass making their
presence abrasively and dramatically felt. The bells of redemption ring out in healing at 4:43.

The words to the four songs are given in German and in English translation side by side.

I am more than indebted to Antony Beaumont�s liner essay. To him we owe the tantalising prospect/hope of hearing
Gurlitt�s Shakespeare Symphony (1952�54) and the cello and violin concertos.

Gurlitt made something of a splash in 1921�5 with his opera Wozzeck which was eclipsed by Berg�s opera of the same
name. A similar fate engulfed his opera Soldaten (1929�30) with Bernd Alois Zimmermann�s own opera on the same title.
The opera Nana was overshadowed by Berg�s Lulu. Despite having his music blacklisted by the Nazis he continued to write
in exile in Japan where between 1933 and 1945 there were three more operas and various substantial instrumental works.
There his Goya Symphony was premiered on 14 January 1943."
Musicweb





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---------- Post added at 01:46 PM ---------- Previous post was at 12:50 PM ----------




No.1325
Modern: Neo-Classical

As an intellectual and an aesthete, Niccol� Castiglioni (1932-1996) occupied a singular place in the profound renewal
of Italian and European musical life of the Sixties and Seventies. Having a predilection for clear sonorities and airy,
transparent textures, Castiglioni created his own unique and original artistic philosophy.

From the tonal harmony of the melodious and delicate Galuppi-inspired La Buranella (1979 � 80) to the more
fragmented and experimental Altisonanza (1990 � 92), this album gives a broad insight into the various musical
influences on the composer and the choices he made during his life.

Salmo XIX, employing a sort of terraced polyphony of extreme refinement, presents an unusual set of performing
forces: it includes two sopranos, sung here by the coloratura Teresia Bokor � who received the Soloist Prize for 2013 at
Folkoperan in Stockholm for her interpretation of The Queen of the Night � and Sine Bundgaard, a soprano at the
Royal Danish Opera and Artist of the Year for Danish National Radio in 2004.



Music Composed by Niccol� Castiglioni
Played by the Danis National Radio Symphony Orchestra
With Teresia Bokor & Sine Bundgaard (sopranos)
And the Danish National Radio Choir
Conducted by Gianandrea Noseda

"As a younger contemporary of Berio, Nono and Maderna, Niccol� Castiglioni (1932-1996) brought wit, buoyancy
and an absolute sureness of touch to the post-1945 Italian avant garde. That joyous airiness is beautifully exemplified
in the three works on Gianandrea Noseda�s impressively polished disc. La Buranella is an orchestral suite derived from
movements in Galuppi�s keyboard sonatas (the title comes from Burano, the Venetian island where Galuppi was born).
It is charming and lightweight, rather like Stravinsky�s Pulcinella. But both Altisonanza and the setting of Psalm 19,
The heavens declare the glory of God, are substantial, compelling scores. Altisonanza (also available in a 2011 Neos
recording) is one of Castiglioni�s finest pieces, an orchestral triptych full of the gem-like high-register writing that was
so typical of his music. The scoring for Salmo XIX, apparently not available on disc before, includes a pair of solo
sopranos � one a helium-high coloratura � to provide a gleaming tracery above the chorus. Each section of the text
is treated differently, and given its own sound world, but there�s muscle as well as beauty; it�s a remarkable piece,
a real choral discovery."
The Guardian





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No.1326
Modern: Tonal

Bo Linde (1933-1970) was a promising Swedish composer, based for most of his professional life in G�vle,
reckoned as a member of a group known as "50-talisterna" -- belonging to the 1950s -- Swedish composers that looked
back to the 1930s, and to neo-classicism, for inspiration. Beginning as a child prodigy at the piano, Linde decided in
early adulthood to devote himself to composition. He worked closely with the G�vle County Orchestra -- the predecessor
to the modern-day G�vle Symphony, heard here under Petter Sundkvist -- wrote music criticism and produced a small
but tidy number of works notable for their spontaneity, humor, and popular appeal. In 1970, Bo Linde inexplicably
committed suicide at the age of 37, robbing Sweden of his own prodigious gifts.

This disc begins with Linde's most popular non-concerted work, A Merry Overture (1954), which wears its
"50-talisterna" sympathies on its sleeve and is quite literally like Shostakovich meets Benjamin Britten.
Musica Concertante (1963) is much in the same vein, whereas Suite Vari�e (1959) is a bit more serious-
minded and Suite Boulogne (1966) sounds like French film music with a Swedish accent. Linde's music sparkles
as it entertains, but it does seem a little buffoonish at times; even if the listener is predisposed to predominantly tonal
orchestral music from the mid-twentieth century, one would like Linde to add a little more grist to the wheel.



Music Composed by Bo Linde
Played by the G�vle Symphony Orchestra
Conducted by Petter Sundkvist

"For those of you who bought the first instalment in this series of four SACD's this one will come as a bit
of a surprise I think. This is Bo Linde in a lighter mood, but no less masterly.

Let me first say that I have heard three of the four pieces several times before but not any of the previous
performances have been close to these superb interpretations from the provincial but excellent G�vle orchestra
and conductor Petter Sundkvist. At last we can hear this music as Bo Linde intended it to be played.

I would also like to say that all of you, us, who complain about yet another Mahler 6 - well, here is an alternative!
This music will not shake your foundation, but it will give you an hour+ of pure enjoyment.

First, A Merry Overture. An early piece and the only piece that I haven't heard before. My mind turned immediately
to the Lyrita catalogue and Francis Chagrin's Helter Skelter Overture. An early piece brimming with life and positive
emotions. Linde was an admirer of Britten but this sounds more like Walton and his overture Scapino. But I actually
like this better because of the contrasts and the tunes. (And I love Walton).

The Musica Concertante is a masterpiece. The rollicking opening sets the stage with some wide spread string harmonies.
It is so beautiful and shows Lindes genius to a full extent. The form and development is not at all original, but the
soundscapes and changes are. The music is inventive and full of surprises, and I love the "Bolero Trombone". You
must remember that Linde was a young composer and that he was constantly struggling with impressions from the
outside world. Linde was born in 1933 and died in 1970. The finale is remarkable and I love those horn syncopations
near the end. Some chamber music like interplay, and then they really give the music a lift-off!

The Suite Vari�e was written during a holiday in Spain and Linde called it the Bacardi Suite. A diverse suite in five
movements, all entertaining and musically satisfying. On the surface it may seem shallow and like "light music",
but it is more than that. Maybe not a masterpiece like the concertos or the Musica Concertante, but rewarding
nevertheless. Brilliantly written and played, and yet again Walton springs to mind. The finale reminds me of the
fugue in the Spitfire overture. I also think that many American listeners will find great pleasure in this music as
it often reminds me of Walter Piston in his prime.

The last piece is a real find. When Linde was young he often heard a band play in the park and this is his loving
compliment to the older days. I myself heard similar bands play in my home town and can recall these summer
afternoons with an ice cream and grown up people everywhere. It is a charming suite, endearing even. Your
heart will melt.

The sound is excellent and I recommend this SACD with all my heart. I love it. Really love it. In some ways
this is what music is all about."
SACD.Net





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No.1327
Modern: Tonal

Born in Launceston, Tasmania, in 1929, Peter Sculthorpe was educated at Launceston Church Grammar School,
the University of Melbourne and Wadham College, Oxford. He has also taught at various music institutions and universities
throughout the world, and he holds honorary doctorates from Tasmania, Melbourne, Sussex and Griffith. An Officer of both
the Order of Australia and the British Empire, in 1988 he was elected one of Australia's Living National Treasures.
Peter Sculthorpe has written works in most musical forms and his output relates easily to the unique social climate
and physical characteristics of Australia. The geographical position of Australia has caused him to be influenced by
much of the music of Asia, especially that of Japan and Indonesia. He died in 2014.



Music Composed by Peter Sculthorpe
Played by the Adelaide Symphony Orchestra
Conducted by David Porcelijn

"The Sun Music cycle presents a fascinating synthesis of all these often diverging influences that have moulded
Sculthorpe�s music. Originally, though, this orchestral cycle was not planned as such; and its genesis is worth briefly
recalling. Sun Music I (1965), scored for strings, brass and percussion, was suggested to the composer by
Bernard Heinze who asked whether a work without melody, rhythm and harmony was possible. Sculthorpe faced
the challenge but, in his own words, approached it in a positive way. The result was Overture, as the work was
blandly titled then, a brilliant orchestral essay in which the composer�s aural imagination was given full expression.
It also laid the basis of much of Sculthorpe�s later orchestral music. The original Sun Music II was a work for voices
and percussion not known as Sun Music for Voices and Percussion and independent from the orchestral cycle.
So, the orchestral Sun Music II was composed last, in 1969 (it then bore the title of Ketjak, i.e. "Monkey Dance")
whereas Sun Music III was originally known as Anniversary Music (it was commissioned to mark the occasion of
the 20th anniversary of ABC�s Youth Concerts in Australia). The idea of a cycle only arose in 1968 when
Robert Helpmann made a ballet Sun Music using the existing Sun Music pieces and including some new material
that became the basis of Sun Music II; and the Sun Music series, when performed complete, is some kind of
symphony of which Sun Music II is the Scherzo and the Bali-inspired Sun Music III the slow movement.
Sun Music I-IV are wonderful examples of Sculthorpe�s orchestral mastery and ability to conjure some personal
impressionistic writing through ear-catching sonorities, lively, dance-like rhythms and a bright orchestral palette.
To a certain extent, Sun Music I-IV might be the musical equivalent of Sidney Nolan�s paintings."
Musicweb



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No.1328
Light Music

Gary Daverne (*1939) was born in Auckland, New Zealand, educated at Auckland University and Auckland Teachers
Training College. He started his musical career in brass bands as a euphonium player, later changing to clarinet, playing in
symphony orchestras, jazz combos and top New Zealand ‘rock‘ bands during the 60’s. In the late 60’s, he moved to London,
where he stayed for 4 years, studying composition and conducting, while teaching and playing piano in a trio with his brother,
Wayne, who was a drummer/vocalist. Gary also studied conducting in Hawaii and Switzerland. As a composer, Daverne has
written works for orchestra, accordion, children’s songs and musicals, with over 500 TV and radio advertising jingles and film
sound tracks. Interestingly enough, he did not compose any songs or music during his rock ‘n’ roll years, even though his
band had several hit records.



Music Composed by Gary Daverne
Played by the Moravian Philharmonic Orchestra
Conducted by Petr Pololanik

"Gary Daverne, born in 1939 and since 1975 the Musical Director of the Auckland Symphony Orchestra, is a composer,
arranger and musical director for television, radio and the recording industry, and an Officer of the New Zealand Order of
Merit (O.N.Z.M.). He is no stranger to accordionists, as he has composed many compositions for that instrument and also
has conducted many accordion orchestras during accordion festivals, such as the AAA and ATG. One album, "Accordion
Concert Music by Gary Daverne," recorded by the New Zealand Accordion Orchestra, features his music entirely.

This most recent CD, "Gallipoli," recorded by the Moravian Philharmonic of the Czech Republic and conducted by Petr
Pololanik, features nine of Gary's orchestral works, including "Gem of the Kaipara" which features accordionist Kevin
Friedrich.

I first heard this composition in a live performance at the Accordionists and Teachers Guild, International (ATG) Annual
Festival in June 2003 in Chicago, Illinois with the Concord Symphony Orchestra from Milwaukee, Wisconsin. Mr. Friedrich
has had a long association with Maestro Daverne, and has performed many of his accordion works, including works
commissioned by him, such as "Concert Waltz for Accordion & String Quartet" and " A Jazz Burlesque for Accordion Trio"
(which interestingly enough, appears on this CD in a version for orchestra). (Another track, "A Pocket Overture," was
originally written for the New Zealand Accordion Orchestra.)

"Gem of the Kaipara" was written in honor of long time accordion and arts supporter and lifetime member of the
New Zealand Accordion Association, the late Mrs. Jenny Maioha Cocurullo. A respected and loved citizen of Dargaville,
she always promoted the Kaipara region of New Zealand as the "Gem of the North." However, she in turn was
considered "The Gem of the Kaipara"; thus the title of this new work.

Kevin asked Gary to write this work for solo accordion with string orchestra and percussion to serve as a musical
tribute to his long time friend and mentor Jenny Cocurullo with the title of "Gem of the Kaipara." This piece was
premiered by the Auckland Symphony Orchestra and accordion soloist Kevin Friedrich, conducted by the composer
Gary Daverne, on May 11, 2002."
The Free-Reed Review



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---------- Post added at 02:37 PM ---------- Previous post was at 02:27 PM ----------


Does the depth of your musical well never end? I HOPE NOT! So many gems … Thank you for your posts — they've made a cold and dreary day a musical delight!

Thanks. My knowledge isn't so much deep as it is broad though. ;) That's why I'm trying to cover as broad a canvas of styles as possible - from light music to the avantgarde, from "high" romanticism to contemporary, in this curfew of orchestral music.

You spoil me, good sir — I whine about a cloudy day, and you send me SUN MUSIC! and the sun is indeed shining here today. ☀️ I've enjoyed more of the modern compositions than I expected I would, as I'm a bit of a dramatic Russan composers addict. Your breadth of knowledge is every bit as impressive as your passion for the orchestral music we all enjoy so much.

And oh, by the way, THANK YOU again!

No.1329
Modern: Neo-Romantic

With numerous prizes, including the Prix de Rome, the Guggenheim Fellowship, and the Lili Boulanger Prize, Kamran Ince (*1960)
has distinguished himself in particular as a composer able to bridge East and West. Born in Montana in 1960 to American and Turkish
parents, he was brought up in Turkey, and trained at the Ankara and Izmir State Conservatories, before returning to America at the
beginning of the 1980s to work with Christopher Rouse and Joseph Schwantner at Oberlin and the Eastman School of Music, gaining
his doctorate. He currently serves as Professor of Composition at the University of Memphis and as Co-Director of MIAM at Istanbul
Technical University.

The Symphony No.2 (�Fall of Constantinople") was commissioned by the Albany Symphony Orchestra in 1994.
In the developmentally important Second Symphony, Ince set his music on the narrative grid of Mehmet the Conqueror�s taking
of the Byzantine capital in 1453. The timpani/bass drum thud of Ottoman artillery recurs throughout. All sorts of violent ideas
accrete to this central sound. The organizing contrast lies in a beautiful falling melody and attendant rocking harmonies that
become hypnotic with repetition. The theme makes an immediate and lasting impression. It plays the lead character and represents
the prayers of fearful Christians in the slow movement, Hagia Sophia. But it also stands for the calm nights on the ramparts,
when the bombardments cease, in the two day-night cycles in the opening movement, The City and the Walls.

Those two ideas permeate the symphony and help us to locate ourselves within its sprawling story. A great deal more vividly
illustrative material bubbles up within it. A remarkable evocation of Mehmet and Constantine�s pep talks to their troops squawks
out speech rhythms in high woodwinds on one hand and rolls out with lugubrious solemnity on the other. The enormous weight
and relentless drive of Ships on Rails is the very image of the Ottoman fleet being dragged overland to bypass the Byzantines�
impregnable harbor chain. In this symphony, we hear Ince on his way to his mature compositional method of laying out easily
absorbed essential material early and bringing it back in one form or another over the course of the piece.

Remembering Lycia (for piano and orchestra) also deals with the fall of Constantinople. It is about the Lycian Ruins half
submerged on the Aegean cost of Turkey.



Music Composed by Kamran Ince
Played by the Albany Symphony Orchestra
With Alan Feinberg (piano)
Conducted by David Alan Miller



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No.1330
Modern: Tonal/Contemporary

The story of the Gallipoli campaign is everlasting. It is a story of endeavour, courage, tragedy, great achievements and
great sacrifices. It is a story of young nations and old coming together in conflict. It is, most of all, a deeply human story,
woven into the fabric of Australia, New Zealand and Turkey. Millions of words have been written about the campaign,
but the story has never been told through music – until now (well, Turkish composer Can Atilla's Cagllipoli Symphony came
a bit later - you can find it in this thread, too!).

The Gallipoli Symphony is a major composition produced by internationally respected composers from Australia,
New Zealand and Turkey. It represents the first time ever that composers from three nations that fought in the campaign
have collaborated on a single commemorative work of this scale. The Gallipoli Symphony is structured into parts,
like chapters in a book, each themed around an element of the campaign – from the farewell to the New Zealander troops
as they began their journey across the world, to the battle fields after the invasion and, finally, hope for a brighter future.
The Symphony received its world-premiere performance in the magnificent Hagia Irene in Istanbul on 4 August 2015.
This CD documents the Australian premiere performance, which took place five months later in Brisbane.



Music by Omar Faruk Tekbilek, Gareth Farr, Richard Nunns & Graeme Koehne
And by Peter Sculthorpe, Elena Kats-Chernin, Kamran Ince & Ross Harris
And by Ross Edwards, Demir Demirkan, Andrew Schultz & Chris Latham
Played by the Queensland Symphony Orchestra
Conducted by Jessica Cottis

"A hundred years have passed since the disastrous landings at Gallipoli; the last ten of them have been spent assembling
The Gallipoli Symphony. Over the past decade, eleven noted composers from Turkey, New Zealand, and Australia have come
together to reflect on a shared history and to musically retell the campaign’s story. Following an international premiere in
Istanbul, the completed symphony has been brought to Australian soil for the first time.

With eleven compositions packed into a mere ninety minutes, the programme was incredibly brisk, but conductor Jessica
Cottis leapt from theme to theme with consummate skill. Under her confident hand, the Queensland Symphony Orchestra,
the St. Joseph’s College and All Hallows’ School Gallipoli Choir, The Australian Voices, and a clutch of seven soloists joined
forces with remarkable unity and colour.

The first work, Gelibolu, opened the night with perhaps the most unusual instrument in percussion soloist Michael Askill’s arsenal –
a bowl of water. Certainly a rarity for the modern orchestra (though by no means unheard of), this atypical beginning set the tone
for an evening that was to foreground unusual solos and heightened narrativity. Composer Omar Faruk Tekbilek was onstage as a
soloist, his fine command of the ney leading the orchestra through a dark, earthy rumination on the past. The sharp Turkish tones
were carried well, but a profusion of activity in the lower register resulted in a slightly monochromatic finish to the piece.

Gelibolu was followed by another work of musical fusion, Garth Farr and Richard Nunns’ He Poroporaoki (Farewell). The clean,
haunting melodies of soloist Horomona Horo, playing traditional Maori instruments, wove through a supportive strings section
in a restrained and delicate ode to the departing New Zealand troops. Capable blending was succeeded by a return to Old World
pomp, with the imperial swagger of Graeme Koehne’s The Voyage. Koehne pushes the brass to the furthest reaches of untrammelled
grandeur, with Cottis drawing some gorgeously clear and full-throated passages from the section. The theme of easy adventure
continued in Thoughts of Home (Peter Sculthorpe), though perhaps to less satisfying effect. Despite a promisingly dark opening
by Julian Jackson on the chromatic harmonica, the composition resolved early into a nostalgic, pastoral interlude.

The Landing (Elena Kats-Chernin) moved boldly into the dramatic meat of the evening. The insistent repetition of the violins and
an unusually drawn-out accelerando built irresistibly to the catastrophic climax of battle, complete with staccato drumbeats that
mimicked machine gun fire. Kamran Ince’s The Invasion continued the bombardment, unravelling into a shattering portrayal of
the Turkish trench. The soloists and strings quickly fell out of harmony with the woodwind section to create a discordant clash,
which Cottis managed with great aplomb. High, frenetic strings evoked psychological distress, while the solid drumbeat added a
note of physical destruction. Aiming to mirror, rather than transform, the noise of war, this composition rolled over the audience
like an avalanche.

Both God Pity Us Poor Soldiers (Ross Harris) and The Trenches Are Empty Now (Ross Edwards) provided a brief calm, though the
latter was perhaps the more successful. Extremely judicious use of William Barton on the didgeridoo conjured the abandoned
trenches in a way that the strings alone could not quite manage, with low, guttural trills fading to the breathless sound of what
might have been a mournful wind.

Wedged between these pieces was Andrew Schultz’s The August Offensive. The work opened with a truly cataclysmic moment,
then dropped back. Flashes of power were shot through with some lovely rich harmonies from the strings, as the piece slowly
rebuilt to the devastating cacophony of its opening bars. Penultimate work, Hope of the Higher Heart (Demir Demirkan) then
returned to a more Turkish sound, pleasingly bringing the return of Omar Faruk Tekbilek, Bahadir Sener (kanun), and
Ozan Arslan (baglama). This composition then moved without pause into the final piece, Future, again by Graeme Koehne.
After all that had come before it, the warmth and comfortable chords of Future felt, at first, too cosy a conclusion. However,
the piece did eventually find its feet, as all seven soloists joined in the closing passage, finally achieving the unity and
gravitas that Future was striving for.

The Gallipoli Symphony is inextricable from the weight of its subject. Not only an exciting and commendable selection of new
compositions, it was also an act of cultural reconciliation and historical storytelling. Thankfully, these dual aims worked well
together and, on all fronts, The Gallipoli Symphony proved itself marvellously."
Limelight





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Formats: mp3(320), DDD Stereo
File Size: 172 MB (incl. covers)

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No.1331
Modern: Light Music

Richard Mills is deservedly one of Australia's most sought after composers and music directors and is now in the forefront of
senior Australian composers. He has pursued a diverse career as a composer, conductor (he recorded the four "Legends of Hollywood"
albums with music by Franz Waxman for Var�se e.g.) and artistic director which has seen him working with almost all of the nation's
music organisations. Some of Richard Mills� most recent compositions include a score for the Australian Ballet and his Passion According
to St. Mark which premiered around Australia in 2009. His song cycle Songlines of the Heart�s Desire received its European
premiere at the 2010 Edinburgh Festival and his Organ Concerto was premiered with Calvin Bowman and the Melbourne Symphony
in August 2011. Richard�s music has found wide acceptance and popularity with musicians and the concert-going public, and his
works are regularly performed throughout the world.

Snugglepot and Cuddlepie is a popular ballet that features all the storybook characters of May Gibbs' creations.
Whimsical, humorous and engaging, this music conveys all the drama of those wonderful bush tales and is full of the appeal
that fuelled their inspiration. The Gumnut Blossoms, the Banksia Men, Mrs Snake, John Dory and Ann Chovy among many others,
all find delightful musical characterisations in this beautifully composed ballet. Full of colour and atmosphere,
this is music to be enjoyed!



Music Composed and Conducted by Richard Mills
Played by the Queensland Symphony Orchestra

"Mills� ballet score Snugglepot and Cuddlepie is based on the eponymous fantasy by May Gibbs. The story line is fairly
simple, but with many humorous and slightly ironic touches. The little orphan Ragged Blossom is kidnapped by three wicked
Banksia Men. Her friends Snugglepot and Cuddlepie call the local gossip (Mrs Kookaboora) to the rescue to spread the terrible
news. Old Mr Lizard and a band of Gumnut Warriors offer their aid and set off to rescue Ragged Blossom. She is bound in
Mrs Snake�s sinister dungeon. The Banksia Men�s dance of victory is interrupted by the arrival of Mr Lizard, Snugglepot,
Cuddlepie and the Gumnut Warriors. After a short and fierce battle in which Mrs Snake is destroyed, a Banksia Man manages
to escape with Ragged Blossom in a boat. Snugglepot determines to follow them. The Fish Folk are ruled by Little Obelia.
Among them, John Dory and the beautiful Ann Chovy, whom he seeks to marry, often quarrel. Their last quarrel is cut short
by the intrusion of the Banksia Man and his prisoner. Snugglepot quickly arrives and befriends Ann Chovy who promises to
marry John Dory if he will spare the Gumnuts� lives. Little Obelia consigns the Banksia Man to her cave. After the wedding
of Ann Chovy and John Dory, everybody returns to the world above the sea. The ballet ends in high spirits celebrating the
safe return of Ragged Blossom and her friends. "And remember, Humans, be kind to all creatures and don�t pull flowers
by their roots."

Mills� colourful and imaginative score is appropriately straightforward and �written to be enjoyed" (the composer�s words).
The music is very well made indeed, full of nicely judged orchestral touches, and not without a pinch of salt either as in the
slightly ironic War March of the Gumnuts [track 10] maliciously winking at Eric Coates, the jazzy inflections in the Fish
Dance [track 12] or in the wedding scene [track 15]. There are also some arresting and imaginative sounds, e.g. when
the music suggests the kookaboora�s cry [track 8]. The music generally comments on what happens on stage and suggests
various moods and atmospheres. It is in turn gently nostalgic (e.g. in the opening number Once upon a time somewhat
calling Richard Rodney Bennett to mind), atmospheric (e.g. in the evocation of the Fish Folk�s underwater world), lightly
ironic (e.g. in the War march of the Gumnuts), more animated and somewhat more dramatic when required by the action
(e.g. in the Capture Dance [track 6]). It is eclectic for sure, but always tastefully done and free of vulgarity, and � above all �
superbly scored by a master orchestrator with a deep �from inside� knowledge of the orchestra�s way of working - Mills was
trained as a professional percussionist. This is a lovely ballet score that should appeal to anyone responding, say, to
Prokofiev�s ballet scores."
Musicweb



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File Size: 96 MB (incl. cover)

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Looking forward to the Richard Mills: Snugglepot and Cuddlepie this afternoon. A gazillion more thanks! ;)

No.1332
Modern: Tonal

For more than fifty years, Eino Tamberg (1930-2010) has remained an influential figure in the musical life of his native Estonia.
His breakthrough on the international music scene came in 1956 with the Concerto Grosso, which also heralded the success of
the 'new wave' of Estonian composers, including Arvo P�rt, Veljo Tormis and others. Tamberg's passion for instrumental colours stands
out, and manifests itself in the Concerto Grosso, with its solo group including flute, clarinet, trumpet, alto saxophone, bassoon
and piano; the use of the saxophone is especially notable in view of the fact that in the Stalin era this instrument had been branded as
'decadent'. A year later, Tamberg again included saxophones in a score, namely that of his Symphonic Dances. The work
incorporates Estonian folk tunes, although these have been transformed in various ways and are almost completely integrated into
the symphonic texture. Even so the work reveals the spontaneous, elementary power of dance. A later work, the Suite from 'Joanna Tentata'
from 1972, serves as an example of Tamberg's great interest in the theatre. The plot of the ballet for which the original score was
composed picks up more or less where Penderecki's famous opera The Devils from Loudun ends - the story of a French 17th-century
convent in which the nuns have become possessed, and of the love between the convent's Mother Superior and a pious young priest.
Rather than religion, it is the concept of dogma that interested Tamberg in this story, which he has described as a confrontation between
'a suffering human mind, relying on dogma, and the common people who don't care about any of this and are happy with their own ways.'
These three scores are conducted by Tamberg's compatriot and long-time champion Neeme J�rvi.



Music Composed by Eino Tamberg
Played by the Residentie Orchestra The Hague
Conducted by Neeme J�rvi

"That the newest music on this disc devoted to Eino Tamberg (80 this year) is almost 40 years old (the rest over 50) shows how
much catching-up we have to do with this distinguished composer. Tamberg�s idiom is neo-classical, tonal but harmonically active.
Alongside influences from folk music are those, to be expected from a composer growing up in the Soviet bloc, of Prokofiev and
Shostakovich. Traces of Hindemith abound, as in the Concerto grosso (1956) and �Prayers and Passions� and �Phantoms� movements
of Joanna tentata (1971-72). The former was his breakthrough work, winning an award and international exposure. It is scored for
an unconventional wind quintet � the use of the previously banned saxophone was daring � piano, percussion and strings.
Symphonic Dances (1957) features a saxophone trio, is brilliantly orchestrated, more integrated in its use of material (largely folk-
based) and, as annotator Merike Vaitmaa remarks, betrays his knowledge of Bart�k and Tubin.

The ballet Joanna tentata (�Tempted Joanna�, 1971) is more adventurous harmonically, befitting its setting in the possessed convent
in Loudon in the 1640s. Penderecki and Ken Russell in their treatments created around the same time adapted John Whiting�s play �
based in turn on Huxley�s book The Devils of Loudon � centred on the unfortunate priest, Urbain Grandier. Tamberg, rather, focused
on a later chapter of the sorry tale, with the arrival of another cleric, Surin, and his relationship with Joanna, based on a novella by
Iwaszkiewicz. Highly evocative and atmospheric, with some �stylisations of early music�, Tamberg�s highly danceable suite is cast
in seven self-contained movements. J�rvi conducts with his customary flair and the Residentie Orchestra respond with commitment
and aplomb. Top-notch sound, though recorded at quite a low level so you may need to turn the volume up a touch."
Gramophone





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File Size: 183 MB (incl. covers & booklet)

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No.1333 & No.1334
Modern: Neo-Romantic

Two ballets by Carl Davis.



Music Composed and Conducted by Carl Davis
Played by the London Philharmonic & English Chamber Orchestras



Source: Carl Davis Collection CDs (My rip)
Formats: mp3(320), DDD Stereo
File Size: 125 & 119 MB (incl. front covers)

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No.1335
Romantic

Before the Austro-Hungarian composer Karl Goldmark (1830-1915) conquered the international concert halls and opera
houses with his L�ndliche Hochzeit and Queen of Sheba, he initially attracted attention with some chamber compositions.
When his overture after the drama Sakuntula by the great Indian poet Kālidāsa then celebrated its premiere in Vienna in
December 1865, the news of this masterfully designed, tonally beautiful music spread like wildfire beyond his home terrain. In view
of this trailblazing success it is not surprising that Goldmark repeatedly returned to the overture form during the course of the next
twenty-five years or so. Examples here include his reflections on the tragedies involving Penthesilea, the Queen of the
Amazons (after Heinrich von Kleist), and the Greek poetess Sappho (after Franz Grillparzer) in one-movement works that
may very much be termed variants of the symphonic poem. The three female protagonists of Goldmark�s overtures are heard here
on CD along with his two Scherzos for Orchestra � works in which the composer reveals his flirtatious side.



Music Composed by Karl Goldmark
Played by the Bamberg Symphony Orchestra
Conducted by Fabrice Bollon





Source: CPO Classics CD (My rip)
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File Size: 191 MB (incl. covers & booklet)

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No.1336
Modern: Neo-Classical

Notable for his engagingly charming blend of Neo-Classicism and Impressionism Jacques Ibert�s (1890-1962) reputation was such
that the influential Ida Rubinstein commissioned his first ballet Diane de Poitiers in 1933. Rubinstein delighted by the success of the
score commissioned a second ballet Le Chevalier errant (The Wandering Knight) to a scenario by �lisabeth de Gramont based on
Cervantes� Don Quixote. Written in 1935/36 Ibert scored this �choreographic epic� for large orchestra, chorus and two speakers. It is laid
out in four tableaux: Les Moulins, Danse des galeriens, L��ge d�or and Les Comediens et Final. Evidently Le Chevalier errant was broadcast
by Radio-Paris in 1940 and subsequently staged in 1950 at the Paris Opera choreographed by Serge Lifar with Louis Fourestier conducting.
Presented here on Timpani is the symphonic/concert suite that Ibert started to prepare in 1935 and probably worked on for the Paris
performances in 1950. Opening with a plaintive cor anglais solo the relatively lengthy "L��ge d'or" is headily empyreal. The saxophone part
is striking and reveals a lovely melody with a melancholic tinge. There's also an unexpected guitar solo which provides a sultry Spanish
flavour. Also notable is the brass fanfare which develops into an exuberant festive dance scene in "Les Com�diens et Final." Colourful and
vibrant in the finale: "Apotheose de Jupiter et Junon" this energetic music builds to an forceful concluding climax.

In 1945 Ibert wrote Les amours de Jupiter (The Loves of Jupiter) for Roland Petit�s Ballets des Champs-�lys�es. Using a scenario
by Boris Kochno based on the Metamorphosis of Ovid, Ibert cast his ballet in five tableaux each of which is further divided into various
short sections. To Roland Petit�s choreography Les amours de Jupiter was premi�red in 1946 at the Th��tre des Champs-Elys�es and
was conducted by Andr� Girard. Commencing with an overture the five tableaux are depictions of Jupiter�s amorous encounters with
Europa, L�da, Dana� and Ganym�de and in the final panel his wife Juno. Typically stylish Les amours de Jupiter is a splendid work
highly appealing and overflowing with interesting material.



Music Composed by Jacques Ibert
Played by the Orchestre National de Lorraine
Conducted by Jacques Mercier

"This is without a doubt a �must have� if you care about great 20th century ballet music�in other words, the kind
that you can listen to just for itself. Le Chevalier errant was composed in 1935 for the inimitable Ida Rubinstein (of
Bol�ro fame). It�s based on the Don Quixote story, but Ibert tends to avoid obvious �Spanishisms� until after the entry
of the guitar in the third part, where the music�s general gorgeousness rises to a truly impressive peak of lyrical
memorability. Originally scored for speaker and chorus (Rubinstein was quite into multi-media productions), Ibert
later arranged the piece for large orchestra minus the vocal bits, and it is this four-movement suite lasting about
half an hour that we have here, splendidly played and recorded.

Les Amours de Jupiter followed in 1945, and here we get the work complete. The title says it all as regards the plot.
Unlike the more long-breathed Chevalier errant, this piece consists of a series of short numbers, mostly lasting only
a couple of minutes. Ibert joins them together to create larger structures, however, and the general feel of the work
comes close to the ballets of Constant Lambert�think Tiresias or Pomona�only the inspiration is more lyrical. As with
its companion piece, the music is unfailingly engaging and often quite beautiful. Its neglect is simply unaccountable,
and the performance here is just as fine. The sonics, too, are excellent.

Ibert is a difficult composer to pigeonhole. His reputation rests largely on the neoclassical Flute Concerto, and on
the madcap Divertissement. Even the colorful Escales (Ports of Call) seems to have fallen out of favor. Yet, as these
discs reveal, there�s much more than this to his output, and it�s well worth getting to know. You�re going to love
this release."
Classics Today





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Formats: mp3(320), DDD Stereo
File Size: 141 MB (incl. covers & booklet)

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Challenge accepted! Jacques Ibert is a composer whose work is new to me, and the cover doesn't attract me, but your endorsement overwhelms my qualms. I'll be giving both of these a listen very soon. Thanks for broadening my musical horizons yet again!

Thank you for sharing this!

Challenge accepted! Jacques Ibert is a composer whose work is new to me, and the cover doesn't attract me, but your endorsement overwhelms my qualms. I'll be giving both of these a listen very soon. Thanks for broadening my musical horizons yet again!

And Ibert wrote also great movies soundtrack, if by any chance Wimpel have some!

Ever since I heard the delightful Divertissement for the first time, I became a fan of Ibert.
Thanks for sharing this one, wimpel!

No.1337
Modern: Tonal

Leos Jan�ček (1854-1928) was one of the most distinguished composers of the 20th century, with his operas enjoying particular
renown all over the world. Yet he has bequeathed us precious few pieces for independent symphony orchestra. Hence, a number of
conductors (V�clav Talich, followed by Franti�ek J�lek, Sir Charles Mackerras and others) have striven to expand this limited repertoire
by creating suites from his operas. The present recording features such treatments of his three major musical dramas. Jenufa was
the first opera to be set to a prose text. The currently globally celebrated piece reflected the sorrow Jan�ček felt after the death of his
two beloved children and gave rise to a deep personal crisis, when in 1903 the National Theatre in Prague declined to stage the piece on
the grounds that it was of dubious artistic quality. In Fate, Jan�ček experimented with and explored the potentialities of the
musical-dramatic form itself. Similarly to Jenufa, it too met with rejection and would only be premiered 30 years after the composer's
death. Katja Kabanova is one of the greatest Jan�ček works and one of the most beautiful lyric operas of the 20th century and
beyond. The CD presents Jan�ček's singular musical idiom in suites from his three pivotal operas. The artists featured on the recording,
the Prague Radio Symphony Orchestra and the conductor Tom� Netopil, have garnered acclaim with two previous Jan�ček
projects, both of them voted Gramophone Editor's Choice.



Music Composed by Leos Jan�cek
Played by the Prague Radio Symphony Orchestra
Conducted by Tomas Netopil

"We know the music of Jan�cek best perhaps for his Sinfonietta. But the talented Czech composer was most often
writing operas, and in truth, he didn�t leave us a great deal of straight orchestral music.

This album from Supraphon and imported by Naxos remedies that, by offering three orchestral suites that were assembled
from music the composer wrote for his large scale operas. The suites are from Jenufa, Kata Kabanova and Fate.

Jenufa was the first opera to be set to a prose text. The globally celebrated piece reflected the sorrow Jan�cek felt after
the death of his two beloved children and gave rise to a deep personal crisis. Katya Kabanova is one of the greatest Jan�cek
works and one of the most beautiful lyric operas of the twentieth century and beyond. Fate was written in 1905, and wasn�t
staged until 30 years after Jan�cek�s death. The adaptation heard here is by Frantisek Jilek, a fine Czech composer in his
own right. Jenufa was adapted by Manfred Honeck, while Kata Kabanova was brought to life by Jaroslav Smolka.

The performances are energetic, and the recording is excellent, offering a solid orchestral image in stereo. The playing by
the Prague Symphony, conducted by Tomas Netopil is assured, and the dynamics are strong.

Certainly Jan�cek aficionados will delight in this music, but it deserves a wider audience. Anyone familiar with the
Sinfonietta will like these adaptations of these operas into short orchestral suites. Highly recommended!"
The Audiophile Audition



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File Size: 142 MB (incl. covers)

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No.1338
Modern: Contemporary

This landmark NAC commission pairs three of Canada�s outstanding choreographic talents with three of the country�s
most exciting composers. Alberta Ballet�s eminent and prolific Jean Grand-Ma�tre joined forces with multiple award-winning
new music visionary Andrew Staniland; Ballet BC�s trail-blazing Emily Molnar met her musical match with innovative
composer Nicole Liz�e; and Guillaume C�t�, gifted dancer and choreographic associate with the National Ballet of
Canada, was perfectly paired with noted emerging composer Kevin Lau. The resulting remarkable new one-act ballets
and their original orchestral scores were premiered to great acclaim, by dozens of dazzling dancers together with the National
Arts Centre Orchestra under the baton of Music Director Alexander Shelley on April 20, 21 and 22, 2017.
This unprecedented Creation project, event and recording marks Canada�s 150th anniversary!

Phi, Caelestis: "The unifying theme was that everything was related in some way to the golden ratio, or Phi. I am no stranger
to Phi, having been seduced many years ago by what is often called �nature�s most beautiful proportion�. Bart�k, Webern and Debussy
are known to have used it in their works, usually as a formal proportion (where a musical climax will occur at the golden section, for
example). For me, Phi was a catalyst and inspiration both in terms of both extramusical beauty and literal usage in Phi-inspired
melodies and harmonies." Andrew Staniland

Keep Driving: "A dream within a dream within a dream. This work is about the worlds within, where we go to see ourselves,
to hear the other. At the start of the process, I asked the dancers �If you were to put your life on hold, where would you go?�
From there we started." Nicole Liz�e

Dark Angels: "The earliest musical seeds for Dark Angels � which marks my second collaboration with choreographer
Guillaume C�t� � were planted during the final months of production leading up to the premiere of our first ballet, Le Petit
Prince. Our desire to explore completely different terrain, both musically and in movement, led to the creation of a score
independent of any particular narrative or subject, with little to constrain its discourse apart from certain sensibilities which
we were both drawn to � tension, struggle, resistance, energy. These elements inform the spirit of Dark Angels, which
resembles a symphony in scope and form. A stormy Allegro gives way to a mercurial interlude (where an elegy featuring
the solo cello is transformed into a nightmarish vista), paving the way to a finale steeped in ritualistic gestures and
propelled by a battery of explosive percussion." Kevin Lau



Music by Andrew Staniland, Nicole Liz�e & Kevin Lau
Played by the National Arts Centre Orchestra of Canada
Conducted by Alexander Shelley

"This past April, three new abstract ballets (lacking storylines), each lasting about half an hour, premiered at Ottawa�s
National Arts Centre. This 2CD set presents their scores, created by three Canadian composers already-prominent in
their 30s and 40s.

According to Phi, Caelestis choreographer Jean Grand-Ma�tre, �Ten seemingly nude dancers� perform �a whirlwind of raw,
emotional, primal and often erotic gestures before a backdrop of contrasting aesthetics.� The first movement of
Andrew Staniland�s atmospheric score is steadily motoric; the next two are slow and solemn, creating the intended
striking contrast between the dancing and the music.

Nicole Liz�e�s colourful orchestral score for Keep Driving, I�m Dreaming utilizes �archaic� electronic devices, including
turntables and reel-to-reel machines. It�s a collage of many stylistically unrelated episodes, with bits of pop music and
science-fiction sound effects. The audience members, if not the dancers, were probably kept on their toes, wondering
what they would hear next.

Dark Angels, writes choreographer Guillaume Cot�, reflects �the resistance and struggle that one can experience living
in new territory.� Kevin Lau says his score �resembles a symphony in scope and form,� beginning and ending with a
�hammer� of six repeated notes. It�s surely more symphonic than balletic, in three connected sections � a powerful
Allegro, a slow middle highlighting a heartfelt cello solo and a propulsive, percussion-heavy finale.

Alexander Shelley and the NAC Orchestra give these disparate, attention-grabbing-and-holding scores the committed,
high-energy performances they richly deserve."
The Whole Note





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File Size: 204 MB (incl. covers & booklet)

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No.1339
Modern: Neo-Romantic

Greek-American composer Andreas Makris (1930-2005) was born in Salonika, Greece. He studied violin at
Greece’s National Conservatory, and moved to the U.S. in 1950, where he continued his studies at Phillips University in
Enid, Oklahoma. He also studied at the Kansas City Conservatory in Missouri and the Mannes College of Music in New York,
graduating in 1956. His additional training was at the Aspen Music Festival and the Fountainbleau School in France,
where he studied composition with Nadia Boulanger. Makris played violin with the Dallas Symphony, the St. Louis Symphony,
and the National Symphony Orchestra, where he stayed until his retirement for 28 years, collaborating with NSO’s music
directors Howard Mitchell, Antal Dorati, Mstislav Rostropovich and Leonard Slatkin. During his time at NSO, many of his
compositions were performed by the orchestra, and in 1970 Andreas Makris became the first contemporary composer to
have his work premiered at the Kennedy Center. He served as NSO’s Composer in Residence from 1979 to 1989. He also
received several grants and awards for his compositions, including a National Endowment for the Arts grant and an
ASCAP Award. Upon his retirement from the NSO, Makris rededicated himself to composing. His total legacy consisted
of nearly one hundred original compositions and arrangements.

Makris composed in a tonal, neo-romantic idiom. His luxuriously orchestrated works remind one of the scores for classic
Holllywood epics (like Ben-Hur or The Fall of the Roman Empire), but are clearly infused with a dance-like/folkloristic
spirit of his native Greece, with exuberant (even turbulent) passages interspersed with moments of lyricism and romance.



Music Composed by Andreas Makris
Played by the London Symphony Orchestra
Conducted by Predrag Gosta





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a gorgeous surprise!! Thank you!

No.1340
Modern: Light Music

English composer Bryan Kelly was born in Oxford in 1934. He studied at the Royal College of Music with Gordon Jacob
and Herbert Howells, then with Nadia Boulanger in Paris. After some years on the staff of the Royal Scottish Academy of Music,
he was appointed to a post at the Royal College of Music in 1963, and taught there for twenty-two years. One year was spent
in Washington DC, teaching at the American University. During a subsequent spell of livingin Umbria, he taught and gave recitals
in Rome, as well as conducting the United Nations Choir. More recently, he has developed a career in Egypt as accompanist
and teacher of orchestration, has worked at the Cairo Opera and taken part in projects sponsored by the American University
in Cairo. Recent compositions include a forty-minute cantata, 'Look, Stranger at this Island' (a Millennium commission);
'Don Quixote', a suite for saxophone and piano; and 'Umbrian Variations', for eight cellos. Bryan Kelly currently divides
his time between France, the UK and the Middle East.



Music Composed by Bryan Kelly
Played by the Royal Ballet Sinfonia
With John Turner (recorder)
Conducted by Barry Wordsworth

"A prolific composer of light orchestral music, Oxford-born Bryan Kelly has been writing in many different genres since the
1940s. This Heritage release features some of the music he has composed for orchestral forces, recorded to celebrate the
composer's 80th birthday. Kelly's work is under-represented in the CD catalogue and this release of his tuneful, gracious music
is very welcome indeed. This is unpretentious, traditional British light music at its best.

The Left Bank Suite is a set of Parisienne musical scenes recalling Kelly's student days in the city. The perky opening prelude
is followed by a comical, French-sounding waltz with dashes of humorous dissonance. A languorous depiction of the Seine and
a Malcolm Arnold-like Scherzo complete this fun piece. Epitaph for Peace is one of the two movements that form Lest We Forget,
written for the Remembrance Day celebrations. It is a wonderfully poignant elegy for strings with the composer in a completely
different mood to the one we hear in the opening suite. Barber's famous Adagio springs to mind but Kelly's work is no copy.
It is worth hearing in its own right.

A Christmas Celebration is a potpourri of Christmas carols set in five movements. The first four movements are gentle in nature -
not serious, but atmospherically gentle. The setting of The Holly and the Ivy is particularly attractive with the melody switching
from one instrument to another through the orchestra and a lovely oboe solo. O little one sweet is tenderly played by the strings
and solo horn. The last movement finally brings some sparkle to proceedings. On Christmas Night is used in a clever fugue that
culminates in an uplifting, joyful finale.

Concertante Dances is a demanding work for strings and woodwind with some exposed writing for the wind section. It strays
somewhat from the category of British light music. It is more serious in nature but it is still an approachable work in six sections.
The music is rhythmically varied and dance-like in character. A special word here for the bassoon in the third movement but all
the wind soloists shine throughout this varied, quirky, interesting piece. The Globe Theatre Suite for recorder and strings was
written for one of Kelly's neighbours while he lived in France, the distinguished flautist Atarah Ben-Tovim. The suite is Elizabethan
in flavour and conjures up the era perfectly. The CD booklet compares Kelly's modern twist on old themes to the music of Warlock
and Poulenc and I have to agree with this assessment. The soloist is the superb recorder player and eloquent champion of so
many British composers, John Turner.

Nativity Scenes is an orchestration of a work originally written for organ. It opens in a serious vein on low strings depicting a
dark night. A shepherd boy is heard playing his flute. The second movement is a lively, optimistic allegro depicting the rush to
see the Christ child in Bethlehem. We then get a short meditation to close the work. The final piece in this fascinating programme
is a cheeky little Tango - one of the composer's "sins of youth". The style is reminiscent of the slow movement from Kelly's Cuban
Suite, once available on Argo in the early 1970s. It brings the CD to a satisfying conclusion.

The orchestral playing is splendid and full of vitality with excellent solo work and obvious dedication to the music. The recording
by producer, Philip Lane and engineer, Gary Thomas, is close, dry and somewhat studio-bound. It lacks a little warmth. All in all
this is a winner from Heritage. What about volume 2? Some suggestions: Cuban Suite, New Orleans Suite, Sancho Panza
Overture (1969) and Sinfonia Concertante (1967) all from Kelly's time working with the Leicestershire Schools Orchestra.
It would be good to hear these pieces again if the scores still exist. For the time being I'm grateful for what we have been
given here."
Musicweb



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No.1341
Modern: Contemporary

Born 1964 in Tilburg (the Netherlands), Richard Rijnvos studied composition with Jan van Vlijmen and Brian
Ferneyhough at the Royal Conservatoire in The Hague. After finishing these studies summa cum laude he received a
DAAD scholarship with which he followed a postgraduate at the Musikhochschule in Freiburg (Germany). In the summer
of 1994 he participated in the International Dance Course for Professional Choreographers and Composers in Bretton
Hall (Wakefield, UK). In the period 1986-92 he came in touch with the American composers Morton Feldman and
John Cage, who caused crucial changes in his development. There are also a number of distinct extramusical influences
from artists such as William Burroughs, Samuel Beckett, Joseph Beuys, Italo Calvino, and Ernst Jandl.
Since 1993 Richard Rijnvos concentrates on the realisation of compositions that are part of larger series.

Uptown|Downtown is an urban panorama in six movements, all of which are inspired by city life in the Big Apple.
The cycle includes the acclaimed NYConcerto and the sweeping set entitled Manhattan Square Dances.
In the year 2000 Times Square Dances was awarded the Matthijs Vermeulen Prize by the Amsterdam Arts Fund.
In August 2008 an international jury voted NYConcerto "the best composition premiered in the Netherlands in the
year before", and it was subsequently awarded the Buma Toonzetters Award.



Music Composed by Richard Rijnvos
Played by the Netherlands Radio Chamber & Radio Philharmonic Orchestras
With John Snijders (piano)
Conducted by Celso Antunen

"Rijnvos completed Uptown|Downtown, �an urban panorama in six movements�, in 2008. A hectic dance quality
characterizes the whole series - which began in 1996 with Times Square Dance. The dual nature of the two
stereophonically positioned chamber orchestras refers to the Twin Towers which then so dominated the Manhattan
skyline. In Washington Square Dance Rijnvos literally incorporates chess boards in the piece, as magic squares
that are the source material of the music, while Union Square Dance is euphoric, incessant and unceasing, as is
to be expected from a finale.

The three up-tempo movements of NYConcerto for piano and chamber orchestra took as their point of departure
the music of other composers. In Grand Central Dance, Times Square Dance and �cross Broadway he quotes
George Gershwin, Charles Ives and Thelonious Monk respectively. There are also nods to others � for instance,
Broadway composer Vincent Youmans� Tea for Two in the last part and Bernard Herrmann�s music for the
Hitchcock film North by Northwest (which has a scene in Grand Central Station) in the first."





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No.1342
Modern: Tonal

Janis Ivanovs (1906-1983) is considered Latvia�s most distinguished symphonist. His grasp of orchestral colour and musical
texture was so extraordinary that his colleagues often praised him for his precise, expressive, and nationalistic musical idiom.
Had be only written his Fourth (Atlantida), Fifth or Sixth (Latgales) Symphonies, he would have left an indelible mark on music
history. However, he composed 21 symphonies, three concertos for various instruments, cello, violin, and piano, five symphonic poems,
three string quartets, and numerous vocal, piano and chamber works. The bulk of Ivanovs� compositions is orchestral. Stylistically his
early works show influences of Scriabin and his later works that of Prokofiev and Shostakovich. These, however, are just passing influences.
The hand of the mature master is evident all his works, early or late. The language is distinctly Ivanovs�, nationalistic, dynamic, powerful, dramatic.

Juris Karlsons was born on August 19th, 1948. He studied at the Riga High School of Choreography. From 1963 to 1967, he
continued his studies at the Theory Division of the Emīls Dārziņ� Music College. Afterwards he enrolled at the Latvian State Conservatory
(in the composition class of Jānis Ivanovs) and graduated from it in 1972. The musical work of Juris Karlsons earns attention with vivid
and interesting stylistic resolutions, and with the original synthesis of many different 20th century compositional techniques. His ballets,
music for the theatre, expansive vocal symphonic and symphonic compositions are often dominated by many different genres and their
characteristic expression by means of colouristic contrasts. A rich use of rhythmic expression, masterfully polished textures and many
different interesting timbral developments are characteristic of his works.



Music by Janis Ivanovs & Juris Karlsons
Played by the Latvian National Symphony Orchestra
Conducted by Andris Poga

"The year 1940 was a dramatic one for Latvia. The country was overtaken by the Soviets, then the Nazis, then
the Soviets again. The Fifth Symphony of Jānis Ivanovs (1906 83), written after the brutal winter of 1944 45, contains
music that might be thought to reflect this cultural and political confusion, but he was reticent in the extreme, saying
only �This contains everything that had accumulated over those years�. As the detailed booklet notes by Orests Silabriedis
explain, the subsequent career of the symphony was ambiguous in the extreme: the only remedy is actually to listen
to the music.

It�s a powerful, brooding work. While it might at the time have been seen by some to be under the shadow of
Shostakovich, and while that element is not entirely absent, perhaps especially in the first movement, the work is
a good deal more than such a characterisation might suggest. Ivanovs�s melodic style is very much his own, and the
orchestral textures, notably in the second and fourth movements, are also highly individual. Nevertheless, while the
performance is more than committed, it is a difficult work to love; its author�s fingerprints notwithstanding, it seems
to be, in spite of its supposed content, a work lacking a genuine voice.

Juris Karlsons (b1948) was a pupil of Ivanovs, and his work was commissioned for the 40th anniversary of the end of
the Second World War (or the Great Patriotic War, as it was known in the Eastern Bloc) in 1985. The programme included
Ivanovs�s Fifth Symphony. Karlsons�s brief work was written as an evocation of the period; and while beautifully scored,
in most respects it still seems a hostage to the stylistic imperatives of that time � even in the accordion-coloured waltz
it is difficult to sense the quotation marks. But the final minutes of the work are luminous and full of hope, something
the Latvian National Symphony Orchestra under Andris Poga understand very well indeed."
Gramophone



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No.1343
Modern: Tonal

Pedro Sanju�n (1887-1976) was a Basque composer and conductor. He studied music with Joaqu�n Turina. He won, by opposition,
a major musician's seat of the regiment, which he developed for several years, until, when asked for leave, he moved to Cuba. By this
time he had composed several pieces for orchestra and, among them, the symphonic works Campesina and Aphrodite, performed
in Madrid by the Philharmonic Orchestra of that capital. Established in Havana, he devoted himself entirely to teaching and composition,
alternating these activities with the direction of the Philharmonic Orchestra, an organization that he had created in 1924.

Sanju�n belonged to the modern Spanish musical school, and his compositions, full of intense melody, were interpreted by the
great symphonic ensembles of Europe and America with great success. Among his best-known works, they include the poems for
large orchestra Campesina, Castilla and Rond� fantastico, and the symphonic works for chamber orchestra
Sones de Castilla and Liturgia Negra. The latter is a particularly colorful and intense work, full of power and anguish.



Music Composed by Pedro Sanju�n
Played by the Euskadiko Symphony Orchestra
Conducted by Andr�s Orozco-Estrada

"The music of Pedro Sanju�n (1886�1976) is a revelation to me, as I assume it will be to many Fanfare readers.
Only one other recording of his music exists, La Macumba, performed by Alfredo Antonini and the Santa Cecilia Academy
of Rome Orchestra on New World 111. This composer, according to the liner notes, was barely known outside of his circle,
and �It is not easy to reconstruct the course of Pedro Sanju�n�s life and the scarce biographical references that exist are
not clear.�

But there is nothing indefinite, or uninteresting, about this music. Sanju�n, on the basis of this CD, shoots to the top of the
list of Latino composers of his era along with Ponce, Revueltas, Turina, and Ch�vez. Castilla is a fascinating three-movement
work, apparently composed in 1927, which fuses traditional Basque melodies with strict classical form, harmonies reminiscent
of Debussy or even Stravinsky, and an extraordinary musical imagination. Primarily tonal but ever-changing and rhythmically
diverse, Castilla will absolutely mesmerize you. The best description I can give is that it sounds like Ravel or Roussel on steroids,
provided that they�d also be familiar with traditional Basque music. (The liner notes confirm my impression that here is a Spaniard
influenced in form by the French.) Like Ravel, Sanju�n also uses an alto saxophone solo for color�his music is nothing if not
colorful.

One key to the rigorous musical mind of Sanju�n comes from a description of him by Turina, who met him in Cuba in 1929:
�Excitable and impassioned, gifted with a straight back and punctuality worthy of an Englishman and always ready to take a far
-reaching look at things � Pedro Sanju�n is tireless; he works nonstop: composing, studying scores and above all, rehearsing.�
This combination of excitability, fastidiousness, and imagination are indeed hallmarks of his music. In 1923 he accepted an offer
to go to Cuba, where the following year he set up the Philharmonic Orchestra, which almost immediately started playing native
Cuban music, �although presented within a formal Franco-European framework.� (Cuba commemorated his work there with a
stamp honoring the 50th anniversary of the orchestra, which was later conducted by Erich Kleiber and Jos� Castro among others.)

Liturgia negra was written before Sanju�n left Cuba, but they don�t say when�only that it was first published in 1934, then again
by Max Eschig in 1939�though later on it is said that Sanju�n left Cuba in 1932. Its motor rhythms are more in the Hispanic style
of the New World than the old, much like the music of Ch�vez and Revueltas. It is certainly the liveliest musical liturgy you�ll ever
hear, nothing at all like Franco-German works with the same title. (The aforementioned La Macumba , though written in the 1940s,
is also considered to be among his Afro-Cuban works.) It�s rather a shame that his music wasn�t at all well known in North America
at the time; it could have provided some stimulating inspiration to Dizzy Gillespie and Machito, the pioneers at combining Afro-
Latin music (specifically Cuban) with jazz in the late 1940s. Moreover, the orchestral color and rhythmic excitement continue to
mount throughout the Liturgia�s five movements, culminating in an almost orgiastic �Comparsa Lucumi� that would not be out
of place during Carnival time down in Rio. Listening to it, I can almost hear Dizzy or Charlie Parker soloing above the massed
orchestra!"
Fanfare





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No.1344
Modern: Neo-Classical

Not known to many today, Svend Erik Tarp (1908-1994) was one of the most prominent Danish composers of his time,
boasting a large and versatile body of work which more or less has survived in obscurity. This series now sheds new light on a
selection of Tarp�s orchestral works, opening with some suites, overtures and two small concertos. These are early and charming
works that show a development from the elegant and easily accessible towards a more clarified neo-classicist style, which later
became one of Tarp�s hallmarks.



Music Composed by Svend-Erik Tarp
Played by the Aarhus Symphony Orchestra
With Lena Kildahl (flute) & Stanislav Pronin (violin)
Conducted by Tobias Ringborg

"Sven Erik Tarp was a contemporary of Vagn Holmboe and Herman D Koppel and flourished in the same musical
climate that saw their joint emergence from the 1930s onwards in the vanguard of Danish music. If Tarp is less well-
known than they are, this first volume in Dacapo�s projected three volume series should help orientate him in the right
milieu, which is a broadly post-Riisager one, sharing the neo-classical affiliations of his two distinguished colleagues
though on the evidence, thus far, in a rather more breezy kind of way.

The inaugural volume of this series concentrates on orchestral music written between 1931 and 1942. The suite from the
ballet �The Dethroned Animal Tamer�, Op.38 is full of vivid characterisation and extreme compression of expression.
The nine separately tracked scenes last twelve minutes so one can enjoy the elegant refinement of orchestration, the
well-integrated piano writing, the almost Gallic grace of elements of it, as well as Tarp�s response to the more larky
nature of the commission. Add to all this a furioso fugal scene, a not-too-doloroso Danse triste and a vampy finale �
light-hearted piano, whimsical winds � and you have a splendid entr�e to Tarp�s muse.

The Flute Concertino is strongly neo-classical, and its attractive themes are conveyed with warmth and agility by
Lena Kildahl. Tarp�s orchestration is smooth and silken here, all elegance and purity. The Violin Concerto detained him
slightly longer. Composed in 1932 it was revised four years later and shares the companion concerto�s sense of energy
and clean-limbed, uncluttered orchestration. The orchestral accompaniment to the violin�s highly lyric solo in the slow
movement is an obvious high-point but in its way so, too, is Tarp�s willingness to compress still further; the breezy
finale is over in 90 seconds. Soloist Stanislav Pronin wrote the first movement cadenza and is finely attuned both the
medium and the message of Tarp�s writing.

The Overture to a Comedy No.1, Op.36 � there are two comedy overtures and the second will follow in volume 3 -
dates from 1940 and is notable for the unashamed lingering romanticism of its second subject, which creates an
attractive contrast. The other purely orchestral work is the Suite on Old Danish Folk Songs, of 1933. Cast in four
panels, the music here is both stylistically interesting and expressively richer than anything to be found elsewhere.
The opening song of the raven, coilingly declaimed on the cor anglais, shows some Swan of Tuonela hints and if the
comic ballad movement has a rather Classical feel, the third section, Little Kirsten�s Dance, is warmly moulded and
quite sonorous. The finale, a processional ballad, with strong brass calls, caps a fine, rewarding work.

Tobias Ringborg directs with crispness or breadth as the occasion demands and his accomplished Aarhus forces
prove as adept in this repertoire as they have elsewhere on disc. In fact, all the players, solo or orchestral, distinguish
themselves throughout. That applies equally to the recording quality and to the excellent booklet notes."
Musicweb



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[

No.1345
Modern: Tonal

In a life extending nearly the entire breadth of the twentieth century, Hungarian composer Ferenc Farkas (1905-2000) fashioned
a personal idiom of refreshing vitality. In form, largely diatonic, it spoke a richer language, one of harmonic variety, rhythmic energy,
and melodic appeal. In addition to his career as a creative musician, he was a respected pedagogue whose pupils included Gy�rgy Ligeti,
S�ndor Szokolay, and Gy�rgy Kurt�g. Further, he wrote on musical subjects for various publications, particularly on issues of folk music.

Beginning his piano training at age eight, Farkas studied privately at first, later at the National Conservatory in Budapest. After completion
of his secondary education, he studied composition with Albert Sik�s and Le� Weiner at the Budapest Academy of Music, receiving his
diploma in 1927. For two years he served as an assistant conductor at Budapest's Municipal Theatre. Winning a state-funded scholarship,
he was then able to journey to Italy to participate in advanced composition courses taught by Ottorino Respighi at Rome's Accademia di
Santa Cecilia. Apart from his studies, he seized the opportunity to travel in Italy and through the Iberian peninsula. When Farkas returned
to Budapest in 1930, he made his professional debut performing a recital of his own compositions. In 1933, he traveled once more, this
time to Vienna. The following year, he went to Denmark to work in film scoring for the Nordisk Company. Another journey took him to
Paris before he was appointed in 1935 to be instructor of composition at Budapest's advanced Municipal Music School. After serving as
professor of music at Kolozsv�r's Conservatory of Music beginning in 1941, Farkas was appointed the institution's director in 1943.
A similar position at Sz�kesfeh�rvar in 1946 preceded his appointment as professor of music at the Budapest Academy of Music,
a post he held until his retirement in 1975. Much honored, Farkas was awarded the Hungarian Liszt Prize in 1933, the Ferenc J�seph
Prize in 1934, the Klebelsberg Prize in 1943, and in 1950, Hungary's highest honor for artistic achievement: the Kossuth Prize.
From 1932 to 1973, Farkas contributed scores to 29 films. Five operas occupied him between 1942 and 1980, The Magic Cupboard
first among them. His incidental music for plays, especially those by Shakespeare, remains significant.

This album shows Farkas working on a larger scale and in generally darker mood, using the full resources of the symphony
orchestra in a number of powerful and dramatic works, including two movements from a symphony that he later withdrew �
but with a lighter bonne bouche to rounds things off.



Music Composed by Ferenc Farkas
Played by the M�V Symphony Orchestra (Budapest)
With G�bor Farkas (piano)
Conducted by G�bor Tak�sz-N�gy

"By a happy coincidence this release brings together two of this year�s most significant �finds�. First was this underrated composer,
whose Music for Wind Ensemble impressed me so; second was the pianist G�bor Farkas � no relation � whose splendid Liszt
transcriptions confirm he�s an artist to watch. And let�s not forget Toccata Classics, whose pursuit of less-well-known repertoire
has brought lots of neglected music to light. Apart from this Farkas series, I must commend their traversal of Ernst Krenek�s
piano concertos, with Mikhail Korzhev and the English Symphony Orchestra under Kenneth Woods; I�ve reviewed the first and
second instalments.

As for the conductor G�bor Tak�cs-Nagy, this collection marks his first appearance in the series. I�ve only encountered him
once before; alas, that was in a rather disappointing video from the 2010 Verbier Festival. The M�V Symphony Orchestra,
founded in 1945 by the Hungarian State Railways (Magyar �llamvasutak), is entirely new to me. They featured in Volume 1,
under the direction of P�ter Csaba. Incidentally, the style �Volume 5� refers to the number of Toccata releases devoted to
Farkas�s orchestral music; in fact, this newcomer is just the latest instalment in a multi-genre project that runs to at least
10 albums thus far.

As L�szl� Gombos points out in his admirably concise and interesting liner-notes, the symphony orchestra wasn�t Farkas�s
favourite medium. Indeed, the Symphonic Overture and Elegia constitute the first two movements of the symphony he
withdrew shortly after its premiere in 1952. The first, brooding and rather bass-heavy at the start, is not without rhythmic
vitality, while the second is more inward. Come to think of it, there�s a panoramic energy to the overture that reminds me
of Franz Waxman at his most vivid and vital. Even the elegy has its fiery flourishes. Thrilling stuff!

The sound here is big and beefy, but then that fits well with the widescreen feel of these impassioned openers. The recording
is warm and fairly detailed, if a little too close for my liking; that said, it�s perfectly acceptable. Ditto this band and conductor,
who dispatch these pieces with commendable thrust and enthusiasm. The tripartite Concertino has a jolly, folkloric flavour,
and our pianist plays the grandiose interjections with his tongue wedged firmly in his cheek. The middle movement is light
and airy, whereas the finale � possibly the weakest of the three � is something of a stylistic m�lange. Also, the piano
seems very bright, with a hint of jangle in the work�s more excitable moments.

Farkas orchestrated the Liszt Fun�railles for Dreams of Love, M�rton Keleti�s 1970 biopic of Hungary�s most celebrated
composer, conductor and virtuoso. It�s predictably dark, but, as with the Symphonic Overture, it has enough momentum
and interest to sustain its modest length. It has some very imposing peaks, and Farkas�s colouristic skills are really quite
striking. Remarkably, he manages to infuse much of what he wrote with that unmistakable Magyar magic, and this
accomplished orchestration is no exception.

The eight-movement Planctus et consolationes, which Farkas composed in memory of his friend, the Hungarian-born film
director Paul Fejos, is yet another example of this composer writing, perhaps subconsciously, for the big screen. The piece,
by turns bold and bereft, is certainly imaginative, but having admired several albums in the Toccata series I�m not sure
I�d agree with Gombos�s assertion that this is Farkas�s masterpiece. Indeed, if the first two movements of that symphony
are anything to go by, the full four could well be a better candidate. Is a complete performance and possible? If so, I�d be
keen to hear it. The third movement was turned into a Scherzo sinfonico in 1970."
Musicweb





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No.1346
Modern: Tonal/Contemporary

Since its founding, the Cincinnati Symphony Orchestra (CSO) has maintained an unfaltering commitment to
commissioning new music, resulting in substantial new works from a diverse array of composers including Aaron Copland
and Philip Glass. For the 2015-16 season, three exciting international composers originating from three different continents,
Sebastian Currier, Thierry Escaich and Zhou Tian, were each commissioned to write a new concerto for orchestra,
showcasing the virtuosity, style, and sound of the CSO, thus furthering a genre championed by the likes of Bart�k and Lutoslawski.
The resulting three works featured on this live recording represent the culmination of this exciting project, and once again
affirms the CSO�s core value of being a place of experimentation.



Music by Zhou Tian, Thierry Escaich & Sebastian Currier
Played by the Cincinnati Symphony Orchestra
Conducted by Louis Langr�e

"When I accepted the responsibility of Music Director of the Cincinnati Symphony Orchestra in 2012, I knew that I was
joining an organization steeped in a vibrant history of experimentation. This was one of the most attractive aspects of the
position, knowing that I would have the opportunity with � and encouragement from � this orchestra to explore a dynamic
array of programming.

Since its founding in 1895, the CSO has always been commissioning and premiering new works. Many of those works have
become mainstays of the repertoire, like Copland�s iconic Fanfare for the Common Man or Lincoln Portrait, two pieces
premiered in Cincinnati.

From the beginning, the CSO�s dedication to new music made it immediately attractive for many composers who came to
Cincinnati and performed here with the orchestra: Elgar, Strauss, Saint-Sa�ns, Var�se, Respighi, Scriabin, Rachmaninov,
Gershwin, Stravinsky, Bart�k, Copland, Bernstein, Gunther Schuller, Penderecki and John Adams�Promoting contemporary
music was always part of the vision and the mission of this orchestra.

In commissioning, performing and recording these three new concertos for orchestra, we are anchored in the CSO's glorious
history. I am proud to continue and develop this extraordinary tradition of innovation, and I want to take any opportunity
to promote the Coplands and the Stravinskys of today. Since I started my tenure here, I have conducted 30 works by living
composers, including 12 world premieres commissioned by the CSO.

We commissioned these concertos for orchestra not only because these full-scale pieces can demonstrate the virtuosity of
the CSO and its players, but also because they allow for a rich variety of orchestral colours. There is room for solos as well
as dialogue between individuals and groups. The specific style and sound of the Cincinnati Symphony Orchestra emerges
from this rich genre.

For this project, we intentionally asked composers representing a variety of musical styles and backgrounds. As we started
brainstorming possible composers, three stood out for the unique way we thought they would explore this genre.

Of the three, Thierry Escaich was the only one with whom I have collaborated before. Thierry comes from this tradition of
French organist-composers like C�sar Franck, Gabriel Faur� or Olivier Messiaen. Psalmos, using three liturgical chorales, is
reflective of that. We are grateful that he agreed to make time to compose this piece for us."
Lousi Langr�e





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This (Gilson, The Sea) is beautiful, but the last 20 or so seconds are broken.

No.1347
Modern: Tonal

One doubts that the world will ever wholly manage to come to terms with the music of Alan Hovhaness (1911-2000). The sheer volume
of his output – over five hundred works including seven operas and sixty-seven symphonies, and that excludes his music before 1940 much of
which was destroyed by the composer – rivals the prolixity of seventeenth century composers such as Bach or Vivaldi. As we get to know more
of his works, it also becomes apparent that like Bach or Vivaldi, Hovhaness had a tendency to recycle his music, so that ideas originally conceived
for one medium or context will reappear in another later work; but even so, the fact that he was so prolific makes it difficult to grasp his
achievement as a whole.

However we can now appreciate that his works seem to fall into three distinct 'periods' – first an early Nordic style influenced by Sibelius, which
he abandoned in the late 1930s when he came to terms with his Armenian heritage, much of the music of this period being then destroyed:
a second period of twenty years in which he wrote much of what has now become his best-known music such as the second symphony
Mysterious Mountain and The Prayer of St Gregory, characterised by a fusion of mysticism and strict contrapuntal discipline:
and then a third experimental period in which he began to explore wider musical traditions including oriental music.

The works on this disc are nearly all early works, and centre around the three Armenian Rhapsodies written in 1944 – the widely
different opus numbers are misleading, since apparently it was only at this period that Hovhaness began to catalogue his works and the
assignation of numbers to the music he had already written at the time was largely arbitrary.



Music Composed by Alan Hovhaness
Played by the Boston Modern Orchestra Project
With Kenneth Radnofsky (saxophone)
Conducted by Gil Rose

"This is an important Hovhaness release, and an extremely well executed project by all concerned (top-notch performances,
excellent booklet notes and artwork to treasure, thoughtful and high quality packaging and so on..). It is also quite special to
me as it brings together (the exception being the inclusion of the oddball but enjoyable Concerto for Soprano Saxophone & Strings -
Op. 344 - from 1980) some of Hovhaness's best early works - admittedly well-known and documented in the case of the sultry,
splendidly modal and ethnic Armenian Rhapsodies which are based on actual Armenian material including dances and folk songs.
As far as I am aware these are the *only* works from Hovhaness's massive output that are not original melodies. The Symphony
No. 1 subtitled "Exile" is a tribute to the exile and murder of the Armenian people at the hands of the Ottoman Turks. This grand
symphony with it's early exoticism (it does technically predate AH's actual "Armenian" period that comes to be a few years later -
but then it was partially revised by the composer, perhaps a decade later, and once again in the 1970s. I confess I'm not sure of
the actual dates or years) is exciting and fresh. I especially love its slow introduction, lithe and slithering with the sounds of a
hypnotic harp, plucked strings and a melancholy, searching clarinet. The calm is only broken periodically by explosive brass fanfares -
this volcanic energy returns in the epic powerful third movement finale. I almost forgot to mention the real curiosity here, which is
"Song of the Sea" which AH penned in 1933 (at 22!). Yes Hovhaness composed even during his childhood but to have a work that
dates from his twenties when he was really unsure of himself and the directions that he wanted to take - is something really special.
The work is for piano & strings and it is simple and beautiful. The main theme from the first movement is (or should) be recognizable:
Hovhaness later used it not only in a piano piece but of more significance is that it reappears in the third movement of the sublime
Symphony No. 22 "City of Light".

When this disc was released I wasn't sure if I loved this performance of the Exile Symphony as I do the Schwarz account with the
Seattle Symphony. The tempos are generally slower under Gil Rose, and altogether it's a difference of an extra 3.5 minutes I believe.
Turns out it is a win/win. Both performances are indeed amazing I think - and not to be missed!"
Ecstasy Blogspot





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No.1348
Modern: Late Romantic/Tonal

Paul Le Flem (1881-1984) was a French composer and music critic. Born in Radon, Orne, and living most of his life
in L�zardrieux, Le Flem studied at the Schola Cantorum under Vincent d'Indy and Albert Roussel, later teaching at the
same establishment, where his pupils included Erik Satie and Andr� Jolivet. His music is strongly influenced by his native
Brittany, the landscape of which is reflected in most of his work. Before World War I, Le Flem produced several major works,
including his First Symphony, a Fantasy for Piano and Orchestra, and an opera. The war temporarily put an
end to his compositional activities, and in its aftermath he devoted himself to music criticism and choral conducting.
He wrote numerous articles for the periodical Comoedia. In 1937, he began composing once again. Three additional
symphonies and a second opera followed before he was finally forced to give up composition in 1976, at the age of 95,
due to blindness. He died on 31 July 1984 at the age of 103. Le Flem later wrote in a moderately advanced tonal idiom
derived from the late romanticism of his earlier days.



Music Composed by Paul Le Flem
Played by the Orchestre de Bretagne
With Marie-Christine Girod (piano)
Conducted by Claude Schnitzler

"Paul Le Flem enjoyed a long and busy life, teaching, adjudicating, conducting choirs and � most importantly �
composing a large number of substantial works of which the present release offers a well-planned selection.
The three works here, recorded in reverse chronological order, span some forty years of his long creative life.

The earliest work is the grand Symphony No.1 in A major completed in 1908. Not surprisingly, Franck�s shadow
still looms large over this ambitious, substantial piece. It is in four movements. The first movement opens with
a slow introduction characterised by a beautiful theme (first on cor anglais and then on oboe) which will re-appear
later in varied statements all through the symphony, leading into the main Allegro. This is followed by an atmospheric,
meditative Lent based on a variant of the oboe theme from the first movement. The music builds up towards two
impressive climaxes before ending, as it began, in pensive twilight. Curiously enough, the Scherzo is the longest
and most developed movement of the symphony. Its long central Trio is almost a tone poem evoking the elves and
fairies of the Breton legends. The symphony ends with a lively, dance-like Rondo in which some of the earlier thematic
material is briefly restated, whereas the overall mood is that of a rustic dance full of earthy energy. Le Flem was a
Breton at heart, and his music often conjures up colourful, contrasted seascapes and landscapes of his beloved Brittany.
The First Symphony, for all its contrapuntal and orchestral skills, is an impressive evocation of Brittany.

The Fantaisie pour piano et orchestre, completed in 1911 and dedicated to fellow-Breton Guy Ropartz, is a near-cousin
to Faur�s or Koechlin�s similarly titled works, and much of its time. It roughly adheres to the theme-and-variations
pattern as Franck�s Variations symphoniques or the aforementioned works by Faur� and Koechlin. The music, for all
its technical sophistication, again paints colourful landscapes.

Le Flem�s long life brought him in contact with most recent musical developments of his time, and his music progressively
adopted some �modern� techniques and was not untouched by atonality, as is quite clear in the Interludes de "La Magicienne
de la Mer" completed in 1947. La Magicienne de la Mer is a short opera in three tableaux inspired by the legend of Ys
which is evoked in the central panel La Nuit de L�gende. The two interludes actually draw on four orchestral sections from
the opera. So, Interlude 1 is based on the dodecaphonic monody associated with Dahut, the Magician, leading into some
fantastic cortege. Interlude 2 evokes the night orgy which ended with the flooding of Ys. The music is thus tempestuous,
voluptuous and menacing in turn. The magically scored final section of Interlude 2 summons the vision of Ys rising from
the sea through the morning mist. This is beautifully evocative music which makes one want to hear the whole opera
and, who knows? to have it on record some time."
Musicweb





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have played my LP of Le Chevalier to death thanks for this new performance

No.1349
Modern: Tonal

Ernst Toch (1887-1964) was one of the many talented German composers who emigrated to the United States before
the onset of World War II and subsequently reestablished their careers here. This recording of four previously unavailable
orchestral works will undoubtedly contribute to the continuing reassessment of his Toch's masterfully crafted and inspired music.

Toch's atonality in the Piano Concerto No. 1 (1926) was cutting-edge for its day and sounds today more like a work of
the 1940s. Although he never adopted twelve-tone technique to any great extent, he developed a well-defined strategy for
writing atonal music in a listenable and lively way. The music is very chromatic, running for long stretches at a time without
referring to any tonal center, but the melodic contours are smooth and clear, and the rhythms full of propulsive energy.

Peter Pan (1956) is not so different in style, but shows tremendous advances in orchestrational sophistication. An airy,
immaterial piece as befits its subject matter, one might consider it Mendelssohnian, or perhaps a modern companion piece to
#Berlioz's "Queen Mab" Scherzo. The leaping melodies in the strings and winds are remarkable for their lithe abandon and their
quasi-twelve-tone avoidance of pitch repetition.

The similarly fairy-tale-inspired Pinocchio (1935) is more harmonically conventional-sounding, with melodies that seem
Bart�kian, and surprise cadences that call Prokofiev to mind. Touches deliberately reminiscent of the nineteenth century are
found, including a waltz and martial figures of pentatonic melody.

It is the Big Ben Variations, though, that remains Toch's best-known work (aside from the inventive Geographical Fugue
based on exotic place names, beloved of choruses). This is a compositional tour de force: a set of variations on the familiar chimes
of Westminster Abbey. Here as in the other works the orchestration is feather-light, never bombastic or pompous. The chime theme
is heard punctuating chromatic melodies; hiding in the timpani; serving as cadences for long, wandering chorales; hiding in
accompaniment patterns; even warped into an almost twelve-tone fugue subject. It is not your standard theme and variations,
but the unprecedented product of a well-developed musical mind.

[

Music Composed by Ernt Toch
Played by the NDR Sinfonieorchester
With Todd Crow (piano)
Conducted by Leon Botstein

"This splendid disc fills a conspicuous gap in an important but relatively neglected area of 20th century music history.
The story of Ernst Toch's progression from his position as one of the major musical figures in Weimar Germany to his
death in comparative obscurity in Los Angeles in 1964, yet another victim of Nazi racial hatred, has long been known.
Less known, however, is what all the fuss was about in the first place, a problem that can only be solved by listening to
the music that he composed in the 1920s and '30s, and in particular the First Piano Concerto. Composed in 1926 and
enthusiastically premiered by Hermann Scherchen and Walter Gieseking (and just as enthusiastically dropped from the
pianist's repertoire in support of Nazi cultural policies in the 1930s), the piece established Toch's reputation as a leader
among the inter-war-period avant-garde.

Of course, as Tovey once pointed out, the only reason to raise the issue of a work's having been "interesting for the time
in which it was written" is usually to skirt the question of why it is not otherwise interesting to us now. Toch's concerto
certainly remains interesting now, and to modern ears offers nothing more stylistically challenging than, say, Bart�k's
First Piano Concerto, Prokofiev's Second, or Weimar-period Hindemith. Suffice it to say that this music is fully worthy of
these comparisons. Brilliant, coruscating, virtuosic, rhythmically vital, and thematically memorable, it deserves to be a
repertory piece, and it receives an excellent performance from pianist Todd Crow and conductor Leon Botstein, who's
always in his element championing unjustly neglected 20th century music.

Pinocchio: A Merry Overture lives up to its title, and here the idiom comes across as more conservative, ingratiating even,
but no less alive and high-spirited. Peter Pan is another story altogether. This three-movement "fairy tale for orchestra"
inhabits a quasi-atonal idiom in which simple thematic ideas exist in very harmonically advanced surroundings, while the
gossamer orchestration keeps the whole thing magically afloat. It's a piece that rewards repeated listening and never
ceases to titillate the ear. The comparatively (almost) famous Big Ben variations reveal a brilliant compositional mind
working at full tilt. Another piece that ought to be played regularly in concert, it's easy to follow, fantastically orchestrated,
and a delight from beginning to end. It's also every bit as well performed as the Piano Concerto and the other two
orchestral works.

There's a lot of Toch still awaiting discovery, though happily labels such as CPO have been dedicating serious resources
to his orchestral and chamber music. First Edition also has a Toch CD reissue in the works from Louisville, but nothing
available at present has stronger claims on your attention than this New World CD because no other release covers such
a wide range of material, or goes so far toward justifying the composer's early reputation and the high regard in which
he was held. Pick any two or three minutes of the Piano Concerto and you will probably agree that his acclaim was well
earned."
Classics Today [https://i.postimg.cc/t4vBNSG0/p10s10.gif

[

[

Source: New World Records CD (My rip)
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File Size: 159 MB (incl. covers & liner notes)

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No.1350
Modern: Contemporary

If composers born in the 1920s deconstructed the classical tradition and destroyed the foundations of "normal" musical practice,
it was left to the '30s generation to build a new universe amid the rubble. No one has participated more assiduously in that
venture than Roger Reynolds (*1934). He has infused into avant-garde music a perspective cognizant of the extra-musical
world. It seemed surprising, yet fitting, that in 1989, Reynolds nabbed the usually sedate Pulitzer Prize for music; he was the first
experimentalist sufficiently recognized by the establishment to do so since Charles Ives in 1947. Whispers Out of Time is the prize-
winning work. The title is the last phrase of John Ashbery's long poem “Self-Portrait in a Convex Mirror,” and Reynolds uses a string
orchestra to reflect the poem's changing images, as the poem itself reflects a sixteenth-century painting by Parmigianino.

Transfigured Wind II (1983) is an example of Reynolds's most quintessential style. It could be said that the central challenge
of both his music and his writings has been the subjective response to new technology, how to absorb new sensibilities into music
without allowing the technology to defeat or subvert artistic expression. Transfigured Wind II relies on techniques that Reynolds
pioneered in Archipelago, a major work he produced in 1983 at IRCAM: He recorded the piece's four flute solos and used a
computer to capture, analyze, and transform the nuances of pitch, tempo, and dynamics that the performer intuitively added
to the notation. The transformations then appeared on tape, and also became the material for the orchestral writing.



Music Composed by Roger Reynolds
Played by The San Diego Symphony Ensemble
Conducted by Harvey Sollberger

"Roger Reynolds deserves to be much more widely recognized. "Whispers Out of Time," the first of the two pieces
on this recording, won the Pulitzer Prize, and yet how many have heard of either it or Reynolds?

"Whispers" "is scored for a string orchestra of eight violins, six violas, five cellos, and four contrabasses, including a
soloist on each instrument," according to the excellent liner notes by Kyle Gann. The contrabass soloist is the
renowned Bertram Turetzky, who, like Reynolds, is a professor of music at the University of California at San Diego.

The second piece is an electro-acoustic composition, "Transfigured Wind II," that features John Fonville's flute.
This is the style that Reynolds is known for (among the fortunate few!), utilizing computer transformations of flute
solos to structure the piece, which also features the San Diego Symphony Ensemble.

Whether or not you are impressed by his physics background, or the fact that Reynolds has spent time at
Pierre Boulez' IRCAM in Paris developing electro-acoustic compositional technique, or that he has based works
on the writings of Beckett, Stevens, Borges, Kundera, and in the case of "Whispers," John Ashbery, you are
truly missing out on some of the most beautiful music of our time if you pass this by."
Amazon Reviewer





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No.1351
Late Romantic

Daniel Gregory Mason, Quincy Porter, John Alden Carpenter and Henry Kimball Hadley believed in the conservation
of traditional musical values, advocated contemporary music accessible to the concert public, and crafted compositions of the
highest order. For them, abiding music, whatever modernisms it introduced, built on the examples of its predecessors. As such,
these four works-firmly rooted in the European tradition while incorporating elements of the prevailing trends-are excellent
examples of American orchestral music between the wars before the ascension of modernism.



Music by [see above]
Played by the Albany Symphony Orrchestra
Conducted by Julius Hegyi





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File Size: 108 MB (incl. covers & liner notes)

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No.1352
Modern: Tonal

Yasushi Akutagawa was born in Tokyo in 1925, the son of one of the leading Japanese writers of the first half of the
century, Ryunosuke Akutagawa. He studied in Tokyo with Ifukube and Kunihiko Hashimoto, guided by the aesthetic philosophy
of rough manliness of the former and the lyricism of the latter. He was greatly influenced by the music of Shostakovich and
Prokofiev, which was widely heard in Japan after the war, and he played an important part in the musical exchange between
Japan and the Soviet Union. He died in 1989. Some of Akutagawa's works were played under the direction of leading Russian
conductors, including Anosov and Gergiev. His compositions include an opera, Orpheus of Hiroshima, Ellora Symphony,
a Cello Concerto, and some hundred examples of music for the cinema.

This album includes the Symphony for Children, based on a popular Japanese story, "The Twin Stars" (Futago No Hoshi)
by Miyazawa Kenji. It is cast for (female) narrator, children's chorus and large orchestra - and although the Japanese narration
is frequent and sometimes superimposes the music, there is enough colorful and brilliantly written music in this work to merit
an inclusion in this thread. Akutagwa's music here is surprisingly strident and often reminiscent of Stravinsky. The fillers might
be of even greater interest to the board members, since those are suites from two of Akutagawa's film scores: The first, from
Yatsuhakamura (better known in the West - and to film music fans - as The Village of the Eight Gravestones -
Var�se Sarabande once released the soundtrack), the second from Hakkoudasan, a documentary feature on Mount Hakkoda.
These are purely orchestral and should pose no challenge to ordinary listeners, since they are cast in a more romantic, almost
Alfred Newman-esque style.



Music Composed by Yasushi Akutagawa
Played by the Orchestra Nipponica
With Hiroe Oka (narrator)
And the Sumida Children's Chorus
Conducted by Tetsuji Honna



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Thanks for the Akutagawa!

Gave the Ibert Le Chevalier Errant a whirl
and sadly for me it's at best an ok orchestral suite extracted from what is a great french vocal and choral work.
Even Ibert get's a bit of slap for not filling in with instruments the effect of the voices in this version.
I beseech one and all to seek out The 1955 recording by Orchestre national de la Radiodiffusion fran�aise under Georges Tzipine
in glorious vivid and bright Mono either on a hard to find LP or easy to find MP3.
Will dig out my LP and up.

On an even brighter note keep up the astonishing work Mons. Wimpel X

Magnifique

This gem-encrusted thread just keeps getting better and better! Thanks for more Hovhaness specifically, and thanks for even more new composers.

No.1353
Modern: Tonal/Contemporary

Born in Dublin in 1970, Donnacha Dennehy has been in the vanguard of Irish composers since he established the
Crash Ensemble in 1997, a Dublin-based counterpoint to New York's Bang on a Can. Crash Ensemble is very much associated
with the performance of many of Dennehy's landmark works, including the pieces Gr� Agus B�s (with the singer Iarla O' Lionaird)
and That the Night Come (with Dawn Upshaw).

Recorded with the RT� National Symphony Orchestra conducted by Gavin Maloney and featuring the
Chamber Choir of Ireland, this is CD presents four compositions by Dennehy that span the decade from 2000
to 2009 and, together with the violin concerto Elastic Harmonic, represent his complete output for symphony orchestra
to that time. They divide naturally into two pairs: The Vandal (2000) and O (2001-2) are a young composer�s
music in the best sense of the term - bold, brash, discovering ideas as though for the first time - whereas Hive* (2005)
and Crane (2008-9) are works of a mature artist offering complex portraits of ambitious compositional landscapes.



Music Composed by Donnacha Dennehy
Played by the RT� National Symphony Orchestra of Ireland
*With the Chamber Choir Ireland
Conducted by Gavin Maloney

"The sleeve notes for this collection of Donnacha Dennehy�s orchestral and choral works, all composed when he was in
his 30s, single him out as �the most striking young voice in Irish music�. It�s hard to disagree. Alongside the powerful
Nonesuch disc of vocal works released four years ago, they show how confidently Dennehy has imposed his musical
personality on a diverse range of influences that includes the hard-edged euro-minimalism of Louis Andriessen, the
microtonal harmonies of G�rard Grisey and the spectralists, and sometimes the anarchic wildness of his fellow
countryman Gerald Barry. The two earliest scores here are sharply contrasted: The Vandal, from 2000, barely keeps
its violent tendencies in check, while O (2003) is much more ambiguous � part celebration, part fond memorial.
Both, though, seem more straightforward than the later works. Hive includes choral settings of two 19th-century
descriptions of London, by Lord Byron and Thomas Beame, in a haze of shifting quarter tones, while in the ballet
score Crane (the title is industrial rather than avian), completed four years later in 2009, mechanical, driving
rhythms are offset with textures of shimmering lightness. The sheer range of Dennehy�s music is hugely impressive."
The Guardian



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No.1354
Modern: Neo-Classical

Hilding Rosenberg (1892-1985) was the most prominent Swedish composer of the mid-twentieth century and
the teacher who did much to groom succeeding generations. In his childhood, Rosenberg studied piano and organ;
he moved to Stockholm in 1914 to pursue his piano studies privately and then in 1915 enrolled in the Stockholm
Conservatory for courses in composition and conducting. Aside from his Symphony No. 1, which he drafted in
1917 and revised heavily through most of his life, Rosenberg did not begin writing substantial pieces until he was
nearly 30. Rosenberg's style is difficult to categorize, aside from remarking on its refinement and craftsmanship.
Throughout his career, he was progressive and experimental, but in a manner grounded in pre-World War II aesthetics,
not the postwar avant-garde movements. He began as a Sibelius clone, then picked up on Schoenberg's chromatic
lyricism, and went through periods of a Bach and Hindemith-style.

This disc carries the world premiere recording of Orpheus in Town, the complete ballet from 1938. The plot
is around the idea of Orpheus going in search of Eurydice during long summer nights in the streets of Stockholm.
The grouped statues forming the fountain at the front of the opera-house are depicted on stage. They come to life
and go to a department store for clothes to cover their nakedness. Orpheus thinks he has found Eurydice when he
chances on a performance of Gluck's Orfeo ed Euridice at the Opera. He finds her in a dance-hall but she will not
return with him to become a statue again in the fountain group in front of the Opera. Orpheus in Town is a strange
mixture. It is Gallic in the manner of Ibert and Satie yet sentimental in the delicate manner of Ravel. The variations
wrung out of the famous aria from Orfeo ed Euridice are one of the key pillars of the work and much is inventively
made of it. The music is a strange amalgam of the poignant, the frivolous, the jazzy and the emotive. A stimulating
and kaleidoscopically varied work.



Music Composed by Hilding Rosenberg
Played by the Stockholm Royal Philharmonic & Swedish Radio Orchestras
Conducted by Petter Sundkvist & Bengt Tommy Andersson



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No.1355
Late Romantic

Berlin was Paul Graener’s (1872-1944) city of birth although over a longish he career he also lived in London,
Vienna, Dresden, Berlin and Munich. He joined the Nazi Party in 1933 and rode high in the Reichsmusikkammer. His Berling
flat and most of his possessions were destroyed by bombing in 1944. He died in Salzburg. His music is plush and attains a
certain grandeur, complacency and repletion in the Wiener Sinfonie. Its style is roundedly Straussian with woodwind
birdsong and even the occasional Mahlerian echo. The tenderly romantic aspects of Schumann’s music can be felt in the middle
movement of the Wiener Sinfonie. The finale has a grunting, heavy-booted euphoric emphasis - rugged and imposing.
The symphony was premiered in 1941 by Hans Knappertsbusch with the Berlin Philharmonic. The Die Fl�te von Sanssouci
is a suite for flute and orchestra of four movements with baroque titles. The weighty Regerian textures provide a carpet for
Graener’s dialogue between Bachian discipline and late-romantic excess. A ringing harpsichord features in the work’s Gavotte
and Air. While the final Rigaudon looks forward to the Mahlerian sauntering of the first movement of the Wiener Sinfonie.
The Turmw�chterlied is a work of sable expression and shaded preoccupation. It abjures neo-Bachian density and instead
embraces a sort of suffocating Germanic Respighian romance. The Flute Concerto is a gracious lilting and darting creature -
Le Bourgeois Gentilhomme meets Ravel’s Le Tombeau de Couperin.



Music Composed by Paul Graener
Played by the Philharmonisches Staatsorchester Altenburg-Gera
With Andrea Knoop (flute) & Cornelia Grohmann (flute)
Conducted by Eric Sol�n

"Paul Graener (1872-1944) was born in Berlin. As a young man he enjoyed for thirteen years a career in London where
he taught and was music director of the Theatre Royal, Haymarket. Thereafter he returned to mainland Europe, working
first in Vienna, then in a variety of places until he became Professor Composition at Leipzig. He gave up teaching in 1925
to devote his time to writing music, though returned to Berlin in 1930 to take up an appointment at the Stern’ches
Conservatorium. By 1935 he had succeeded Wilhelm Furtw�ngler at the Reichsmusikkammer serving there as leader
of the composers’ organisation until 1941.

Knut Andreas, in his excellent and detailed booklet essay, goes into some detail about Graener’s later years, his membership
of the Nazi Party and his getting into trouble for his continued friendship with Jewish publishers and musicians and for making
disparaging remarks about the Nazi leadership, and after being unable to confirm thoroughly Aryan antecedents, he lost
some of his positions, though he did remain vice-president of the Reichsmusikkammer. In addition to all this, the Graeners
had lost their first son aged eight, the second in 1918, and their daughter aged thirty, and brought up the grandchildren,
and Andreas points out the move to Berlin was so that Graener could be near to his three illegitimate children. So, this
was a complicated life peppered with tragedy.

The Vienna Symphony Op.110, his Second, was Graener’s last major orchestral work, first performed in 1941, with the
Berliner Philharmoniker under Knappertsbusch. From the beginning, the listener’s ears are bathed in quite gorgeous late-
Romanticism – here, there is no raging against the iniquities of life or commentary on current or past events. Something
of a homage to Mozart’s Jupiter and Wagner’s Siegfried Idyll, though by no means a pastiche, the work has some glorious
moments, and bears much repeated listening. On the whole, it is easiest to compare the idiom to that of late Strauss.

The two works for flute are equally delightful, here played by two excellent different flautists. The earlier work, Die Fl�te
von Sanssouci, dates from 1929 and was inspired by Berlin and the flautist King Frederick the Great – movements titled
Sarabande, Air, Gavotte and Rigaudon give more than a little hint about the music itself. The work was very popular,
introduced to audiences by Furtw�ngler, Toscanini and Kleiber to name but three. The concerto was completed in 1944,
the last movement based on the folk-song “Enjoy your life”, ever optimistic and bright-eyed in the face of ever-worsening
trials. Turmw�chterlied (Watchman’s Song) dates from 1939, and was inspired by Goethe’s poem and is a set of variations,
beginning and ending in darkness, very effective.

The Altenburg-Gera Philharmonic and Eric Solen approach all four works with sensitivity and the orchestra’s rich tonal
colours are a credit to the players. Coupled with excellent and warm sound, the works are presented in pretty much the
best possible light. This interesting disc, generously filled, is well worth seeking out. It has certainly moved me to look
for other works of this now-neglected composer."
The Audiophile Audition





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No.1356
Modern: Tonal

Born in Stockholm as the son of composer Sigurd von Koch, Erland von Koch (1910-2009) studied at the Stockholm Conservatory from
1931 to 1935 and subsequently passed the advanced choirmaster and organist examinations. Between 1936 and 1938, he lived in Germany
and France in order to pursue studies in composition with Paul H�ffer, conducting with Clemens Krauss, and piano with Claudio Arrau.
Later, he took private classes with Tor Mann in Sweden. Teaching at the Karl Wohlfarts Musikschule from 1939 to 1945, von Koch also spent
the final two years of this period working as a sound expert and choirmaster for radio broadcasting. He composed much music for the Swedish
film industry during a good forty years. From 1953 to 1975, he was lecturer in harmony at the Stockholm Conservatory, where he was appointed
a professor in 1968. Von Koch became a member of the Royal Swedish Academy of Music in 1957. He has received numerous other honors and
prizes at both national and international levels for his compositions. He has written six symphonies (of which the fifth, Lapponica, is
dedicated to the Sami people),[3] twelve Scandinavian Dances, one opera (Pelle Svansl�s), and five ballets, as well as music for wind orchestra.
Even in his nineties he composed/studied every day. His works can be described as uncomplicated and his motto was always to "keep the melody".



Music Composed by Erland von Koch
Played by the Stockholm Philharmonic Orchestra
Conducted by Stig Westerberg

"Clean, sharply delineated, folksy without kitsch and strongly rhythmic, von Koch's music has made small impact
internationally. Time for reassessment.

Von Koch was born into a cultured family. Guests at his home included Rangstrom and Stenhammar. His father,
Sigurd, was also a composer, and sadly he died when his son was only nine passing on to him his love of the sea,
of music and of the Stockholm archipelago. Studies at the Stockholm Conservatory lead on to work with Claudio
Arrau and writing music for Ingmar Bergman's early films.

These three pieces are a counterpart to the named orchestral works of William Mathias. They are each tone poems
or orchestral studies. The approach is similar to the explosive energising music one finds in Uuno Klami's Kalevala
Suite or even Copland's El Salon Mexico. There are traces of Stravinsky and Holmboe. The music 'feels' big and is
often marked out by dance fragments stamping and flickering. The woodwind writing is notable for carrying the
front-line interest. Too, however, Von Koch employs the percussion to dramatic effect as well as for colour.
The music is refreshing and in no way cloying or prolix.

Impulsi, Echi and Ritmi are grouped as the Impulsi Trilogy. The predominance favours verve and virile life.
There is a pronounced Hungarian element (Kodaly and Rozsa rather than Bartok) in the Lappland Metamorfoser
and, up to a point, the Oxberg Variations (note some Hovhaness-like trombone 'slides'). This is less evident in
Impulsi. In both Echi and Ritmi the xylophone is notable for goading the work on to new heights of excitement."
Musicweb



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No.1357
Light Music

A Zarzuela is a Spanish lyric-dramatic genre that alternates between spoken and sung scenes, the latter incorporating operatic
and popular song, as well as dance. The etymology of the name is uncertain, but some propose it may derive from the name of a Royal
hunting lodge, the Palacio de la Zarzuela near Madrid, where, allegedly, this type of entertainment was first presented to the court.
The palace was named after the place called "La Zarzuela" because of the profusion of brambles (zarzas) that grew there, and so the
festivities held within the walls became known as "Zarzuelas". The genre is similar to the Western European "operetta".

Federico Chueca (1846-1908) was a Spanish composer of zarzuelas and author of La gran v�a along with Joaqu�n Valverde Dur�n
in 1886. Chueca was one of the most prominent figures of the g�nero chico. Born in Madrid, Chueca entered the conservatory at eight
years old, but his family later obligated him to abandon music to study medicine. He was arrested in 1866 as a participant in the student
demonstrations against the Narv�ez government. While he spent three days in the prison of San Francisco in Madrid, he composed
several waltzes that he entitled Lamentos de un preso ("Lamentations of a Prisoner"). Later, Francisco Asenjo Barbieri helped
orchestrate and direct the works, and their success helped Chueca leave medicine and devote himself once more to music.
He worked as a pianist and directed the orchestra of the Teatro Variedades. He is considered a self-taught musician. In fact,
he was more schooled in the sciences than in music, however Chueca had an intuitive talent and grace with melody and rhythm
that produced many works. He worked with several collaborators like Barbieri, Tom�s Bret�n, and especially Valverde, in
many of his works.



Music Composed by Federico Chueca
Played by the English Chamber Orchestra
Conducted by Antoni Ros-Marb�





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Rosenberg, Graener, von Koch, Akutagawa and much others....what a treasury, BIG thanks wimpel69.

No.1358
Late Romantic (Brass)

Between 1894 and 1909, Belgian composer Paul Gilson penned a six-piece suite for large brass ensemble,
La Fanfare Wagn�rienne. These works were inspired by the model for brass instrumentation created by
Richard Wagner with The Ring Cycle just decades prior. In terms of style and thematic elements
La Fanfare Wagn�rienne was certainly wide-ranging and was an achievement in the burgeoning brass genre,
one of the first important compositions for brass. This suite was performed until 1912, and was subsequently
lost in its original form for almost ninety years, until it was rediscovered and reconstructed by English trombonist
and conductor Eric Crees.

This suite will surely become a fixture of brass repertoire in the coming years, and this spectacular and rousing
recording will stand as an important document in its history.



Music Composed by Paul Gilson
Played by the Guildhall Brass
Conducted by Eric Crees

"Eric Crees’s decision to explore this repertoire in its original instrumentation with students at
London’s Guildhall School is testament to the skill and commitment of his young charges who, from all
appearances, embraced rehearsing, performing and recording Gilson’s works during the 2010–11 school y
ear with startling commitment. One is hard pressed to find cause to think that the Guildhall Brass is
“just another student group.” Rather, the nearly 50 students who participated in the three recording
sessions for the project – a complete list of personnel is given in the CD booklet – show themselves
to be professional in every way, with clarity and purity of sound, a wide dynamic range, blistering
technique and, with a tip of the hat to those playing the Alexander Wagner tubas, spot-on intonation.
Within the first 30 seconds of the opening track, Gilson’s Scherzo Fantastique, one hears the brass
section enter in turn – trumpets, horns, trombones and then tubas—in a fanfare that is electrifying
in its power and ability to engage the listener. This is both playing and music of extraordinarily
high quality that makes for immensely enjoyable listening."
Historic Brass Society



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---------- Post added at 02:21 PM ---------- Previous post was at 01:44 PM ----------




No.1359
Late Romantic

Arthur Meulemans’ (1884-1966) huge output includes many orchestral works, a number of concertos
as well as much chamber and vocal music, the backbone of which undoubtedly consists of his fifteen symphonies
and of which shamefully little is available in recordings. So, the present release offers a tantalising survey of his
orchestral music, albeit in small form and in lighter mood. These pieces date from various periods in his long and
prolific composing career. Most of them are well-crafted and superbly scored works in which Meulemans’ orchestral
flair and mastery are clearly displayed.

The earliest piece here Twee Dansen (Exotic Dance and Waltz) were originally written for piano in 1911 and
1913 respectively, and orchestrated as a diptych in 1930. These delightful miniatures are superior light music,
no doubt, but very attractive and entertaining in their own right. The somewhat later Twee Movimenti for
violin and orchestra and Twee Idyllen for oboe and orchestra both date from 1927, and are the kind of lighter
stuff that, say, Frank Bridge could have written, and none the worse for that. The Second idyll ("of a city dweller")
is particularly fine; a sort of atmospheric urban idyll of great charm.

Meulemans began thinking about his opera Adriaen Brouwer in the early 1920s but completed the score only in 1926.
The first stage performance, planned for the 1940-1941 season of the Antwerp Opera, was cancelled partly because
of the outbreak of World War II and partly because the conductor thought that it put too many demands upon the
performers. It had to wait until 1947 when Dani�l Sternefeld conducted the first performance. The overture, however,
was written much later, in 1935. It is an altogether more serious piece than the rest of this programme. Meulemans
conceived it as an orchestral fantasy or rhapsody on themes from the opera. This is vintage Meulemans, and it gives a
fairly good idea of his mature works.

The Rhapsody for clarinet and orchestra (1932) is one of the many concertante works which Meulemans
composed throughout his long career. In turn, dramatic, declamatory or lyrical, the music exploits the entire
expressive palette of the instrument. When it was published in the 1940s, the piece was chosen as a test piece
by several Belgian conservatories.

Meulemans composed many concertos. It is almost a case of name an orchestral instrument and Meulemans has
written for it. There is one each for trumpet, trombone, timpani, saxophone quartet and clarinet quartet
besides those for the more usual instruments: piano, violin, viola, cello, flute, horn and harp. The Oboe Concerto
dates from 1942 and is a perfect example of Meulemans’ instrumental mastery. Not particularly demanding, maybe,
but quite rewarding to play and to listen to.



Music Composed by Arthur Meulemans
Played by the Hradec Kr�lov� Philharmonic Orchestra
With Ludmilla Peterkov� (clarinet) & Piet van Bockstal (oboe)
Conducted by Herman Engels



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The latest uploads are fantastic - each one pure delight. Thank you!

The Belgians are coming!
Bravo, wimpel!!!

No.1360
Late Romantic

Flor Alpaerts (1876-1954)was an authority in Belgium and abroad as a conductor and also one of the
permanent pillars of the young orchestra of the National Institute for Radio (NIR). Alpaerts’ first compositions
are in an engaging impressionistic and at times late romantic style. But with the James Ensor Suite Alpaerts
marks the birth of expressionism in Flemish music. He conducted all over Europe and promoted the work of the
Belgian composers Benoit, Gilson, De Boeck, Mortelmans and of course himself. In Antwerp he introduced the
work of Debussy, Ravel, Stravinsky, Richard Strauss as well as that of Gustav Mahler and Anton Bruckner.
His two most important symphonic works date from this period: Pallieter (1921-1924) and the
James Ensor Suite (1931). Guido de Neve (�1963) teaches at the Conservatory of Antwerp.
He has a great passion for forgotten masterpieces and was co-founder of the Spiegel Strijkkwartet and the
Trio Ysa�e. Michel Tabachnik studied piano, composition and conducting in Geneva. He was a prot�g� of Igor
Markevitch, Herbert von Karajan and Pierre Boulez, acting as the latter’s assistant for four years, mainly
with the BBC Symphony Orchestra in London.



Music Composed by Flor Alpaerts
Played by the Flemish Radio Orchestra
With Guido de Neve (violin)
Conducted by Michel Tabachnik

"This release documents the work of Flemish composer Flor Alpaerts (1876–1954). He was born into a life of
deprivation, but studied at the Flemish School of Music in Antwerp and became a noteworthy violinist and
conductor, Read more Pallieter of 1924 is based on a 1916 novel of the same title by Felix Timmermans, and
it serves to document the initial phase of Alpaerts’s career as a composer. The result is an almost Delius-like
essay that projects moments of joy leavened by an all-encompassing melancholy.

The finest piece on this offering is the James Ensor Suite of 1928, in which Alpaerts produces moments of dark
irony. It was inspired by a painting of James Ensor’s titled Christ’s Entry into Brussels. Here his language
becomes more brittle and acerbic than that of his Pallieter of four years earlier, and his orchestration is
noticeably spikier, though far less so than one finds in the contemporary scores of Bart�k and Stravinsky.

In sum, Alpaerts is a second-tier composer, but, to invoke Richard Strauss’s self-deprecating evaluation of
himself, Alpaerts is in the first class of second-class composers who undeniably composed some quite attractive
music, documented with distinction on this release."
Fanfare





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No.1361
Late Romantic

Jef van Hoof (1886-1959) was a Flemish composer and conductor. Born in Antwerp, Van Hoof was a
pupil of Paul Gilson and was heavily influenced by the works of Peter Benoit. He studied at the Royal
Conservatoire of Antwerp, of which he was the director from 1942 tot 1944. In 1933 he founded the
Vlaams Nationaal Zangfeest (Flemish National Song Festival) where he worked as a conductor for many
years. He also conducted concerts associated with the Flemish Movement. He died in Antwerp in 1959
at the age of 72. He composed chamber music, symphonic works, art songs, works for solo piano and
organ and sacred music. He is particularly known for writing the famous Flemish fight song Groeninghe
which uses a text by Guido Gezelle.



Music Composed by Jef van Hoof
Played by the Jan�cek Philharmonic Orchestra
Conducted by Ivo Venkov

"The 1917 Remembrance Overture not quite seamlessly incorporates fragments of the national
anthems of Russia and England and France. There are times when it lurches towards 1812 territory
just without the field guns. The Perseus Overture is rather affable and even excitable. It has a few
moments echoing Berlioz’s Carnaval Romain and Le Corsair as well as Smetana's Bartered Bride.
The six van Hoof symphonies came late in life with the first dating from 1938 and this Second from
the Nazi occupation years in 1941. It’s resolutely rooted in nineteenth century models and modes.
The mood is pretty relaxed and despite the liner-note one finds little in the way of the sort of tortured
passions associated with a war symphony. This is not another Arthur Benjamin Symphony - more
like Mendelssohn's Scotch or Italian or the Bizet or Saint-S�ens’ first two numbered symphonies.
The Sixth is unfinished.

The Jan�ček Phil, Ostrava acquit themselves with evident commitment for Ivo Venkov.
he two overtures show not just extensive preparation but also that the playing has 'caught fire'."
Musicweb





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No.1362
Late Romantic/Modern: Tonal

Belgian composer Ernest van der Eyken (1913-2010) received his first musical training at the age of
five at the Music Academy in Sint-Truiden. At the age of seven he joined the music theory class of Karel
Candael at the Royal Music Conservatory in Antwerp. In 1930 he obtained his first degree under Jan Broeckx,
and in 1931, a further deree in viola studying with Napoleon Distelmans. Further studies at the Antwerp
Conservatory were chamber music with Albert van de Vijver, conducting with Lodewijk De Vocht, harmony
with Emile-Constant Verres and Edward Verheyden. Van der Eyken also studied counterpoint and fugue with
August de Boeck, instrumentation with Paul Gilson, and during World War II went to Salzburg, Austria to
study conducting with Clemens Krauss and Joseph Marx at the International Conducting School.

In 1930 Van der Eyken made his debut as a violist with the Groot Symfonie-Orkest van de Wereldtentoonstelling 1930
(Grand Symphony Orchestra of the 1930 World Exposition) in Antwerp. Thereafter, he played in orchestras
and chamber music ensembles of Antwerp: Orkest van de Koninklijke Vlaamse Opera (Orchestra of the Royal
Flemish Opera), Nieuwe Concerten and Orkest van de Dierentuinconcerten. Between 1942 and 1944, he was
assistant conductor of the Koninklijke Vlaamse Opera (Royal Flemish Opera). From 1952 and 1970, he taught
violin and chamber music at the Music Academy in Ekeren.

He founded the Philharmonisch Kamerorkest (Philharmonic Chamber Orchestra) in Antwerp was also the conductor.
In the 1960s he was music editor responsible for music programs of the Flemish Radio and Television Network.
Furthermore, he conducted the Jeugd en muziek-orkest (Youth and Music Orchestra) of Antwerp from 1963 to 1976
and served as guest conductor of the Philharmonic of Antwerp and the Orchestra of the Flemish Radio and Television
Network. In 1977 he joined the Royal Academies for Science and the Arts of Belgium.

Van der Eyken's �uvre consists of approximately 120 works, his style largely influenced by Flemish
post-romanticism and the first wave of modernism of the 20th century.



Music Composed by Ernest van der Eyken
Played by the Belgian Radio and Television Philharmonic Orchestra
Conducted by Fernand Terby

"The early Po�ma completed in 1937 may still be indebted to Post-romantic aesthetics and for this
reason slightly impersonal but the music already displays considerable formal and technical mastery.
This fine piece is neither a prentice work nor a slavish imitation of earlier aesthetics; but clearly points
towards the composer�s mature style, which will first flower in the Second String Quartet. Moreover,
the music fully displays the composer�s natural lyricism free from any all-too-easy sentimentality.

Refereynen ende Liedekens (�Refrains and Songs�) is much lighter in mood. It actually consists of fairly
straightforward but expertly made harmonisations of several old Flemish tunes. The music may remind
one of Vaughan Williams in lighter vein or early Frank Bridge - his lovely Cherry Ripe. A delightful,
unpretentious work of great charm, which incidentally also exists in a version for wind orchestra made
in 1968 and one for wind quintet made as recently as 2002.

On the other hand, the Symphony for Strings completed in 1967 is a major work in three succinct
movements packed with invention, with much stringent, athletic and virile string writing, such as may be
heard in Vaughan Williams� Partita and Concerto Grosso, or in Bridge�s late string quartets. The beautiful
central Andante is another example of Van der Eyken�s unsentimental lyricism, and is framed by lively
outer movements of great strength and verve, in the case of the closing Allegro.

The death of Van der Eyken�s wife in 1983 was a severe blow, and it took several months of friendly
persuasion to bring him back to composing. The result is the poignant, deeply-felt Elegie voor Bieke,
which he completed several months later. Again, and at the risk of repeating myself, the music is strongly
expressive without any sentimentality. A great piece of music that deserves to be heard more often.

As mentioned earlier, the composer conducts most pieces played by an uncredited orchestra - probably
the string section of the Flemish Radio Orchestra, but obviously a full string section of professional players -
which plays superbly for the composer-conductor. Elegie voor Bieke is given a splendid, fully committed
reading by the BRTN Philharmonic Orchestra conducted by that arch-champion of contemporary Flemish
music, Fernand Terby."
Musicweb





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No.1363
Late Romantic

Jef van Hoof composed three short operas. Meivuur (�Fire of May�), his second opera, described
as a two-act pastoral play by the composer, was composed between 1913 and 1915, while the scoring was
completed in 1916. Because of World War I, the premiered was postponed until January 1924. He made an
orchestral suite using material from the first act, and the three sections play without a break: Angelus
(an atmospheric evocation of dusk, with bells peeling in the distance), Kindertonelen (�Children�s Scenes�,
a lively dance-like section) and Stoet (�Cort�ge�, ending with a joyous dance around the Maypole).

He wrote only four fairly short concertante pieces, and the most unusual of them is the Divertimento
for Trombone and Orchestra completed in 1935. This short piece falls into two neatly contrasting
sections played without a break: a lyrical Moderato exploiting the singing quality of the trombone, and a
Scherzo calling for virtuosity and ending in jollity.

The major work in this generously filled release is undoubtedly the Symphony No.3 in E flat major composed
between 1944 and 1945, a rather difficult period for Van Hoof. In 1942 he was appointed director of the Royal Flemish
Conservatory in Antwerp. Because of his overtly nationalistic feelings, some suspected that his appointment was
fostered by the German occupying authorities, which it was not. Nevertheless he lost his job at the liberation.
The first performance of his Third Symphony in 1949 came as some sort of rehabilitation for the composer. T
his said, the Third Symphony as well as the Second Symphony of 1941, may be said to reflect the
composer�s feelings about war, although both are essentially abstract pieces. The first movement, opening with an
imposing theme on which the entire movement is built, is a fine example of �monothematic� thinking, although
the movement as such cannot be described as a theme and variations. The heart of the symphony lies in the
sorrowful, doom-laden slow movement (Tempo di marcia Funebre), the music of which speaks for itself.

The Vier Giza Ritschl liederen (�Four songs after Giza Ritschl�) were composed in 1906 when the composer
was recovering from a difficult period caused by the early death of his mother. He chose four short poems
dealing with death, parting and solitude. The orchestral versions were made in 1913 and 1917. These songs
make it clear that he found his voice early on in his career. They have much in common with the songs of
Faur� and Duparc, although they are generally more straightforward and less sophisticated.



Music Composed by Jef van Hoof
Played by the Pannon Philharmonic Orchestra (Pecs)
With Ann De Renais (soprano) & Ivan Meylemans (trombone)
Conducted by Zsolt Hamar

"I have only praise for these performances, which are all very fine. Ann De Renais sings
beautifully throughout, and the Hungarian orchestra works wonders in music that must have
been quite unfamiliar to them. Recording and production are excellent too.

As already mentioned earlier in this review, Van Hoof�s music is firmly anchored in Post-
Romantic aesthetics; and anyone enjoying warmly lyrical, richly melodic Romantic music
will find much to enjoy here."
Musicweb



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No.1364
Modern: Tonal/Contemporary

Norwegian Halvor Haug (*1952) is one of the most interesting and original symphonic composers alive today. On this album
the prominent English Chamber Orchestra and Norrk�ping Symphony Orchestra, with conductor Ole Kristian Ruud,
performs four of Haug�s deep-felt and at times gloomy orchestral pieces. Haug�s music has a certain natural pathos. Everything is charged
with emotion, and rife with feeling. In the Third Symphony we are witness to an incredible, inscrutable diversity, all brought about by
a simple cell of four notes. A diversity which is not exhausted in one work alone. The piece also features, towards the end of the piece, the
song of a nightingale played from tape. His work Silence is a subtle exercise in sound and form. Apparently, Haug was trying to
�express my thoughts about stillness with an economy of means.� Haug�s Insignia, on the other hand, is harsher, more dissonant
than in his other works, perhaps representing the composer�s response to the craggy landscape of the Lofoten area. The album�s closing
track Furuens Sang (Song of the Pines) was written after a period of intense grief resulting from the annihilation of the �wonderful
pine forest opposite my studio� � a lament for human�s often disrespect for the nature.



Music Composed by Halvor Haug
Played by the Norrk�ping Symphony & English Chamber Orchestras
Conducted by Ole Kristian Ruud

"The Norwegian Halvor Haug (b.1952) is probably best known in this country for his First Symphony, for which the listed comparative
account of Silence is a coupling. The Third (1991-93) is more ambitious expressively. Its title, The Inscrutable Life, links to Nielsen's
Fourth (the Dane held life to be 'inextinguishable'). Haug's eruptive score, in a single movement divided into two unequal parts, strikes
me as anything but inscrutable. Somewhat elusive, it has impressed more with each acquaintance, although I still do not find it wholly
convincing. The main four-note musical cell (a favourite device of the composer's) - first heard in a striking, Petterssonian opening -
is worked out thoroughly, but harmonically the music is too static, at times a touch aimless. The short second part uses, Respighi-like,
a taped nightingale (and to close the work) ; surely a miscalculation, underlining the music's inability to resolve itself.

The shorter items are more characteristic in quality. Insignia (1993) is a better piece than the pretentious subtitle 'symphonic vision'
might suggest, but the best items are the two works for strings. The early Silence (1977) is a delicate and highly accomplished piece
for a 25-year-old, while Song of the Pines (1987), written as a memorial to a local pine forest that was destroyed, has a really affecting
blend of grief and outrage. Ruud has the measure of each score, directing splendid performances; that of the ECO in Silence shades
the verdict over Dreier and the LSO. Sound quality is also very good.'"
Gramophone





Source: Simax Records CD (My rip)
Format: mp3(320), DDD Stereo
File Size: 170 MB (incl. covers)

Download Link (mp3) - https://mega.nz/#!RR0WUYiA!DaChBApdnDAY5ySOyNarefKdFAVT_97KwQ7fNH4eMGA

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