EDMUND RUBBRA (1901-1986): Symphony No. 1,
Op. 44, Sinfonia concertante, Op. 38, A Tribute, Op. 56. Rubbra's musical development was slow. No prodigy, his first major orchestral work was the Sinfonia concertante for piano and orchestra of 1934 which itself was only premiered, after a revision, by the composer at the Proms in 1943. Showing a toughness and hardness in the piano writing which owes much to Bartók, the work also contains an economy of means in the final movement, paying fitting tribute to Rubbra's teacher and friend Gustav Holst to whose death the Sinfonia was a response. The symphony, written between 1935 and 1937, is a remarkably assured work for a first effort in the genre yet already shows signs of the mature composer in its organic derivation. A Tribute, from 1942, is a fond 70th birthday tribute to Vaughan Williams of whom Rubbra was an admirer although he did not himself subscribe to the so-called "pastoral school". Howard Shelley (piano), BBC National Orchestra of Wales; Richard Hickox. Chandos CHAN 9538 (England) 07-001 $16.98
GAVRIIL POPOV SYMPHONY NO. 5, SYMPHONIC SUITE NO. 1
GAVRIIL POPOV (1904-1972): Symphonic Suite No. 1, Symphony No. 5 in A Major, Op. 77 "Pastoral". This third release in Olympia's Popov series couples works from different ends of the composer's career. The suite was culled from music written for the 1932 propaganda film Komsomol is the Chief of Electrification (really) and contains five brief movements showing Popov's early musical personality: pungent orchestrations both virtuoso and highly personal, not without a hint of Prokofiev. The fifth symphony was written in 1956 and represented Popov's first effort at reclaiming his place in the Soviet musical firmament after Stalin's death. A massive work of five movements (Pastorale, Storm, Struggle, Hopes and a second Pastorale) the symphony shows Rimsky-Korsakov's influence in its superb orchestration as well as evident influences from Ravel and Prokofiev. Moscow Radio & TV SO; Edvard Chivzhel, USSR State SO; Gurgen Karapetian. Olympia OCD 598 (England) 07-002 $16.98
BORIS TISHCHENKO (b. 1939): Concerto for Harp and Chamber Orchestra, Op. 69, ALBERTO GINASTERA (b. 1916): Concerto for Harp and Orchestra. St. Petersburg composer Boris Tishchenko's harp concerto makes its belated CD debut. One of Shostakovich's finest students, Tishchenko's music is concentrated, intense and expressive. Dating from 1977, the concerto, in 5 movements lasting 45 minutes, is predominantly inward-looking and treats the harp as a "first among equals" rather than as a virtuosic soloist. An unexpected touch is the use of a wordless soprano in its fourth movement Intermezzo. Tatiana Tauer (harp - Ginastera), Irina Donskaya (harp - Tishchenko), St. Petersburg Chamber Orchestra; Edward Serov. Kontrapunkt 32250 (Denmark) 07-003 $16.98
NIKOLAI ROSLAVETS PIANO WORKS
NIKOLAI ROSLAVETS (1881-1944): Three Compositions, Three Etudes, Piano Sonata No. 1, Prelude, Two Compositions, Piano Sonata No. 2, Two Poems, Five Preludes, Piano Sonata No. 5. CD premieres of all but the fifth sonata, the five preludes and the first three compositions. These are all works from Roslavets' most radical years (the first two decades of the 20th century); full of rich, bizarre and arresting colors via manipulation of "synthetic chords" and transposition throughout the twelve degrees of the chromatic scale, these pieces are perhaps best summed up by the pianist who performs them here: "Scriabin on acid!". Marc-André Hamelin (piano). Hyperion CDA 66926 (England) 07-004 $17.98
ERVÍN SCHULHOFF (1894-1942): Piano Sonatas Nos. 1-3, Suites for Piano Nos. 2 & 3. Written between 1924 and 1927 the three sonatas show differing approaches to form and a wide variety of material, not without Schulhoff's beloved jazz idiom making an appearance or two as well. The two suites, from the same period, are in an appropriately lighter vein showing the composer's affinity with Les Six. Tomá Víek (piano). Supraphon 11 2172-2 (Czech Republic) 07-005 $16.98
ALOIS HÁBA (1893-1973): Scherzo, Op. 2/1, Intermezzo, Op. 2/2, SIx Piano Pieces, Op. 6, Four Dances, Op. 39, Shimmy-Fox, Romance, Waltz, Toccata quasi una fantasia, Op. 38, 6 Moods, Op. 102. Tomá Víek (piano). Early piano works by a composer whose reputation - or notoriety - rests on his experiments in microtonal composition, show the influence of the prevailing musical styles of the early years of this century - Busoni, Scriabin, and the jazz-influenced works of Krenek and Martinu. The epigrammatic "Six Moods" are later works, and more modern, but still very approachable. Lively and appealing, and well performed and recorded. Supraphon 3146 (Czech Republic) 07-006 $16.98
HARALD SÆVERUD (1897-1992): String Quartets Nos. 1-3. Norway's grand old man of music wrote all three of these works in the 1970s, well after nine of his symphonies and many other compositions. However, there are no concessions to age; these are tough, thorny and rigorously argued pieces. The first, in one movement is subtitled "Serenades of the Two Rivals" in which the viola and cello battle it out for the affections of an imaginary lover. The second quartet is the longest, a magnificent construction held together by powerful themes and motives. The Third is the most classical of the three and is in three movements subtitled "Searching", "Pastoral Repose" and "The Last Word". Hansa Quartet. Simax PSC 1141 (Norway) 07-007 $16.98
JAN KLUSÁK (b. 1934): String Quartets Nos. 1-5. Klusák moved from a tonal neo-classical idiom (the first quartet of 1956) to the epigrammatic Webernesque 5-minute long second quartet of 1962. Aleatoric elements play a role in the long, single-movement third quartet of 1975 and also in the much later fourth (1990). The fifth quartet of 1994 returns to a more classical form: six contrapuntal variations in passacaglia form. Stamic Quartet. Panton 71 0422-2 (Czech Republic) 07-008 $16.98
JOHN FIELD WORKS FOR PIANO AND ORCHESTRA, VOLUME 4
JOHN FIELD (1782-1837): Piano Concerto No. 7 in C, Quintet for Piano and Strings, Divertissements Nos. 1 and 2, Nocturne No. 16, Rondeau in A Flat. Everything here except the concerto and the rondeau is receiving its premiere recording. Except for the Nocturne No. 16, from 1836 and Field's last published piece (better known in its solo piano form), these premieres were composed between 1810 and 1816. The second divertissement, in two movements of which the first later became the seventh Nocturne, has a Mendelssohnian lightness and gaiety while all of the others are touched with that unique balance between light and shadow, of joy and sorrow, so typical of the early Romantic genre and of Field in particular. Miceál O'Rourke (piano), London Mozart Players; Matthias Bamert Chandos CHAN 9534 (England) 07-009 $16.98
LUDWIG VAN BEETHOVEN (1770-1827): Variations on Mozart's "Se vuol ballare" for Piano and Violin, WoO 40, 2 Pieces for Mandolin and Piano, WoO 43/1 & 44/1, Variations on a Theme from Handel's "Judas Maccabaeus" for Cello and Piano, WoO 45, 3 Pieces for Musical Clock, WoO 33, Variations in C for 2 Oboes and English Horn, WoO 28, Trio in G for Piano, Flute and Bassoon, WoO 37, 25 Scottish Songs, Op. 108, 16 Songs of Different Peoples, WoO 158a, Sextet in E Flat for 2 Horns, 2 Violins, Viola and Cello, Op. 81b, Variations of Folk Songs for Piano, Flute and Violin, Op. 107, Duo in C for Clarinet and Bassoon, WoO 27//1. The rarest pieces on record here are the Op. 107 folksong variations, which. like the Scottish Folksongs, date from Beethoven's late 40s, and the excerpts from "Songs of Various Peoples", only two of which were published prior to 1943. The rest are from the composer's youth. A useful mid-price collection for completists and lovers of arcana. Various vocal and instrumental soloists, Erben Quartet. 3-CD set. Berlin Classics 9133 (Germany) 07-010 $35.98
LUDWIG VAN BEETHOVEN (1770-1827): Horn Sonata, Op. 17, Sextet for 2 Clarinets,
2 Horns and 2 Bassoons, Op. 71, Rondino for 2 Oboes, 2 Clarinets, 2 Bassoons
and 2 Horns, WoO 25, Octet for 2 Oboes, 2 Clarinets, 2 Bassoons and 2 Horns,
Op. 103. Though having the lowest opus number, the horn sonata is the latest
work here, dating from Beethoven's 30th year. The other pieces show the
composer working in the ubiquitous genre of occasional music in the years
around and leading up to his first two piano concertos. Peter Damm (horn),
Amadeus Webersinke (piano), Leipzig Radio Symphony Wind Ensemble. Berlin
Classics 9186 (Germany) 07-011 $11.98
GAETANO DONIZETTI (1797-1848): String Quartets Nos. 16, 17 and 18. The first 16 of Donizetti's quartets were composed between 1818 and 1821 and were student works. The 16th shows the young composer paying homage to Haydn. By the time of the 17th, written in 1825, Donezetti was already a successful opera composer and this quartet has all the Italian joie de vivre of his buffo operas. From 1836, the final quartet conveys the joys of spring with a first movement that was the original of the overture to Linda di Chamounix, a tranquil adagio, sparkling menuet and a jovial alla polacca finale. The Revolutionary Drawing Room. CPO 999 282 (Germany) 07-012 $15.98
JOSEF TRIEBENSEE (1772-1846): Concertino for Piano and 2 Oboes, 2 Clarinets, 2 Horns, 2 Bassoons and Double Bass, Grande Quintuor for Piano, Clarinet, English Horn, Bassett Horn and Bassoon. An oboe virtuoso himself, Triebensee was a prolific composer (including many operas) but his works for wind instruments stand out for their idiomatic writing. Like most of his fellow Bohemians, Triebensee seems not to have been able to write a bad tune nor to have ever run out of enchanting and virtuosic ideas. Werner Genuit (piano), Consortium Classicum MD&G 3010626 (Germany) 07-013 $19.98
MUZIO CLEMENTI (1752-1832): Piano Sonatas, Op. 25, Nos. 4-6 and Op. 33, Nos. 1 & 2. Stefan Irmer (piano) Clementi's piano writing is the cornerstone of modern pianism - romanticism from Beethoven onwards can be traced more or less directly back to Clementi's innovations. Indeed, uncanny prefigurings of even late Beethoven can often be found in these sonatas, particularly Clementi's profound slow movements, quite unlike anything else being written for keyboard at the time. MD&G 6180653 (Germany) 07-014 $19.98
MICHÉL YOST (1754-1786): Clarinet Concertos Nos. 7-9 & 11. Michèl Yost was a famous clarinettist who worked in France but he did not write these concertos. The composer is really Johann Christoph Vogel (1756-1788), who published them under Yost's name to secure more easy acceptance. Three of the concertos are in the standard three movements - fast - moderate and final rondo while the fourth has only two: a melodious adagio and the ubiquitous rondo. Bursting with virtuosity and high spirits, they define Parisian tastes of the period. Dieter Klöcker (clarinet), Prague Chamber Orchestra MD&G 3010718 (Germany) 07-015 $19.98
LEO ORNSTEIN PIANO QUINTET, STRING QUARTET NO. 3
LEO ORNSTEIN (b. 1892): Piano Quintet, String Quartet No. 3. An amazing 49 years separate the two works on this disc (perhaps even more amazingly, its composer is still alive at the age of 104!): the Piano Quintet of 1927 is close to Ornstein's early "bad boy" years when he was considered the leading "futurist" composer. Nearly 40 minutes in length, it features long build-ups of gradual dissonances which arrive at forceful climaxes as well as sweeping melodies which float over strongly marked metrical supports. The outer movements are reminiscent of Eisenstein's epic films and the limitless Russian landscape while the slow movement is an eloquent expression of human sadness. The quartet, from 1976, is much more oblique in its tonality as Ornstein rarely alights in a clearly defined key. The listener is constantly pulled toward a tonal center and then deflected away toward new horizons. Janice Weber (piano), Lydian String Quartet. New World (U.S.A.) 80509 07-016 $15.98
ROBERT STARER (b. 1924): Evanescence, Hudson Valley Suite. FRANCIS THORNE (b. 1922): Symphony No. 7 "Along the Hudson", Simultaneities. Two works for orchestra evoking the present and past of the mighty flowing Hudson River are balanced by two others for brass quintet. Starer's suite, from 1983, follows the river in five vignettes from its sources to its outpouring into the sea at New York City. Thorne's symphony, completed last year, is in four movements: three brief ones commenting on certain geographical locations on the river and a much longer fourth which sets sets five descriptions of the Hudsonby Whitman for chorus. Both works are abundantly tuneful, tonal and in the finest 20th century tradition of American symphonic music. Albany Symphony Orchestra; David Alan Miller, Crane Concert Choir, American Brass Quintet, Richard Fitz (percussion), Stephen Bell (guitar). Albany TROY 244 (U.S.A.) 07-017 $17.98
MEYER KUPFERMAN (b. 1926): Fantasy Concerto for Violin and Orchestra. In one movement, this epic-romantic concerto speaks a heroic language akin to its composer's The Moor's Concerto for piano and orchestra. Commissioned in the mid-seventies, this work cost Kupferman considerable effort before it was completed in the winter of 1995. One of the most demanding solo roles in 20th century concerted music makes this a must-have for all lovers of the violin concerto and collectors of neo-Romantic music. Raimundus Katilius (violin), Lithuanian State Symphony Orchestra; Gintaras Rinkeviãius. Soundspells CD119 (U.S.A.) 07-018 $17.98
NICOLAS FLAGELLO (1928-1994): Sonata for Violin and Piano, Sonata for Piano, Suite for Harp and String Trio, Nocturne for Violin and Piano, Declamation for Violin and Piano, Prelude, Ostinato & Fugue for Piano. One of our century's leading exponents of late-Romantic musical values, Flagello never received the notice due him from the authorities who cleaved unto the school of academic formalism. These half-a-dozen works all date from the 1960s when the composer's youthful, luxuriant romanticism gave way to a deeper, Italianate expressionism. This shows itself in works that are, by turn, dark, brooding, restless and often agitated. Setsuko Nagata (violin), Peter Vinograde (piano), Alyssa Reit (harp), David Creswell (viola), Matthias Naegele (cello). Albany TROY 234 (U.S.A.) 07-019 $17.98
RANDALL THOMPSON (1899-1984): Symphonies Nos. 1-3. For those who missed them the first time around, these fine performances of Thompson's appealingly melodic, unabashedly Romantic symphonies have been re-released, coupled in a 2-CD set at a reduced price. 2 CDs for the price of 1. New Zealand Symphony Orchestra; James Sedares, Andrew Schenck. Koch International Classics 7413 (U.S.A.) 07-020 $16.98
RICHARD BROOKS: Seascape: Overture to Moby Dick, Landscape...with grace, ELIZABETH AUSTIN: Wilderness Symphony, F. DIARTA ANGELI: Sta Pestá This disc of new American orchestral music ranges from Brooks' two pieces - one a tone poem depicting the vastness of the sea and the inexorable motion of a whale through its depths, the other a depiction of the landscape of western Michigan - through Austin's set of variations depicting various types of violent animal behavior (including that of man) suggested by a Sandburg poem, to Angeli's romantic, folk-colored depiction of a festive day in a Balkan village. Polish Radio Symphony; Joel Eric Suben, Kent Philharmonia Orchestra; Lynn Asper, Cracow Radio & TV Symphony; Szymon Kawalla, Slovak Radio Symphony; Joel Eric Suben. Capstone CPS 8634 (U.S.A.) 07-021 $16.98
GEORGE TSONTAKIS FOUR SYMPHONIC QUARTETS
GEORGE TSONTAKIS: Four Symphonic Quartets: Other Echoes, Perpetual Angelus, The Dove Descending, Winter Lightning. Composed between 1992 and 1996, these four pieces are based on poems by T.S. Eliot (respectively) "Burnt Norton", "The Dry Salvages", "Little Gidding" and "East Coker", collectively titled by the poet "Four Quartets". In music which runs the gamut from vigorous affirmation through still contemplation to the consolation that precedes a descent into dark nothingness a strongly communicative spirit is evident in Tsontakis' creative mixing of various modern, tonal musical languages. Monte-Carlo Philharmonic Orchestra; James DePriest. Koch International Classics 7384 (U.S.A.) 80509 07-022 $16.98
JOHN CAGE (1912-1992): Two2, Experiences, Three Dances.. Cage's inimitable and seminal work with prepared pianos is chronicled here in Three Dances from 1945. Not written for dancers at all but for the esteemed Gold/Fizdale piano duo, the score uses Cage's full arsenal of nuts, bolts and pieces of plastic and rubber inserted between the piano's strings to create an orchestra of rhythmic thuds, buzzes and gongs. Forty-four years later, Cage wrote Two2, which, like Etudes australes, uses mathematical formulae which yet leave the pianists some independence in execution. Double Edge (Edmund Niemann & Nurit Tilles, duo-pianists). CRI 732 (U.S.A.) 07-023 $16.98
IANNIS XENAKIS (b. 1922): Phlegra, Kuilenn, Kai, Epicycles. The French/Greek composer continues to create utterly original sound structures: here are premiere recordings of two works written in 1995: Kuilenn vacillates between slow, loud blocks of sound and slower, soft melismatic chords. Kai comprises micro-syncopated clusters and sustained points with random figuration keeping the piece in constant flux. Still transfixing in its violently colorful expressivity is Phlegra, from 1975, a depiction of the "battlefield where the Titans and the new gods of Olympus clashed." Contains also a 15-minute long interview of Xenakis by the conductor. ST-X Ensemble Xenakis U.S.A. Vandenburg 0001 (U.S.A.) 07-024 $16.98
CORNELIUS DE BONDT (b. 1953): De Tragische Handeling (Actus Tragicus). With a title borrowed from Bach's famous funeral cantata, Dutch composer De Bondt announces his intentions in this hour-long work "for five performers and sound engineer". Violent drum beats and crunching dissonances on piano, guitar and bass guitar form the foundation for tortured commentary from a tenor sax in a punishing, machine-like onslaught which builds to the introduction of a boy soprano's voice. Unpredictable but inescapable, the work's character suggests a ritual or a requiem. Ensemble Loos. Donemus CV 58 (Netherlands) 07-025 $18.98
HÅKON BERGE Gagarin - A Spaceflight Opera. Written to celebrate the 30th anniversary of Soviet cosmonaut Yuri Gagarin's first space flight, this work depicts crucial moments in Gagarin's life in non-linear fashion using a modern, yet approachable musical idiom. Soloists, Norwegian Broadcasting Corporation Studio Choir, Stavanger Symphony Orchestra; Håkon Berge. Norway Music 2910 (Norway) 07-026 $16.98
TRISTAN KEURIS (1946-1996): To Brooklyn Bridge, Intermezzi, L'Infinito. The main work here is a setting of a poem by American symbolist poet Hart Crane which depicts the Brooklyn Bridge over the course of a day from the quiet of early morning through the business of the afternoon to the loneliness of night. Intermezzi consist of 5 short pieces for wind ensemble while L'Infinito sets a text by 19th century Italian poet Giacomo Leopardi for vocal quintet and ensemble. Netherlands Chamber Choir, Aurelia Saxophone Quartet, Residentie Orchestra The Hague; Anne Manson. Emergo Classics EC 3939 (Netherlands) 07-027 $19.98
GIACINTO SCELSI (1905-1988): Tre Pezzi, KO-LHO, IXOR I - IXOR IV, Maknongan, Preghiera per un ombra, Suite, KYA. Scelsi is most known for the music of the later part of his life, from the 1950s on when his interests turned to Eastern philosophy and his music became trance-like, meditative and still, often with the effect of a living organism imperceptibly growing and changing. All of these pieces illustrate a preoccupation with sound and tone, often resulting in a piece being based on a single note held throughout, varied only in rhythm, dynamics or pitch producing a hypnotic, transcendental effect. David Smeyers (clarinets), Susanne Mohr (flute), ensemble avance; Zsolt Nagy. CPO 999 266 (Germany) 07-028 $15.98
MARC MONNET Pièces rompues. The "broken pieces" of the title comprise one for string quartet (dedicated to the Arditi Quartet and predictably complex), one for solo viola (stretching the limits of both player and instrument), two for ensemble and electronics (both predominantly contemplative and one for four trombones and four horns (reminiscent of Xenakis). Ars Nova Ensemble Instrumental; Philippe Nahon, Arditi String Quartet, Garth Knox (viola). Auvidis/Montaigne (France) 07-029 $18.98
MUSIC FROM THE COURT OF ST. PETERSBURG - VOLUMES 1-3
JOHN FIELD (1782-1837): 7 Nocturnes, MIKHAIL GLINKA (1804-1857): 2 Nocturnes, Theme and Variations, IVAN LASKOVSKY (1799-1855): Impromptu, Mazurka, Waltz, Song without Words, A. LIZOGUB (1790-1839): 2 Nocturnes, JOHANN WILHELM HÄSSLER (1747-1822): Grande Gigue, Op. 31. A program of piano music which might have been heard during the second or third decades of the 19th century at the Czar's winter quarters in St. Petersburg is heavy on the nocturne genre, which Irishman John Field introduced to the Slavic lands. His influence can be heard in similar works by Glinka and the very-little-known Lizogub while Laskovsky's albumblätter show the influence of Mendelssohn and Schumann. Performed on a period Brodmann fortepiano. Olga Tverskaya (fortepiano). Opus 111 OPS 30-178 (France) 07-030 $17.98
OSIP ANTONOVICH KOZLOVSKY (1757-1831), GRIGORY NIKOLAEVICH TEPLOV (1717-1779): Songs and Chamber Music. This program of light, salon music, mostly from the late 18th century, also features the following composers: Dubiansky, Ivanova, Siniavina, Bortnyansky, Kurakina, Lykochina and Morkov. Accompaniments are by flute, guitar and viola da gamba (period instruments). Iana Ivanilova (soprano), Orpharion Ensemble. Opus 111 OPS 30-179 (France) 07-031 $17.98
ANTONIO LOLLI (c. 1725-1802): Violin Concerto in C, GIOVANNI PAISIELLO (1741-1816): Divertimenti Nos. 1-3. A disc of premiere recordings turns up the first appearance of a concerto by Lolli, who spent 1774-83 in St. Petersburg as chamber virtuoso to Catherine the Great. Famed throughout Europe for his virtuosity as a violinist, Lolli's concerto shows a typical late 18th century, early classical syntax and can be compared with Myslivecek's works in the genre. Paisiello spent 1776-84 at Catherine's court and composed mostly operas but still found time to create 16 divertimenti in the three-movement style of early Mozart. Preserved only in the Glinka Museum, they are heard here for the first time. Tatiana Grindenko (violin), MAMA Orchestra of the Moscow Academy of Ancient Music. Opus 111 OPS 30-180 (France) 07-032 $17.98
WILLIAM BOYCE (1711-1779): Theatre Music from Peleus and Thetis, Florizeland Perdita, Corydon and Miranda and Romeo and Juliet. This release marks the first appearance of Boyce's theatre music in the CD era. The influence of Handel and Purcell shows in Peleus and Thetis, bringing a stirring dramatic response to the scene of Prometheus' torture in the Caucasus and which allows Boyce to set dramatic duets and trios with the characters of Peleus, Thetis and Jupiter. Corydon and Miranda contains a striking revenge aria for a vengeful shepherdess while the dirge Boyce wrote for the final scene of Garrett's production of Romeo and Juliet is deeply affecting. Vocal Soloists, Opera Restored; Peter Holman. Hyperion CDA 66935 (England) 07-033 $16.98
JOHANN CHRISTIAN BACH (1735-1782): Harpsichord Concertos in D Minor, B Flat and F Minor. J.C. Bach wrote five keyboard concertos while living as the ward of C.P.E. Bach during his teenage years in Berlin. The first two concertos on this disc are recorded here for the first time. The D minor contains a deeply felt slow movement while the B Flat, probably the earliest of the five, is full of the joy and high spirits of an adolescent finding his own voice and rejoicing in the vigor of youth. The Hanover Band; Anthony Halstead (harpsichord). CPO 999 393 (Germany) 07-034 $15.98
JOSEF MYSLIVECEK (1737-1781): String Quartet in C, FRANTISEK XAVER RICHTER (1709-1789): String Quartet in C, Op. 51, FRANTISEK VINCENC KRAMÁR (1759-1831): String Quartet in E Flat, Op. 5/1, PAVEL VRANICKY (1756-1808): String Quartet in C, Op. 16/5. Here is a brief conspectus of the Bohemian string quartet from early to late Classical times, ranging from Mysliveãek's brief, work of 1782 in Italian opera-overture form through the divertimento-like work of Richter from 1772 - a time at which Haydn is credited with virtually "inventing" the classical string quartet - to the final two pieces, both of the mid-1790s and fully-fledged concert works. Martinu Quartet, Stamic Quartet. Panton 71 0487 (Czech Republic) 07-035 $16.98
HYACINTHE JADIN (1776-1800): Sonatas for Fortepiano in F, Op. 6/3, in E Flat, Op. 3/1, in G, Op. 3/2, in A, Op. 6/2. Jadin's patently romantic sonatas, partaking of both Haydn and Schubert in effect, have a somber intensity and emotional directness quite unexpected in works written during the last quarter of the 18th century, especially by composers who are only now being discovered. The gem here is the F major with the orchestral oppositions of its first movement, warmly lyrical adagio and joyous finale. Patrick Cohen (fortepiano). Auvidis/Valois V 4777 (France) 07-036 $18.98
ENGELBERT HUMPERDINCK DIE HEIRAT WIDER WILLEN
ENGELBERT HUMPERDINCK (1854-1921): Die Heirat wider Willen - Highlights. After three fairy-tale operas, including his immortal Hansel und Gretel, Humperdinck longed to try his hand at comic opera of the early Romantic variety and, in 1904, produced this work, with a libretto by his wife, based on Dumas' Les damoiselles de Saint Cyr. Set in the Paris of Louis XIV, the plot concerns two women inmates an school for impoverished noblewomen and the misconceptions which ensue when a nobleman and his best friend become involved in the romantic machinations initiated by one of the women. English synopsis. Nils Giesecke (tenor), Simone Kermes (soprano), Peter Edelmann (baritone), Lena Lootens (soprano), Staatsorchester Rheinische Philharmonie; Christian Kluttig. Deutsche Schallplatten DS 1052 (Germany) 07-037 $16.98
IGNACY PADEREWSKI PIANO WORKS, VOLUME 1
IGNACY JAN PADEREWSKI (1860-1941): Miscellanea: Série de morceaux pour piano, Op. 16, Tatra Album, Op. 12, Piano Sonata in E Flat Minor, Op. 21. Piano music in the grandest Romantic tradition, played by a performer who has been fêted in his native Poland for his interpretations of Paderewski's music. Although regarded by many as the epitome of Romantic pianism, even to excess, Paderewski is not often acknowledged as a composer nowadays. But the massive Piano Sonata is worthy to stand alongside the MacDowells, the Reubke, the Draeseke - even, dare we say it, the Liszt, especially in this exhilarating performance. The disc is rounded out with two suites of smaller, lighter pieces, beautifully crafted and melodically memorable. Volume 1 of a complete cycle. Adam Wodnicki (piano) Altarus (U.S.A.) AIR-CD-9045 07-038 $17.98
CARL LOEWE (1796-1869): Große Sonate in E, Op. 16, Grande Sonate élégiaque in F Minor, Op. 32, "Le Printemps": A Tone Poem in Sonata Form, Op. 47 . Loewe's piano sonatas are a startling discovery: the youthful E Major work (1829), with strong echoes of Beethoven and Schubert, contains a second movement with texts sung by soprano and baritone. The F Minor work, composed between 1819 and 1834 is in the spirit of Beethoven's Appassionata while the "Spring Sonata", from 1824, is a quasi-Pastoral Symphony for piano in which the composer depicts the events of a spring day from dawn to sunset in four vividly depicted movements. Cord Garben (piano). CPO 999 355 (Germany) 07-039 $15.98
EUGEN D'ALBERT STRING QUARTETS NOS. 1 AND 2
EUGEN D'ALBERT (1864-1932): String Quartet No. 1 in A Minor, Op. 7, String Quartet No. 2 in E Flat, Op. 11. The first recordings of D'Albert's two string quartets (1887 and 1893 respectively) show a young composer with a capacity for writing sweeping, memorable tunes on a large, Brahmsian scale (especially the first quartet's opening movement) and imbued with that composer's generosity and humanity. Praised by the critic Hanslick for its "intellectual intensity", the second quartet hints at Beethoven's Quartet Op. 127 in its beginning, contains a scherzo of Mozartian grace and a deeply adagio with a singing cantilena before concluding in a sharply accented allegro finale. Sarastro Quartet. Pan Classics 510 097 (Switzerland) 07-040 $17.98
ZDENEK FIBICH (1850-1900): Moods, Impressions and Reminiscences, Op. 44 , Nos. 24-33 and Op. 47, Nos. 1-26.. Marián Lapansk (piano). Supraphon 3249 (Czech Republic) 07-041 $16.98
ZDENEK FIBICH (1850-1900): Moods, Impressions and Reminiscences, Op. 47, Nos. 27-55.Marián Lapansk (piano). Supraphon 3250 (Czech Republic) 07-042 $16.98 Volumes 6 and 7 of this massive undertaking bring us past the two-thirds point of the total of 376 pieces which Fibich wrote over a 7 year period in the 1890s and collected under the above title. The emotional range throughout is as wide as possible, from brief explosions of sunlit joy or burning anger to longer character studies and psychological meditations. In his inexhaustible creativity and his deep probing of the human condition, Fibich's collection is the direct predecessor of those by his fellow-countrymen Suk (Things Lived and Dreamed and About Mother) and Janáãek (On an Overgrown Path and In the Mists)
FRANZ SCHMIDT (1874-1939): Quintet for Piano and Strings, ERICH WOLFGANG KORNGOLD (1897-1957): Suite for Piano and String Trio, Op. 23. This ingenious coupling unites two works written for the one-armed pianist Paul Wittgenstein in 1926 and 1930 respectively. The solid classicsism and formal traditionalism of Schmidt's 40-minute piece throws into contrast the subversive irony of such movements in the Korngold as the Groteske and the Lied, in which cello glissandi are introduced. Raoul Sosa (piano), Quatuor Laval. SNE 606 (Canada) 07-043 $16.98
HINDEMITH: THE COMPLETE CELLO CONCERTOS
PAUL HINDEMITH (1895-1963): Cello Concerto in E Flat, Op. 3, Cello Concerto (1940), Kammermusik No. 3 for Cello and 10 Instruments, Op. 36/2. At last, Hindemith's early, unpublished cello concerto, written as a student in 1916, appears on CD! This work would never be identified as being by Hindemith in a blind listening test: it is in high Romantic style, with an opening movement containing (Richard) Straussian upswings, Wagnerian use of the brass and an entry for the solo instrument patently in homage to Brahms' violin concerto. A lyrical romanze leads directly into a swirling and virtuosic tarantella as this vivacious youthful work hurtles to a sparkling close. David Geringas (cello), Queensland Symphony Orchestra; Werner Andreas Albert. CPO 999 375 (Germany) 07-044 $15.98
PAUL HINDEMITH (1895-1963): Symphonic Dances, Ragtime (Well-Tempered), Pittsburgh Symphony. A coupling of still-neglected major works: the Symphonic Dances come from the same period as the famous Mathis der Maler symphony and, like that work, uses folk-song and chorale elements. The Pittsburgh Symphony was the next to last major orchestral work of Hindemith (1958) and strove in its three movements to capture the essence of Pittsburgh, Pennsylvania: a thriving, big-shouldered city built on the coal, steel and glass industries. Subversiveness from the composer's earlier years is provided by the jazzed-up version of the C Minor fugue from Bach's Well-Tempered Klavier. BBC Philharmonic; Yan Pascal Tortelier. Chandos CHAN 9530 (England) 07-045 $16.98
MOISEI VAINBERG (1919-1996): Cello Concerto in C Minor, Op. 43, Fantasy for Cello and Orchestra, Op. 52, YURI LEVITIN (1912-1996): Concertino for Cello and Orchestra in E Minor, Op. 54. The only available recording of all three works and the CD premiere of Vainberg's Fantasy, a two-movement work of deep musings and colorful dances from 1953. Vainberg's concerto (1956) synthesizes Hebraic and Slavic elements into a rich fabric which shows influences of both Mussorgsky and of the composer's teacher, Shostakovich. Levitin's concertino, from 1961 hints of the tragedy of the Stalin years in its haunted slow movement, sandwiched between outer movements full of conflict and martial glitter. Mark Drobinsky (cello), State Cinematographic Orchestra; Walter Mnatsakanov. Russian Disc RD CD 10 071 (U.S.A.) 07-046 $16.98
GEORGE ENESCU (1881-1955): Symphony No. 2, Op. 17, Romanian Rhapsody No. 2, Op. 11/2. Enescu's huge, hour-long second symphony shows any number of influences, from Szymanowski and Scriabin to Wagner and Strauss but all of them have been assimilated into his personal style and his famous facility for orchestration is nowhere better observed than in this work which closes with an immense martial finale: a response to the outbreak of the First World War. BBC Philharmonic; Gennady Rozhdestvensky. Chandos CHAN 9537 (England) 07-047 $16.98
PERCY GRAINGER (1882-1961): Lincolnshire Posy, Colonial Song, The Lads of Wamphray March, Hill Song No. 2 and other works for Wind Orchestra. Percy Grainger, Australia's wild man of music, was "a sunburst in society - and a thundercloud in his private life". Chandos' ongoing survey of his complete output continues with a genre dear to Grainger's heart - the "outdoor" sounds of the massed wind ensemble. Royal Northern Collecge of Music Wind Orchestra. Chandos CHAN 9549 (England) 07-048 $16.98
THEODORAKIS: SADDUZÄER-PASSION
MIKIS THEODORAKIS (b. 1925): Sadduzäer-Passion.. From his earliest works through the 1980s when Passion of the Sadducees was written, much of Theodorakis' work was influenced by the inflammatory world of Greek politics. In this Passion, he uses the Old Testament-era class between the Pharisees and the Sadducees to illuminate 20th century struggles for freedom of thought and ideology. Vogt, Freier, Polster, Junge, Berlin Radio Choir, Berlin Symphony Orchestra; Hans-Peter Frank. Berlin Classics 9208 (Germany) 07-049 $11.98
SOFIA GUBAIDULINA (b. 1931): Alleluia, HENRYK GÓRECKI (b. 1933): Miserere, Op. 44. Premiere recording of Gubaidulina's setting of the Alleluia. Using the minimum amount of text, Gubaidulina proceeds by way of frequently violent contrasts of tone, texture and material, sporadically punctuated by woodwind, brass or strings. The work ends in an aura of peaceful tranquility. Górecki's Miserere, dedicated to the city of Bydgoszcz, where some of the worst violence took place between Solidarity and the Polish police, avoids the slightest hint of dramatic gesture. For unaccompanied choir, the work follows the pattern of the Third Symphony with a succession of vocal entries building from the lowest to the highest in an astonishingly controlled arc of expression. Danish National Radio Choir; Jesper Grove Jørgenson, Danish National Radio Symphony Orchestra; Dimitri Kitaenko. Chandos CHAN 9523 (England) 07-050 $16.98
NINO ROTA (1911-1979): String Quartet, OTTORINO RESPIGHI (1879-1936): String Quartet in D, GIAN FRANCESCO MALIPIERO (1882-1973): String Quartet No. 3 "Cantari alla madrigalesca". World premiere recording of film composer Nino Rota's string quartet. A student of Pizzetti and Casella, Rota composed the work between 1948 and 1954, using pastel tones and gentle irony (a hint of the dies irae in the last movement). Its companions are still little-known: Respighi's four-movement work from 1907 with its backward-looking, traditional structure and affinities to D'Indy and Debussy and Malipiero's single-movement 1931 quartet whose transparent four-part texture recalls the ancient Italian madrigal. Nuovo Quartetto Italiano. Claves 50-9617 (Switzerland) 07-051 $16.98
AMILCARE PONCHIELLI (1834-1886): Quartet for Piano, Flute, Oboe, Clarinetto piccolo and Clarinet, Op. 110, Capriccio for Oboe and Piano, Op. 80, "Il Convegno" for 2 Clarinets and Piano, Op. 76, Paolo e Virginia for Violin, Clarinet and Piano, Op. 78, Simple pensée for Violin and Piano, Op. 81, Prelude for Piano. Remembered mostly for the opera La Gioconda, Ponchielli wrote much in other genres as well as well as a small quantity of chamber and instrumental music. The longest piece here - the Quartet - shows a capriciousness and sense of parody which even seems to foreshadow Stravinsky in its play of timbres. Riccardo Caramella (piano), Paolo Ghidoni (violin), Marco Zoni (flute), Gianfranco Bortolato (oboe), Sergio Del Mastro, Luigi Magistrelli (clarinets). Nuova Era 7275 (Italy) 07-052 $17.98
ANDRÉ CAPLET (1878-1925): Quintet for Flute, Oboe, Clarinet, Bassoon and Piano, ALBÉRICH MAGNARD (1865-1914): Quintet for Flute, Oboe, Clarinet, Bassoon and Piano,, Op. 8. Magnard's quintet was his first try at chamber music after two symphonies; as befits the instrumentation, the mood is generally pastoral with a slightly tense first movement followed by one of quiet calm, a sprightly "scherzo" and a finale of high spirits. Caplet's quintet, in its first recording, is from 4 years later (1898) - a youthful work which shows finesse and mastery of instrumentation as well as an assimilation of the musical aesthetic of Massenet, Debussy and Franck. La Société des Vents de Montréal. CBC MVCD 1097 (Canada) 07-053 $16.98
ERNÖ VON DOHNÁNYI (1877-1960): Four Rhapsodies, Op. 11, Pastorale, Winterreigen, Op. 13. The rhapsodies are firmly in the tradition of Rachmaninov and Brahms; new to CD are the bagatelles of Op. 13 - the composer's answer to Schumann's Davidsbündlertänze. Annette Servadei (piano). Continuum 1075 (New Zealand) 07-054 $16.98
LOUIS VIERNE (1870-1937): Violin Sonata in G Minor, JOSEPH-GUY ROPARTZ (1864-1955): Violin Sonata No. 3 in A, OLIVIER MESSIAEN (1908-1992): Theme and Variations. The CD premiere of Ropartz's 1927 sonata is the main attraction: a work in four movements whose relative brevity show the influence of Debussy and Fauré although Franck's presence is still felt. Vierne's large sonata of 1906 is very much still in the weighty, serious, cyclical form of Franck while Messiaen's early work is notable for the intimations of elements of his mature style. Anne Robert (violin), Sylviane Deferne (piano). CBC 1110 (Canada) 07-055 $16.98
LEON BOËLLMANN (1862-1897): Cello Sonata, Op. 40, Suite for Cello and Piano, Op. 6, Variations Symphoniques, Op. 23 2 Morceaux, Op. 31, Prière and Menuet Gothique (transcribed from the "Suite gothique", Op. 25). Premiere recordings of Boëllmann's four-movement suite: an impromptu in formal sonata structure, a gently flowing nocturne, a waltz-like serenade and simple romance which ends in the cello's highest register. Also in its first recording is the composer's own transcription of the prière movement from his famous Suite gothique. Oliver Gledhill (cello), Jeremy Filsell (piano). Guild 7135 (England) 07-056 $15.98
JOAQUIN TURINA (1882-1949): Poema en Forma de Canciones, Op. 19, 3 Arias, Op. 26, 3 Sonetos, Op. 54, Tríptico, Op. 45, 3 Poemas, Op. 81, Homenaje a Lope de Vega, Op. 90. Turina's songs are practically nonexistant in the catalogue, making Claves' Volume 5 of their Turina series particularly valuable. Although he went to the piano and guitar for inspiration most often, Turina had a clear and lucid way with poetry, "illustrating" the texts rather than just setting them. Manuel Cid (tenor), Ricardo Requejo (piano). Claves 50-9602 (Switzerland) 07-057 $16.98
ROBERT VOLKMANN (1815-1883): Sonatina, Op. 57, Rondino and March-Caprice, Op. 55, 3 Marches, Op. 40, Hungarian Sketches, Op. 24, Musikalisches Bilderbuch, Op. 11. These miniatures for piano duet show Volkmann as a link between Schumann and Brahms, with a nod to the colorful Hungarianisms of Liszt. Larissa Kodratyeva, Reinhard Schmiedel (piano duo). CPO 999 276 (Germany) 07-058 $15.98
THEODOR LESCHETIZKY PIANO WORKS
THEODOR LESCHETIZKY (1830-1915): Les Doux Alouettes, Op. 2/1, Sweet Dream, Op. 11/1, Barcarolle Napolitaine, Op. 11/4, Nocturne, Op. 12, Consolation: Romance, Op. 40/2, Arabesque en forme d'Etude, Op. 45/1, Arabesque à la Tarantelle, Op. 45/5, Berceuse (à Miss Jane Olmstead), Menuet all'antica "Ainsi dansait Maman (à Miecio Horszowski), Impromptu en Souvenir de Henselt (à Mademoiselle Bertha Jahn), Affaire Compliquée: Canon (à Monsieur Arthur Schnabel), Fantasie stück: Homage à Schumann (à Miss Ethel Newcomb), Hommage à Chopin (à Monsieur I.J. Paderewski). One of the greatest pedagogues of the 19th century was also a virtuoso pianist who left 49 compositions for his instrument. The above exhaustive title listing will give a clear idea of their type: nocturnes, salon dances and other miniatures - none longer than six minutes, which are distinguished by their formal structure and their virtuosity (though not always of the "heaven-storming" kind). They capture a forgotten era when performers had the freedom to explore sound, imagination, and expression in the intimate setting of the salon. Clara Park (piano). Centaur 2319 (U.S.A.) 07-059 $16.98
JOHANN NEPOMUK HUMMEL (1778-1837): Caprice in F, Op. 49, Variations sur un thème d'Armide de Gluck, Op. 57, Bagatelles, Op. 107, Nos. 1, 3 & 5, Trois amusements, Op. 105: No. 2 "A l'Autrichienne", Rondo in E Flat, Op. 11, Polonaise, Op. 55 "La bella Capricciosa". Chopin once said of Hummel: "He teaches us everything." Particular evidence can be found here in the A l'Autrichienne where one suddenly comes upon Chopin's later Grand Valse Brillante and in the Op. 55 polonaise which prefigures the Andante spianato and Grande Polonaise. The Caprice, Op. 49 shows the influence of Rossini and, in its shifts between bubbling good spirits and minor-key trepidation and anxiety, it reveals its composer as an important bridge to the romantic period. Mid-price. Joanna Trzeciak (piano) Pavane 7359 (Belgium) 07-060 $10.98
RARE PIANO MUSIC FROM THE HUSUM FESTIVAL IN GERMANY
This series presents highlights from the enterprising annual piano festival held in the idyllic surroundings of the castle in the small northern German town of Husum under the directorship of pianist Peter Froundjian. Unusual repertoire played by pianists who have made a name for themselves in this field is the order of the day, and these discs present a nice cross-section of what has been offered over the past 7 years.
VOLUME ONE (1989): ALKAN: Cantique des cantiques (Ronald Smith), RACHMANINOV: Serenade, Op. 3/5 (Michael Ponti), CHOPIN-GODOWSKY: Study No. 42 (after the Etude, Op. 25/11, CONFREY: Kitten on the Keys (Marc-André Hamelin), HEINRICH VON SAHR: Stimmen der Nacht, Op. 3/2 (Jozef de Beenhouwer), STERNDALE BENNET: Rondeau à la Polonaise, Op. 37, MEDNTER: Fairy Tale, Op. 8/2 (Hamish Milne), BIZET: Départ, FAURÉ: Nocturne No. 2 (Jean-Marc Luisada), FAURÉ: Nocturne No. 13, (Idil Biret), FAURÉ-GRAINGER: Nell, Op. 18/1, PALMGREN: Feux-follets, Op. 35/3 (Peter Froundjian), GLINKA-BALAKIREV: The Lark, TCHAIKOVSKY-PLETNEV: Andante maestoso from "The Nutcracker" (Boris Bloch), LISZT: Hungarian Rhapsody No. 10 (First version) (Rainer M. Klaas), GLUCK-CHASINS: Melody (from "Orpheus", GERSHWIN-WILD: I Got Rhythm (Daniel Berman). Danacord DACOCD 349 (Denmark) 07-061 $16.98
VOLUME TWO (1990): SCRIABIN: Polonaise, Op. 21 (Igor Zhukov), CLEMENTI: Lento e patetico from Sonata Op. 25/5, LISZT: Rigoletto paraphrase (Claudius Tanski), LISZT: Aux cyprès de la Villa d'Este II, SCHUBERT-GODOWSKY: Morgengruß (Janice Weber), CHOPIN-GODOWSKI: Study No. 34 "Mazurka" (after Etude Op. 25/5), PROKOFIEV: Sarcasm, Op. 17/1 (Marc-André Hamelin), JANACEK: Sonata "I.X.1905": Presentiment. Death (Benedikt Koehlen), HENNING MANKELL (1868-1930): Intermezzo, Op. 12/2, MEDTNER: Stimmungsbild, Op. 1/4 (Bengt Forsberg, GODOWSKY: The Musical Clock (from "Triakontameron" (Geoffrey Douglas Madge), ALBENIZ-GODOWSKY: Triana (Abbey Simon). Danacord DACOCD 379 (Denmark) 07-062 $16.98
VOLUME THREE (1991): LISZT-BUSONI: Fantasia and Fugue on "Ad nos, ad salutarem undam", SILOTI: Complainte, MEDNTER: Prélude (from Op. 54) (Hamish Milne), GLINKA: Barcarolle (Alexei Lubimov), RIMSKY-KORSAKOV: Novellette, Op. 11/2, Kleines Lied in Dorisch auf 'e', Romanze in A, Op. 15/2 (Boris Bloch), ISSAY DOBROWEN (1891-1953): Prélude, Mazurka-Caprice (from 7 Klavierstücke, Op. 13), IGNACE STRASFOGEL (b. 1909): Rondo (Kolja Lessing), SCOTT: Lotus Land (Donna Amato), EDUARD ERDMANN (1896-1958): Fox Trot (1924), "Prptilpus" - Eine Fuge (Sontraud Speidel) Danacord DACOCD 389 (Denmark) 07-063 $16.98
VOLUME FOUR (1992): MENDELSSOHN: Lied, Op. 102/4, SCHUBERT-LISZT: Der Müller und der Bach, BUSONI: 5 Kurze Stücke, No. 5 (Serge Babayan), TCHAIKOVSKY: Meditation, Op. 72/5, SCRIABIN: Preludes, Op. 17/6, Op. 59/1 and Op. 67/2, Poème, Op. 59/1 (Igor Zhukov), MANFRED KELKEL (b. 1929): Tombeau de Scriabine (Peter-Jürgen Hofer), POULENC: Pastorale (1928), DEBUSSY: Etude d'après Czerny (Bernard Ringeissen), LOURIÉ: Valse (1926), Gigue (1927), GRANADOS: Mazurka (Marie-Catherine Girod), GRAINGER: Colonial Song, HAMELIN: Triple Etude (Chopin), VLADIMIR DESHEVOV (1889-1955): Rails (Marc-André Hamelin), FELIX PETYREK (1892-1951): Wurstelprater (1919), GOLDSCHMIDT: From the Ballet (Kolja Lessing), BACH-TAUSIG: O Mensch, bewein' dein Sünde groß, LUDOMIR ROZYCKI (1884-1953)- LEV GINZBURG (1904-1962): "Casanova" Fantasy (Daniel Berman) Danacord DACOCD 399 (Denmark) 07-064 $16.98
VOLUME FIVE (1993): RACHMANINOV: Vocalise, Op. 34/14 (arr. S. Fiorentino) (Sergio Fiorentino), SCHOECK: 2 Klavierstücke, Op. 29 (Werner Bärtschi), PROKOFIEV: Prelude in C, Op. 12/7, SHOSTAKOVICH: Preludes in C Sharp Minor, Op. 34/10 and in E Flat Minor, Op. 34/14 (Nina Kavtaradze), WILHELM KEMPFF (1895-1991): Lamento di Vittoria Colonna (from "Italian Suite", Op. 68) (Trefor Smith), BUSONI: Astrologo, Op. 33/5 (Ira Maria Witoszynski), SAINT-SAËNS: Bagatelles, Op. 3, Nos. 2-4 (Bernard Ringeissen), HAHN/STEELE: La Barcheta, MOMPOU: Young Girls in the Garden (Stephen Hough), ALBENIZ: Navarra (Enrique Perez de Guzman), GRANADOS: Villanesca, THALBERG: Fantasy on Rossini's "Moses", J. STRAUSS-REGER-CAPPELLO: An der schönen blauen Donau (Roberto Cappello). Danacord DACOCD 419 (Denmark) 07-065 $16.98
VOLUME SIX (1994): FRANCK-ZHUKOV: Prélude, Fugue et Variation, Op. 18 (Igor Zhukov), MYASKOVSKY: Vergibte Seiten, Op. 31, Nos. 3, 4, 6 & 7 (Oleg Marshev), MEDTNER: Fairy Tale in E Minor, Op. 34/2, GRAINGER: The Sussex Mummers' Christmas Carol (Hamish Milne), STEPHEN REYNOLDS: Two Poems in Homage to Delius (Stephen Hough), DE FALLA: Ritual Fire Dance, XAVIER MONTSALVATGE (b. 1912): "Sonatine pour Yvette" - Third Movement (Enrique Perez de Guzman), FRANK MARTIN: Fantasie de rhythme flamenco (Paul Badura-Skoda), THALBERG: "Don Pasquale" Fantasia, ALKAN: Barcarolle, Op. 65/6, WALTER GIESEKING (1895-1956): Schorschi-Batschi (Foxtrot) (Marc-André Hamelin). Danacord DACOCD 429 (Denmark) 07-066 $16.98
VOLUME SEVEN (1995): CZERNY: Prestissimo agitato from Sonata in A Flat, Op. 7 (Anton Kuerti), CHOPIN: Mazurkas in B Flat (1825) and F Minor, Op. 68/4, ALKAN: Les regrets de la nonnette (1854) (Ronald Smith), LISZT: Canzone Napolitana (Notturno) (1842), LISZT-HOROWITZ: Hungarian Rhapsody No. 19, (Daniel Berman), TAUSIG: Wahlstimmen (Valse caprice d'après Strauss) (Roberto Cappello), DOHNÁNYI: Rhapsody in C Major, Op. 11/3, TCHAIKOVSKY-FOWKE: Dance of the Sugarplum Fairy (Philip Fowke), D'INDY: Sonata in E Minor, Op. 63 (1907) (Marie-Catherine Girod). Danacord DACOCD 449 (Denmark) 07-067 $16.98
KARL GOLDMARK (1830-1915): Suites for Violin and Piano in D, Op. 11 and in E Flat, Op. 43. The first suite, from 1869, is in a serenade-like five movements, four of them fast, and contains much of the gemüchtigkeit one associates with Brahms. From 1893, the second suite shows concessions to old age only in the unhurried manner in which it works out its simple melodic ideas with a luxurious harmonic growth. Ulf Wallin (violin), Bruno Canino (piano). CPO 999 381 (Germany) 07-068 $15.98
MARIO CASTELNUOVO-TEDESCO (1895-1968): English Suite, "La sirenetta e il pesce turchino", 5 Little Waltzes, "Questo fu il carro della morte", Crinoline, "Cipressi", Op. 17, "Mi-La", The Dances of King David, Op. 37. An engaging tour through the earlier period of Castelnuovo-Tedesco, from the English Suite (of a 14-year-old composer) through the delicate and coruscating impressionism of the "marine fable" The Siren and the Blue Fish, Cypresses and This was the float of Death (after a literary description of a particular Carnival float) to the composer's first fruit of his newly-acknowledged Jewishness. Many of these works (and those in the recital below) have never been recorded before. They reveal a composer whose forte may have been in the exquisitely turned miniature rather than in the oversized orchestral works of his later, American years. Volume Two of an ongoing series. Aldo Ciccolini (piano). Phoenix Classics 97301 (Italy) 07-069 $16.98
MARIO CASTELNUOVO-TEDESCO (1895-1968): Crinoline, Cipressi, Op. 17, Alghe, Op. 12, Vitalba e Biancospino, Op. 21, Epigrafe, Op. 25, I Naviganti, Op. 13. Here are more impressionistically tinged works of the composer's earlier years: Algae is part of a trilogy Pezzi marini which also includes the last work on this disc: a mysterious work of unusual depth which describes the fascination and fear felt by sailors toward the sea. Also new here are an epigraph suggested by the antique grave of an Italian noblewoman which comes with a literary epitaph by Ben Jonson attached, and another mini tone-poem with the subheading "a woodland fable". Massimo Palumbo (piano). Dynamic CDS 181 (Italy) 07-070 $16.98
GASPARE SPONTINI (1774-1851): Li Puntigli delle Donne. "The Stubborness of Women", receiving its world premiere recording here, was Spontini's very first opera, a two act buffa farce from 1796 and given in Rome. Spontini was to dominate grand opera in Paris and Berlin through much of the first half of the 19th century but this work does not depart from the standard style of Neapolitan opera around 1800 in its scenario of Count Brontolone and his wife-to-be, the Count's son and his wife and the Count's brother who loves his sister-in-law-to-be... Toss in a gossipy maid and all of the opportunities for farcial, knock-about humor are there. Alessandra Ruffini, Susanna Anselmi, Ernesto Palacio etc. Spontini Classic Orchestra; Alberto Zedda. 2 CD-set. Italian-English libretto. Dynamic CDS 189/1-2 (Italy) 07-069B PLEASE NOTE DUPLICATE NUMBER $33.98
JAN VACLAV STICH (GIOVANNI PUNTO) (1746-1803): Horn Concerto No. 5 in F, ANTONIO ROSETTI (1746-1792): Horn Concerto s Nos. 1 in E Flat & No. 6 in E Flat, CHRISTOPH FOERSTER (1693-1745): Horn Concerto in E Flat. Rosetti's two concertos make their recorded debuts in this program of (mostly) Bohemian horn concertos from the early and high Classical periods. Peter Francomb (horn), Northern Sinfonia of England; Howard Griffiths. Pan Classics 510 095 (Switzerland) 07-070B PLEASE NOTE DUPLICATE NUMBER $17.98
JOSEF MYSLIVECEK (1737-1781): Six String Quintets, Sinfonia a quattro voci in E Flat. Mysliveãek, Il divino Boemo as he was known to the Italian admirers of his operas, was both a friend of Mozart and an important influence on him. In these chamber works, Mysliveãek makes use of native Czech folk music and scholars have seen a connection between this folk-music melodiousness and the development of Mozart's style. In fact, it's difficult to tell which composer one is listening to in these delightful works. Pro arte antiqua Praha. Arta 0071 (Czech Republic) 07-071 $16.98
LUIGI BOCCHERINI (1743-1805): Six Trio Sonatas. Although called "trio sonatas", these works are practically piano trios in the classical sense with the violin and cello being quite independent of the fortepiano. Boccherini did not make frequent use of the piano in his uvre but anyone accustomed to the elaborate harmonic style, unexpected modulations and idiomatic instrumental effects in his chamber works for strings will recognize their composer in these works published in 1781 - well before Haydn's compositions in the same genre which are credited with being trailblazers in their field. Barros Classical Consort (period instruments). Hungaroton HCD 31613 (Hungary) 07-072 $16.98
WOLFGANG AMADEUS MOZART (1756-1791)-JOHANN NEPOMUK HUMMEL (1778-1837): Symphonies Nos. 35 "Haffner" and 36 "Linz". Premiere recordings of brilliant transcriptions for piano, flute, violin and cello of two famous Mozart symphonies by Hummel. The piano part is especially virtuosic and bears most of the thematic argument. Mark Kroll (fortepiano), The Parlor Philharmonic (period instruments). Boston Skyline 144 (U.S.A.) 07-073 $13.98
THE MORAVIAN CHAMBER MUSICAL HERITAGE IN AMERICA
JOHN ANTES (1740-1811): 3 Trios for 2 Violins and Cello, JOHANN FRIEDRICH PETER (1746-1813): 5 String Quintets. Antes was born in Pennsylvania and wrote these works in England, Peter was born in Holland but composed his in America. His string quintets represent the earliest known examples of chamber music written in what is now the United States. Dating from 1789, they are his only known examples of secular works and follow strict Classical principles of statement, digression and return, in three movements. Antes' trios were published in England in the 1790s and, although the exact date of composition is unknown, they were probably written while he was a missionary in Egypt and are dedicated to the Swedish ambassador to Constantinople. All three instruments are granted equal importance and the density and consistency of texture in the trios are remarkable. American Moravian Chamber Ensemble. 2 CD set. New World 80507 (U.S.A.) 07-074 $33.98
WILHELM FURTWÄNGLER (1886-1954): Piano Concerto in B Minor. Furtwängler's huge, brooding monster of a concerto has been available in poor sound from famous interpreters (Barenboim and Fischer) and in a new digital recording on Marco Polo (David Lively). However, for combination of performance and sound quality, this may be the best version now available. In a recording made for Bavarian Radio on June 27, 1963 in sharp, clear mono sound, a pianist who studied the work with Furtwängler and who was about to give it under the composer in 1954 when Furtwängler's ill-health forced cancellation of the concert (and who also performed it in 1958 with the Berlin PO in a Furtwängler memorial concert) gives a strong, controlled and masterful performance. This is a work which can only benefit from being performed straight through in a "live" fashion, building cumulative power and tension and marking it as perhaps the finest work Furtwängler produced as a composer. Erik Then-Bergh (piano), Bavarian Radio Symphony Orchestra; Rafael Kubelik. Tahra 197 (France) 07-075 $17.98
JAN MAEGAARD (b. 1926): Triptykon for Violin and Strings, Op. 72, Cello Concerto, Op. 98, Orchestration (Op. 68) of Arnold Schoenberg's "Variations on a Recitative" for Organ, Op. 40 . Maegaard was a self-taught student of Schoenberg and the first Danish composer to partake also of the Darmstadt movement. However, his days on the musical "barricades" ended in the 1970s and he moved back into tonality's embrace although, as he says "Once your nose has been put to the serial grindstone, writing a melody is different from what it was..." These are all late works: the Schoenberg orchestration is of an organ piece which itself was tonal but which was almost unplayable on the organ; the orchestration was undertaken on the urging of Maegaard's colleague Milton Babbit in 1976. The Tryptikon, from 1983 is a little violin concerto in three parts with a virtuosic line for the soloist and a simple accompaniment (originally written for an amateur orchestra) while the half-hour long cello concerto, from 1992, revisits the age-old issue of individual and community striving to reach accomodation in music translucently orchestrated for a large ensemble and which, in its typically Scandinavian spareness, seems to carry some residues of Nielsen Erling Blöndal Bengtsson (cello), Anton Kontra (violin), Aalborg Symphony Orchestra; Tamás Vetö. Danacord DACOCD 415 (Denmark) 07-076 $17.98
HALLVARD JOHNSEN (b. 1916): Symphony No. 13, Op. 90, String Quartet No. 4, Op. 106, Wind Quintet No. 3, Op. 98. Studies in 1956 with Vagn Holmboe led to Johnsen's adoption of a style of free tonality in which Norwegian tonal characteristics are combined with a powerful symphonic expression. Composed in 1983, the symphony is grounded in the Norwegian national idiom and is a long, one-movement work alternating between folk-tune like, melodious passages and more free-tonal sections. The quartet (1988) is characterized by a deeply instrospective, painful undertone shot through with colorful effects such as pizzicato and flageolet, ending in a peaceful chorale-like section while the quintet, from 1986, is again a single long movement based on a free variation form and reveals the influence of Norwegian folk music. The Oslo Philharmonic Orchestra; Sverre Bruland, Cikada String Quartet, Norwegian Wind Quintet. Aurora 4995 (Norway) 07-077 $17.98
UUNO KLAMI (1900-1961)/KALEVI AHO (b. 1949): Pyörteitä (Whirls), Act 1, KLAMI: Violin Concerto, Op. 32, Suomenlinna, Op. 30. Klami's ballet Whirls, based on the Kalevala legend of the Sampo, was left unfinished at his death. Suites from the first two acts were synthesized by the composer and performed before his death; these suites were recorded by BIS on CD 656. Then, in 1985, the rehearsal scores of the first two acts turned up and were re-orchestrated in 1988 by Aho. The first act in this version receives its world premiere recording here. It should be noted by collectors that Aho extensively revised Klami's work, expanding it and altering much in the way of tempo and dynamics. The music recorded here, dazzling in its orchestration and captivating in its colorfulness, bears little resemblance to the composer's suite and should be treated as an entirely autonomous work. The other premiere recording is of Suomenlinna, a martial, patriotic overture composed during World War II taking as its subject a group of islands near Helsinki fortified in the 19th century to defend the city. Jennifer Koh (violin), Lahti Symphony Orchestra; Osmo Vänskä. BIS CD 696 (Sweden) 07-078 $17.98
BRUNO MADERNA (1920-1973): Music of Gaiety, Juilliard Serenade, Grande Aulodia for Flute, Oboe and Orchestra. Music of Gaiety is a surprisingly textually literal orchestration of 16th and 17th-century music from the Fitzwilliam Virginal book, skillfully, colorfully and tastefully done. The aleatoric, partly electro-acoustic "Juilliard Serenade" is rather more what one might expect of a leading Darmstadt modernist, while "Grande Aulodia" is more conventional post-second-Viennese orchestral modernism, a dramatic and colorful traversal of twentieth-century styles. Severino Gazzelloni (flute), Lothar Faber (oboe), RAI Rome Symphony Orchestra; Bruno Maderna. BMG Ricordi 5818 (Italy) 07-079 $18.98
FABIO VACCHI (b. 1949): Luoghi Immaginari, Dai Calanchi di Sabbiuno, Flow My Dowland. This is meditative and atmospheric music for small ensemble, consisting of fleeting images which subsume developmental processes in striving for the beauty of the moment. This is music which is appealing and soulful without reaching for the spiritual depths of a Pärt or Tavener. The Dowland transcriptions illuminate the originals through instrumental timbre rather than compositional elaboration. Soloists of the Sicilian Symphony Orchestra; Guido Guida, Marco Lazzara (alto), Ensemble Musica20; Mauro Bonifacio. BMG Ricordi 5821 (Italy) 07-080 $18.98
FABIO VACCHI (b. 1949): La Station Thermale. Presenting a slight tale of intrigues among guests and staff at a fashionable spa, this opera ingeniously recreates the impression of an 18th-century comedy in a modern idiom. Genuinely lighthearted and entertaining. Cécile Besnard, Christophe Lacassagne, Pomone Époméo, etc. Lyon Opera Orchestra; Claire Gibault. Italian-English libretto. BMG Ricordi 5614 (Italy) 07-081 $37.98
CARLO FRANCI: African Oratorio. The obvious comparison for this work is David Fanshawe's "African Sanctus" - but it turns out to be an almost entirely inappropriate one. Franci's work pays far more direct homage to its ethnic models - most of the instrumental elements of the piece are based on African tribal drumming, eschewing the crossover 'pop-culture' elements of the Fanshawe. The narrator's role is minimal, and the electroacoustic elements - mostly derived from percussion sounds - blend into the whole to provide an expanded sonic palette, rather than sounding like funny noises for their own sake, as is all too often the case. The work emerges as a strong, moving and unexpectedly serious one. The recording was made in concert, with very little distracting audience noise. Martina Arroyo (soprano), Paul Bagshaw (flute), Christian Dhlamini (speaker), Boisudumu Adult Chori, Kwathema Youth Choir, Transvaal Philharmonic Orchestra; Carlo Franci. Musicaimmagine 10038 (Italy) 07-082 $18.98
BEAT FURRER (b. 1954): Narcissus. An "opera in 6 acts after Ovid's 'Metamorphoses'", this work recalls Stockhausen's less grandiose staged works. Furrer adduces quotes from Lacan, Adorno and Beckett in his note to help illustrate the concept of his story: the image of himself which Narcissus sees in the water tells of a utopian dream which he cannot attain. While unquestionably in a modern idiom, the music illustrates the psychological parable of the story appropriately and contributes something of substance to it. Johannes Chum, Hannes Hellmann (speakers), Monika Bair-Evenz (mezzo), Südfunk Choir Stuttgart, Klangforum Wien; Beat Furrer. Musiques Suisses 6143 (Switzerland) 07-083 $18.98
MANUEL ROSENTHAL (b. 1904): Saxophon'Marmalade, Les Soirées du Petit Juas for String Quartet, 3 Pieces for Harp, 2 Flutes, Violin, Viola, Cello and Bass, La Belle Zélie: Romantic Suite for 2 Pianos, Juventas: Suite for Clarinet, String Quartet and Bass. An astonishingly eclectic collection of chamber music, spanning nearly sixty years, from a musician who has seemingly been everywhere and done everything. Echoes of Milhaud and Rosenthal's mentor, Ravel, are evident, with the occasional sly nod to Gershwin, and throughout there is the wit and lightness of touch of a Poulenc. Altogether beautifully crafted and charming. Daniel Blumenthal (piano), Danel Quartet, et al. Calliope 9894 (France) 07-084 $16.98
LUIS DE PABLO (b. 1930): Concerto da camera, Dibujos, 5 Meditaciones, 4 Fragments from "Kiu". One of the most significant Spanish composers of the late 20th century, De Pablo followed a familiar route from Darmstadt post-serialism to personal synthesis blending consonance, micro-intervals, free form and complex metrics. The main work here is the "5 Meditations", from 1984, in which the composer's "attempt to capture a form of existence in an order of sounds" runs through a kaleidoscopically varied arsenal of composition techniques. Ensemble 2e2m; Paul Mefano. 2e2m 1009 (France) 07-085 $19.98
CLAUDIO PRIETO (b. 1934): Cuarteto 1, Cuarteto Alcalá, Cuarteto de primavera. Although only four years De Pablo's junior and having had much the same musical education, Prieto has diverged and become one of the leaders of the "new Spanish lyricism". A plangent, sweeping lyricism indeed does inform the Cuarteto Alcalá, written in 1991 as a tribute to Cardinal Cisneros and the city of Alcalá while the "Spring Quartet" (1988) is an attempt to covert into sound "the fascinating world of color, contrast, play, dance, song, the process of birth and renovation...". Cuarteto I, from 1968, predates the "new lyricism" but is not unapproachable, based on rhythmic and static elements and their combination. Cassado Quartet. EMEC A 96001 (Spain) 07-086 $16.98
CLAUDIO PRIETO (b. 1934): Piano Trio in G, Canto al poeta de los sentidos. These two tonal and approachable works date from the late 1980s; the trio in G is in seven sections, working on the basis of melodic and harmonic intervals to establish new melodic, chordal and rhythmic relationships. From 1989, the "Song to the Poet of Sounds" is an homage to Federico Mompou. In three movements - "Song", "Dance" and "Song", the work recreates the Catalan composer's sound world, combining Hispanic folk elements with Mompou's intimacy and meticulousness. Trio Mompou. EMEC A 891 (Spain) 07-087 $16.98
ROBERTO GERHARD (1896-1970)): L'infantament meravellós de Schahrazada, JOAQUIM HOMS (b. 1906): Ocells perduts. The 21-year-old Gerhard set this fin-de-siècle Catalan version of the Arabian Nights in a late-romantic idiom which carries only vague intimations of his later, personal voice. Homs started composing relatively late in life and studied in the 30s with Gerhard. Although he later turned to serialism, this setting of 10 poems by Rabindranath Tagore, from 1940, is couched in a more conservative idiom. Isabel Aragón (soprano), Ángel Soler (piano). la mà de guido 2022 (Spain) 07-088 $19.98
GIAN CARLO MENOTTI (b. 1911): The Unicorn, The Gorgon and The Manticore, VIRGIL THOMSON (1896-1989): Parson Weems and the Cherry Tree. Neither an opera nor a ballet, Menotti's coinage "A Madrigal Fable" perhaps best describes this work whose four characters are "Man in the Castle" and the three mythological beasts of the title. The piece is a gently ironic allegory on trendiness and fashions in art. The coupling, a ballet from 1975 receiving its first complete recording with its original scoring, is a revisionist look at George Washington's alleged cutting-down of the infamous cherry-tree. Boston Cecilia Chorus and Chamber Ensemble; Donald Teeters. Newport Classic 85621 (U.S.A.) 07-089 $18.98
RICHARD FLURY (1896-1967): St. Urs und St. Victor, Hanneles Himmelfahrt. These two suites of music were written as incidental music for two modern morality plays, but the composer's inspiration is neither medieval nor modern. It is rooted firmly in conservative Romanticism as it tells the stories of two decapitated martyrs who fastened their heads back on and went on to perform other miracles and of a child's vision of heaven. There is little here that Zemlinsky (or even Liszt) would not recognize but, in these recordings released to celebrate his centenary, Flury's music is a welcome addition to the catalogue. Rosmarie Hofmann (soprano), Markus Oberholzer (baritone), Domchor St. Urs Solothurn, Biel Symphony Orchestra, Prague Symphony Orchestra; Joseph Flury. Musiques Suisses 6141 (Switzerland) 07-090 $18.98
WILLEM PIJPER (1894-1947): Complete Music for Solo Piano, Cello Sonatas Nos. 1 and 2. Half of this release is taken up by the first complete recording of all Pijper's solo piano music: three sonatinas, a sonata, three Aphorisms, Theme & Five Variations and three Dutch folk dances. The piano works date from 1913 to 1930 (the sonata) and are all in the miniature style influenced by Debussy and Ravel while the two cello sonatas (1919 and 1924) show more clearly their composer's evolution from Mahlerian post-Romanticism to polytonality. The first cello sonata, in particular, has some remarkable pizzicato and glissando effects (among others). Robert Moeling (piano), Terry King (cello). Erasmus WVH205 (Netherlands) 07-091 $13.98
ALBERTO GINASTERA (1916-1983): Piano Sonatas Nos. 1 and 2, 12 Preludios Americanos, Op. 12, Suite de Danzas Criollas, Op. 15, Danzas Argentinas, Op. 2, Malambo, Op. 7. The booklet tells us that Herb is something of a Ginastera expert and certainly her performances of the colorful, folk-influenced nationalistic works and the Bartókian Sonatas on this disc are played with a nice range of feeling and admirable technique. Gisela Herb (piano). Norway Music 7029 07-092 $17.98
Special CD-ROM offer!!
We know that Records International has never offered a CD-ROM before and we also know that Wagner's Ring is not in the least "unusual" (as repertoire) but this combination certainly is:
·Complete piano-vocal score, German libretto/English translation, and running commentary synchronized with the music.
·More than 100 original essays with detailed explanations.
·Comprehensive analysis of all leitmotifs with hypertext links to specific occurrences. Search functions simple and easy to use.
··Requires a Pentium processor PC and Windows 95 or NT.
Vienna Philharmonic Orchestra; Sir Georg Solti.
The Media Café Publishing. 07-093 $109.98