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Don Gillis

Symphony No. 4 &

Piano Concerto No. 2

DON GILLIS (1912-1978): Symphony No. 4 "The Pioneers", Piano Concerto No. 2. Although much of Gillis' music is "light music" and Albany's cover logo for this and previous releases of Gillis is "American Light", these two works are, by the very nature of their form, larger than "light". In three movements (28 minutes in all), the 1946 symphony sounds more like the score to a wide-screen film portraying the Westward push of the United States in the 19th century. The piano concerto, a 1966 commission for a youth orchestra festival (it was too difficult for them to perform), lasts 37 minutes and both the first two movements are moderate in tempo - a very haunting waltz for the second which gets right under your skin - and only the last is a whiz-bang spectacular with a strong whiff of the circus. Certainly for lovers of film music and lighter "serious" music as well! Sinfonia Varsovia; Ian Hobson (piano). Albany TROY 729 (U.S.A.) 12G001 $16.98


1. Two days after the November catalogue went to press, I found out that the French Accord CDs promised for this month will not be in my hands until February at the earliest. Sorry to get expectations up too soon!

2. Some of the Atoll CDs from New Zealand in these pages will not be here until after Christmas, due to new shipping regulations in New Zealand which caught their shipper unawares and also at the beginning of a two-week vacation. Orders will be filled where possible and back-orders filled in January.

3. The Ligia Digital titles in this month's catalogue are almost all new since the label last had U.S. distribution in 1999 but you may want to check your collections to make sure you won't duplicate.

4. The plummeting dollar is killing our import possibilities. You won't see any Czech special imports in the forseable future since the Czech Republic has just converted to the Euro and what I used to be able to sell for $14.98 would now need to be around $24.98! My VMS and Aulos imports will suffer for this as well. Please let me know what your thoughts are on prices in this category since I know that some of you happily pay them when buying from European Amazons and other UK, German and French mail-order sites. If you want them at any cost, I'll offer them...

5. There should be 4 new Tudor Raff releases in the January catalogue!

e-mail: sales@recordsinternational.com

GAVRIIL POPOV (1904-1972): Symphony No. 1, Op. 7, DMITRI SHOSTAKOVICH (1906-1975): Theme and Variations, Op. 3. Once available on the late Olympia label, Popov's first symphony (of six) reveals a young composer of astounding talent. This work was created between 1929 and 1934, benefiting from the wonderful period after the Russian Revolution when artists were granted unbridled freedom to indulge their creativity yet, a month after its 1935 premiere, the work was banned for "formalism", Popov having just reached the boundary which would destroy generations of talented Russian composers. The booklet note points out the many (and bizarrely astounding) similarities between the careers of Popov and Shostakovich (the latter was a great supporter of Popov) and there are places in Shostakovich's Symphony No. 4 whose inspiration occurred first to Popov (also a point in his Symphony No. 5) but, no matter the reminiscences of Scriabin in the slow movement or, perhaps, of Prokofiev (another Popov supporter), this symphony is the very original creation of a brilliant symphonist. Shostakovich's op. 3 is the work of a 16-year-old and doesn't sound like anything he wrote as an adult but is fascinating to listen to for its brilliant and increasingly complex understanding of variation form, couched in the language of Rimsky-Korsakov, the teacher of Shostakovich's own teachers. London Symphony Orchestra; Leon Botstein. Telarc CD-80642 (U.S.A.) 12G002 $16.98

SERGEI PROKOFIEV (1891-1953): Incidental Music for Boris Godunov, Op. 70bis & for Hamlet, Op. 77. Keeping your Russian Shakespeare incidental music composers straight? Capriccio offer their most lavishly documented release yet (the booklet, in three languages, is 84 pages (!) long) supporting the 57 of music and songs which represent every note Prokofiev wrote for a 1936 stage setting of Boris and a 1938 Hamlet. Over two (fine-print) pages of quotes from the famous Soviet director Meyerhold bring the problems of putting an epic like Boris onto the stage and illuminate his collaboration with Prokofiev. In fact, it may take longer to read the booklet than to listen to the CD! English translations. Marina Domaschenko (mezzo), Victor Savaley, Yuri Svatenko (tenors), Marek Kalbus (baritone), Arutiun Kochinian (bass), RIAS Chamber Choir, RSO Berlin; Michael Jurowski. Capriccio 67 058 (Germany) 12G003 $16.98

PETER EBEN (b.1929): Organ Concerto No. 2, EMMA LOU DIEMER (b.1927): Concerto in One Movement for Organ and Chamber Orchestra "Alaska", WILLIAM BOLCOM (b.1938): Gospel Preludes, Book 4 for Solo Organ (organ of Riverside Church, NYC), LEO SOWERBY (1895-1968): Classic Concerto for Organ and Strings. Not too many organ concerto discs appear anymore, so this collection will certainly appeal with the concise yet richly conceived Classic Concerto of Sowerby (1949) balanced off by the piquant, harmonically spicy and rhythmically ingenious concerto by the Czech organ and brass specialist, Eben, which is essentially neo-classical in spirit for all of its somewhat modernistic dress. Diemer's 1995 piece works Inuit rhythmic patterns, a 16th century chorale by Hans Leo Hassler and a traditional Hebrew melody into a compelling 16-minute span and the disc closes with three Bolcom solo pieces recorded for Minnesota Public Radio's "Pipedreams" broadcasts. Marilyn Mason (organ of the Rudolfinum, Prague), Czech National Symphony Orchestra; Paul Freeman. Albany TROY 706 (U.S.A.) 12G004 $16.98

FREDERICK JACOBI (1891-1952): Cello Concerto, Hagiographa for String Quartet and Piano, 2 Pieces in Sabbath Mood for Orchestra, Excerpts from a Sabbath Evening Service, Ahavat olam for Cantor and Choir. Pictured in "Vanity Fair" in 1923 as an example of an important young generation of American composers (along with Deems Taylor, Leo Ornstein, Leo Sowerby and others), Jacobi fell completely into oblivion after his early death, sucked into the fiery hole of Darmstadt-inspired obliteration of pre-war history. Although his 1932 concerto was composed in Switerland and is a trio of meditations on sentiments evoked by three Psalms (both recalling Bloch), the music is less overtly Jewish in tone while its late Romantic leanings still have their base in early 20th century musical currents. Hagiographa (1938) is, again, suggested by Biblical sources (the stories of Job, Ruth and Joshua) and is, in turn, dramatic and intense, idyllically pastoral and celebratory while the Two Pieces (an 11-minute tone-poem from 1946, recorded here from manuscript) suggest the atmosphere of Kaddish and Oneg shabbat. Alban Gerhardt (cello), Barcelona Symphony/National Orchestra of Catalonia; Karl Anton Rickenbacher, Slovak Radio Symphony Orchestra; Samuel Adler, Academy of St. Martin in the Fields Chorus and other artists. Naxos Milken Archive 8.559434 (U.S.A.) 12G005 $6.98

BOLESLAW WOYTOWICZ (1899-1980): 12 Études, 2 Mazurkas, 3 Dances, Little Sonata, Recitativo e Arietta. Woytowicz was a fine concert pianist and his first set of etudes (1948), written for his own use on tours, is an excellent example of his French-influenced, neo-Classical style where even the fifth piece, a Polonaise, has a decidedly Gallic flavor. The same can be said for his earlier (1928 and 1930) mazurkas and dances, Polish in name, French-Polish in affect while the Little Sonata of 1977 shows that the composer was not unacquainted with the simplified techniques of post-modernist neo-tonality. Monika Sikorska-Wojtacha (piano). Acte Préalable AP0082 (Poland) 12G006 $16.98 >

GRAZYNA BACEWICZ (1909-1969): Piano Sonata No. 1, Piano Sonata No. 2, Children's Suite, Krakowiak koncertowy, 3 Grotesques, Scherzo, Sonatina, Rondino, Little Triptych, 2 Etudes. The short piano pieces which make up the majority of the works on this disc are in a bright, brittle, neo-classical style, full of wit, occasional irony and a lot of short notes and come from the 20th century tradition of such works which Shostakovich, Prokofiev and many French composers contributed to. Standing somewhat apart is the first sonata (1949), receiving its world premiere recording here, whose links to the 19th century tradition are much more noticeable, particularly in its use of Polish folk melodies (and this appears to be why the composer let it slide into oblivion when she had written her more characteristic second sonata four years later). The Little Triptych of 1965 points to an entirely different direction which Bacewicz might have explored had she not died so relatively early. Anita Krochmalska (piano). Acte Préalable AP0073 (Poland) 12G007 $16.98 >

ROY HARRIS (1898-1979): Concerto for 2 Pianos and Orchestra, PIERRE MAX DUBOIS (1930-1995): Concerto Italien for 2 Pianos and Orchestra, ARTHUR BENJAMIN (1893-1960): North American Square Dance Suite for 2 Pianos and Orchestra. Much requested by you, we are pleased to finally offer this World Premiere Recording of Harris' concerto, completed at the end of 1946 but, due to a set of defective orchestral parts, never performed until one of the pianists here, Pierce, produced a final set which could be performed. It is a big-boned, open-throated piece of Americana with a gigantic capital "A", with clangorous bitonal chords motivating the first movement, a ten-minute wallow in fulsome melody in the second and a 6/8 jig for a finale. Those of you who don't buy chamber music will also finally find out about Dubois, his 1962 Concerto italien (after its Concerto grosso form) demonstrating his perfect affinity with the composers of Les Six while Benjamin's suite will be familiar to customers from its appearance on Naxos in our July catalogue (07G007). Joshua Pierce, Dorothy Jonas (pianos), Slovak Radio Symphony Orchestra, Bratislava; Kirk Trevor. Kleos Classics KL5129 (U.S.A.) 12G008 $16.98

PAUL CRESTON (1906-1985): Partita for Flute, Violin and String Orchestra, Op. 12, DAVID WARD-STEINMAN (b.1936): Concerto No. 2 for Chamber Orchestra, HENRY COWELL (1897-1965): Hymn for String Orchestra, NORMAN DELLO JOIO (b.1913): Lyric Fantasies for Viola and Strings. This one of several older recordings made for other labels reissued by Kleos Classics (who don't want to tell us where they came from); we know that Amos made at least one for Harmonia Mundi USA - either this one or 12G0 below. So, if you don't have this in its original version (it was recorded in 1990), it is a fine collection of lesser-known works by somewhat lesser-known composers with the Ward-Steinman concerto (1962) very much in the Copland-Harris tradition, the Dello Joio in his best softly lyrical manner and the Creston as bouncy and ebullient as most of his compositions and short string pieces by Turok and Cowell adding variety. Yossi Aranheim (flute), Nicholas Ward (violin), Karen Elaine (viola), City of London Sinfonia; David Amos. Kleos Classics KL5128 (U.S.A.) 12G009 $16.98

PAUL CRESTON (1906-1985): Concerto for 2 Pianos and Orchestra, Op. 50, NIKOLAI BEREZOWSKY (1900-1957): Fantasie for 2 Pianos and Orchestra, FRANCIS POULENC (1899-1963): Concerto in D Minor for 2 Pianos and Orchestra. World Premiere Recordings of the Russian-born Berezowsky's Fantasie and of Creston's concerto. The Russian emigrated to the U.S. in 1900 and left much orchestral music behind including this 11-minute piece from 1932 whose modal harmonies recall similar Russian qualities in the contemporary music of Prokofiev and Stravinsky. Creston's concerto dates from 1951 and it has a motoric first movement, a more relaxed and delicate Andante Pastorale and finishes off with a wild Italian tarantella. Joshua Pierce, Dorothy Jonas (pianos), Polish Radio and TV National Symphony Orchestra; David Amos. Kleos Classics KL5121 (U.S.A.) 12G010 $16.98

NORMAN DELLO JOIO (b.1913): Meditations on Ecclesiastes, ARNOLD ROSNER (b.1945): Responses, Hosanna and Fugue, Op. 67, ALAN HOVHANESS (1911-2000): Psalm and Fugue for String Orchestra, Shepherd of Israel for Cantor, Flute and Strings. Lovers of exaltation via soaring, moving string music for large forces will surely enjoy this ample collection previously released on Harmonia Mundi. Dello Joio won the 1957 Pulitzer Prize for his half-hour long outpouring of heartfelt, modal melody while Hovhaness indulged his interest in eastern musics with his 1952 Shepherd of Israel which adds a flute to the strings to represent a shepherd's pipe and a cantor for even more authenticity. Rosner's work is from 1977 and combines call-and-response singing with loosely followed contrapuntalism. Sheldon Morel (tenor), Kenneth Smith (flute), Philharmonia Orchestra; David Amos. Kleos Classics KL5119 (U.S.A.) 12G011 $16.98

MORTON GOULD (b.1913): Folk Suite, GIAN CARLO MENOTTI (b.1911): Triplo Concerto a Tre, MIKLÓS RÓSZA (1907-1995): Tripartita for Orchestra, Op. 33, MARC LAVRY (1903-1967): Emek. Another mystery recording of uncertain date and provenance, this is probably late 80s or early 90s in origin (although reissued in 2000, five years after his death, the tray-card still lists Rózsa as alive). Fabulous repertoire with a very Hungarian-sounding Tripartita from Rozsa (1972), Gould's 1938 suite whose very American folk-sounding melodies are, nevertheless, his own original creations, Menotti's 1970 neo-classical concerto, full of his innate melodicism and lyricism and, finally, Lavian-born Israeli Lavry's symphonic poem from 1936 depicts a day in the life of young Jewish settlers in the eponymous valley, from a bucolic opening through to a fiery, dance-inspired finale. London Symphony Orchestra; David Amos. Kleos Classics KL5103 (U.S.A.) 12G012 $16.98

JACQUES IBERT (1890-1962): Suite Symphonique, Symphonie Concertante for Oboe and String Orchestra, JEAN FRANÇAIX (1912-1997): L'horloge de flore. Collectors who think of Ibert primarily in terms of the adjectives "jaunty" and "sunny" will be surprised by his 1949 Symphonie Concertante, written on commission for Paul Sacher and which has its fair share of the post-war anxiety and stress which so many Sacher commissions seem to have (both pre- and post-war) although there are plenty the trademark brassiness and optimism which this composer could never reject. The suite was culled from music for a 1930 stage play and its busy six sections (Le Métro, Suburbs, The Mosque of Paris, Restaurant in the Bois de Boulogne, The Liner "Île de France" and Street Fair) evoke a day in the environs of contemporary Paris with all the saucy wit and ear for bright colors which the young Ibert possessed. Pamela Pecha (oboe), Czech National Symphony Orchestra; Paul Freeman. Kleos Classics KL5104 (U.S.A.) 12G013 $16.98

JACOB VAN EYCK (c.1590-1657): Praeludium, Fantasia en Echo, Doen Daphne d'over schoone Maeght, JAN PIETERSZOON SWEELINCK (1562-1621): Balleth del granduca, CORNELIS THYMANSZOON PADBRUÉ: Pavan and Galliard, GIROLAMO FRESCOBALDI (1583-1643): Canzona prima, Capriccio sopra la Bassa Fiammenga, GIOVANNI BATTISTA RICCIO: Canzona, BARTOLOMEO DI SELMA Y SALAVERDE (c.1570-c.1638): Canzona terza, CIPRIANO DE RORE (1516-1565): Ancor che co'l partire, GIOVANNI BATTISTA FONTANA (?-1630): Sonata seconda, GIOVANNI MARTINO CESARE (c.1590-1667): La Foccarina, La Giorgina, DARIO CASTELLO: Sonata seconda. An enterprising and well-documented collection of music from Dutch and Italian composers from the turn of the 17th century, when pure instrumental music freed itself from the embrace of the song, to the first examples of what became the instrumental sonata, with quite a bit of unusual repertoire. Marijke Miessen (recorder), Glen Wilson (harpsichord, organ). Teknon TK 11-251 (Netherlands) 12G014 $17.98

DIETRICH BUXTEHUDE (1637-1707): Membra Jesu nostri, BuxWV 75, Jesu meines Lebens Leben, BuxWV 62. Membra Jesu (1680) is a seven mini-oratorio cycle of meditations on the wounds of Christ (lasting, in all, around 65 minutes) which is inward in nature, refined in expression and uses only single voices with organ, two violins and violone as accompaniment Sagittarius; Michel Laplénie. Ligia Digital Lidi 0202097-01 (France) 12G015 $17.98

LOUIS-NICOLAS CLÉRAMBAULT (1676-1749): 1er Livre de Pièces de Clavecin - Suites Nos. 1 & 2, Prélude in G, 1er Livre d'Orgue - Suites du premiere et deuxième ton. Dating from 1704 and 1714, these are the sum total of Clerambault's keyboard works (he was far better known for his popular secular cantatas) and represent one of the last flowerings of a genre which would soon disappear with the onset of the Rococo period. Catherine Latzarus (harpsichord), Olivier Vernet (organ of St-Martin de Seurre). Ligia Digital Lidi 0104075-99 (France) 12G016 $17.98

MARIN MARAIS (1656-1728): Sonnerie de Sainte Geneviève du Mont de Paris, Sonate à la Marésienne, FRANÇOIS COUPERIN (1668-1733): 9ième Concert, CHARLES DIEUPART (d. c.1740): Suite in F, JACQUES HOTTETERRE (c.1680-1761): Suite in E Minor. This music from the court of the Sun King (Diupart excepted) is affirmedly French in style with a small sprinkling of Italianate material. Marijke Miessen (recorder), Anner Bylsma (violoncello piccolo), Pieter Wispelwey (cello), Bob van Asperen (harpsichord). Teknon TK 11-250 (Netherlands) 12G017 $17.98

IGNAZIO SIEBER (c.1680-c.1757): 6 Sonatas for Recorder and Continuo. Published in 1717 in Amsterdam, these sonatas appear to be by a composer who was a teacher at the Ospedale della Pietà in Venice at the same time as Vivaldi. In their style, they suggest both the latter composer and Francesco Maria Veracini, with the melody instrument rarely ceding its melodic dominance to any kind of contrapuntal imitation. Thomas Kügler (recorder), Imke David (viola da gamba), Rainer Johannsen (bassoon), André Henrich (archlute), Wolfgang Kostujak (harpsichord). Coviello Classics 20206 (Germany) 12G018 $17.98

ANTONIO VIVALDI (1678-1741): Concerti e Cantate da camera, Vol. 2 - Flute Concerto in A Minor, RV 108, Concerto for Flute, Bassoon and Violin in D, RV 92, Concerto for Flute, Bassoon, Violin and Continuo in F, RV 100, Cantatas: Amor, hai vinto RV 651, Fonti del pianto, RV 656, Geme l'onda che parte dal fonte, RV 657. For those collecting the larger series of which this is a sub-unit, this is "Tesori del Piemonte" Vol. 23. Evenly divided between soprano/continuo cantatas of operatic quality (with some outsize virtuosity demanded especially in Geme l'onda) and ensemble concertos which link the Corellian concerto grosso with the solo concertos of Torelli and Albinoni, this disc is a fine collection of lesser-heard Vivaldian repertoire. Italian-English texts. Gemma Bertagnolli (soprano), L'Astrée. Opus 111 OP 30404 (France) 12G019 $16.98

CHRISTIAN PETZOLD (1677-1733): Partita in A for Solo Viola d'amore, KARL STAMITZ (1745-1801): Sonata in D for Viola d'amore and Viola, HEINRICH IGNAZ FRANZ BIBER (1644-1704): Partita in C Minor for 2 Violas d'amore and Continuo. Actually, this counts as a historical recording these days - made in 1970 in the relative youth of period instruments history and using four different historical viola instruments in as wide a variety of repertoire as the instrument's popularity allows. Günther Lehmann (viola d'amore), Doris Wolff-Malm (viola d'amore, viola), Alfred Lessing (cello), Theodor Klein (harpsichord). Aulos AUL 66124 (Germany) 12G020 $17.98 >

CHRISTOPH GRAUPNER (1683-1760): Instrumental and Vocal Music, Vol. 3 - Cantatas: Lass dein Ohr aur Weisheit acht haben, Mache die Tore weit, Gedenket an den, Nun freut euch lieben Christen gmein, Overture in F for Recorder and Strings. Two cantatas from 1727 and one from 1750 cover much of the period of Graupner's tenure in Darmstadt and keeping with the season, are all Christmas season works in the characteristically severe Lutheran style but a 23-minute long overture brings a more brilliant and festive mood to the program. German-English texts. Les Idées Heureuses; Geneviève Soly. Analekta AN 2 9115 (Canada) 12G021 $16.98

JAN JOSEF IGNÁC BRENTNER (1689-1742): Harmonica duodecatometria ecclesiastica, Op. 1, Nos. 1, 6, 9 & 10, Offertoria solenniora, Op. 2, Motets for the Dead: Himmelssonne, Jesu, du mein treues Hirt, O Jesu mein. This Bohemian composer's op. 2 is a collection of offertories for choir, two violins and continuo in widely differentiated styles; the op. 1 are dacapo spiritual arias, some of which have remarkably independent solo instrumental parts while his motets, in German, are typical of their period. Vocal soloists. Ensemble Inégal; Adam Viktora. Nibiru 0144-2211 (Czech Republic) 12G022 $17.98

MICHEL CORRETTE (1707-1795): Les Délices de la solitude. Unusual instrument alert! These sonatas for cello, viol, bassoon and figured bass, published in 1738 are recorded here using an instrument called the "viole d'Orphée" which Corrette invented and which the performers created, adapting a viola da gamba in ways there is no room to describe here. Aria Lachrimae. Ligia Digital Lidi 0301137-04 (France) 12G023 $17.98

MICHEL CORRETTE (1707-1795): 3 Leçons de Ténèbres, Suite in C Minor. In 1784, Corrette paid tribute to the high Baroque genre of the Leçons with settings of three (one for each day before Easter). Now consciously archaic, now showing some of that joie de vivre which characterized this ever-Enlightened composer, they are far from museum pieces. An organ suite from 1787 is interspersed between the leçon settings. Catherine Greuillet (soprano), Philippe Foulon (cello), Olivier Vernet (Clicquot organ of Saint-Pierre et Paul, Souvigny, France). Ligia Digital Lidi 0104145-04 (France) 12G024 $17.98

JAN KRTITEL JIRI NERUDA (1707-1780): Concerto in C, VACLAV PICHL (1741-1805): Concerto in C, WOLFGANG AMADEUS MOZART (1756-1791): Concerto in B Flat, K. 191. Two fairly rare bassoon concertos from Bohemian composers, the Neruda an earlier work with one foot still in the Baroque and Pichl's somewhere near the high Classical period. John Heard (bassoon), Camerata Kiev; Alexander Ostrowski. Kleos Classics KL 5123 (U.S.A.) 12G025 $16.98

FREDERICK THE GREAT (1712-1786): Symphony No. 1 in G, Symphony No. 2 in G, Flute Concerto No. 4 in D, CARL PHILIPP EMANUEL BACH (1714-1788): Symphony No. 2 in B Flat. Whether the King composed them all by himself or had help from Messrs. Graun and Quantz, these symphonies are certainly of their period and a good example of music-making at Sans-Souci in the 1750s. Emily Newbold (flute), Manhattan Chamber Orchestra; Richard Auldon Clark. Helicon Classics HE 1003 (U.S.A.) 12G026 $11.98

JOHANN GOTTFRIED MÜTHEL (1728-1788): Keyboard Sonatas in F, G & in C, Arioso I in G and Arioso II in C Minor for Keyboard. Published in 1756, this set of works was intended for the clavichord with its opulent figuration and decoration with an emotional range from drama to melancholy; Empfindsamkeit in the style of C.P.E. Bach. 2 CDs. Menno van Delft (clavichord). Teknon TK 12-252 (Netherlands) 12G027 $29.98

FRIEDRICH SCHWINDL (1737-1786): Flute Concerto in D, JOHANN CHRISTIAN FISCHER (1733-1800): Menuett in C for Flute and Orchestra, LUDWIG AUGUST LEBRUN (1752-1790): Flute Concerto No. 1 in D Minor, WOLFGANG AMADEUS MOZART (1756-1791): Rondo in D, K. Anh. 184. Schwindl's concerto, discoveredin 1960, was thought to be a missing Mozart concerto and was first published as such; Fischer's popular minuet prompted variation sets from both Mozart and Schwindl and Lebrun's is his own transcription of an oboe concerto, with much more ornamentation for the flute than for the original oboe. Ricarda Bröhl (flute), Rheinisches Kammerorchester Köln; Jan Corazolla. Aulos AUL 68522 (Germany) 12G028 $17.98 >

KARL DITTERS VON DITTERSDORF (1739-1799): String Quartets No. 1 in D, No. 3 in G, No. 4 in C & No. 5 in E Flat. Published in 1788, these are no serenade-like trifles and come from a composer who played string quartets with Mozart, Haydn and Vanhal. Anyone who enjoys the music of the latter three and who doesn't already own the cpo versions of these quartets from 14 and 16 years ago shouldn't hesitate! Sharon Quartet. VMS 156 (Austria) 12G029 $17.98 >

Haydn and the Gypsies

JOHANN NEPOMUK HUMMEL (1778-1837): Balli ongaresi, Op. 23, ANTAL CSERMÁK (c.1774-1822): Con Verbunk, Andante, Andante, Slow Magyar, Cantabile Adagio, JÁNOS BIHARI (1764-1827): Magyar Tánc avagy Verbunkos, Verbunkos, JÓZSEF BENGRÁF (c.1745-1791): Ballet Hongrois, Igen frissen, JÓZSEF KOSSOVITS (after1750-after1819): Lassú Magyar, JÁNOS LAVOTTA (1764-1820): Lassan-Figura, MÁRK RÓZSAVÖLGYI (1789-1848): Verbunk, GÁBOR MÁTRAY (1797-1875): Racoczi's Lament, IGNÁC RUZITSKA (c.1775-after1823): Butsuzó: Lassú Magyar - Friss Magyar, FERDINAND KAUER (1751-1831): Allegro, JOSEPH HAYDN (1732-1809): Piano Trio in G, Hob.XV:25, Adagio (Lassan) from String Quartet Op. 54/2, 2 Zingarese (attr.). 78 minutes of music either suggested by Roma music and dance or, in the case of Hummel, transcriptions of folk music. Interesting little ethno-classical fusion sidelight released in 2000. Monica Huggett (violin), Lux Musica; Linda Burman-Hall (fortepiano, percussion). Kleos Classics KL 5101 (U.S.A.) 12G030 $16.98

DOMENICO CIMAROSA (1749-1801): Concerto in G for 2 Flutes and Orchestra, WILHELM BERNHARD MOLIQUE (1802-1869): Flute Concerto in D Minor, Concertino in G for Flute and Orchestra, IGNAZ MOSCHELES (1794-1870): Concertante in F for Flute, Oboe and Orchestra. Pure Classicism from Cimarosa and Mendelssohnian Romanticism from Molique and Moscheles, diverting in its airy lightness and carefree joie de vivre. Mathieu Dufour (flute), Alex Klein (oboe), Czech National Symphony Orchestra; Paul Freeman. Cedille CDR 90000 089 (U.S.A.) 12G031 $16.98

DOMENICO CIMAROSA (1749-1801): Missa pro Defunctis. Composed upon his arrival in Russian in 1787, this mass may faithfully adhere to the traditional liturgy but its vocal parts - especially for the two women's voices, which dominate - is quite operatic in quality and there is almost as much jubilation and joy as there is gravity and seriousness. Valérie Gabail (soprano), Katalyn Varkonyi (mezzo), Etienne Lescroart (tenor), Ronan Nédélec (baritone), Chur de Chambre des Musiciens du Louvre, La Philharmonie de Chambre; Jérémie Rhorer. Ligia Digital Lidi 0202116-02 (France) 12G032 $17.98

MUZIO CLEMENTI (1752-1832): Sonata in G for Claviorgan and Flute, Op. 2/3, Sonata in D for Claviorgan, Flute and Cello, Op. 21/1, Sonata in G for Claviorgan, Flute and Cello, Op. 22/2, Sonata in D for Claviorgan, Flute and Cello, Op. 22/1, Sonata in A for Claviorgan and Flute, Op. 31. Collectors of the truly unusual will want to hear the claviorgan - a combination of harpsichord and 16-stop organ smashed into a single box (yes the two parts can be played at the same time). These short, two-movement (with one exception) sonatas which Clementi intended for piano and optional accompanying instruments show the odd hybrid off to good advantage. Claudio Brizi (claviorgan), Naotaka Nishida (flute), Francesco Pepicelli (cello). Camerata CMCD-28035 (Japan) 12G033 $17.98

ANTONIO CARTELLIERI (1772-1807): La celebre Natività del Redentore. Those of you who've been collecting the Cartellieri discs on MD&G know that he was a distinct cut above the second-rate masters of his time and those who bought his oratorio Gioas will know what to expect here: quasi-operatic dramatics with a full-sized, early Romantic orchestra and strongly characterized motivic and melodic material. In this oratorio from 1806, Satan and John the Baptist do battle with choruses of demons and angels, the whole being only tangentially related to the Christmas story of its title. Italian-English texts. Katerina Beranova (soprano), Andreas Karasiak, Ray M. Wade Jr. (tenors), Alexander Marco-Buhrmester (bass), Chorus Musicus Köln, Das Neue Orchester; Christoph Spering. Capriccio 71 015 (Germany) 12G034 $16.98

WENZESLAUS MATIEGKA (1773-1830): Serenade for Flute, Viola and Guitar, Op. 26, LUDWIG VAN BEETHOVEN (1770-1827): Serenade for Flute, Viola and Guitar, Op. 8 (arr. Matiegka). Mateigka was among the first composers to use the guitar as a melody instrument and his Serenade, justly popular for its effortless, sunny beauty, is about the only thing keeping his name alive today. He made the arrangement of Beethoven's string trio on the request of Beethoven's publisher in 1807, substantially rearranging the original material to produce a work properly balanced for its new tonal qualities. Pan Trio. Aulos AUL 68544 (Germany) 12G035 $17.98 >

GEORGE ONSLOW (1784-1853): Sonata in E Minor, Op. 7, Sonata in F Minor, Op. 22, 6 pièces for Solo Piano. Dating from 1811 and 1823, the sonatas inhabit the late Classical style of Schubert and Beethoven while the solo pieces (1828) announce Onslow's arrival in the world of Romanticism. Laurent Martin & Thierry Ravassard (piano four hands). Ligia Digital Lidi 0103115-02 (France) 12G036 $17.98

GEORGE ONSLOW (1784-1853): Introduction, Variations et Finale sur l'Air "Aussitôt que la lumière", Op. 13, Air écossais varié, Op. 5, Thème anglais varié, Op. 28, Toccata, Op. 6, Fantaisie sur "L'ange gardien", Allegretto moderato in F Sharp Minor, Allegro agitato in B Flat Minor. Beethoven and Schubert were Onslow's ideals when it came to the variation form and this disc, containing all of the composer's music for solo piano but for a very early sonata (and the six pieces above), stresses formal perfection and masterly craftsmanship first with virtuosity taking second place. Laurent Martin (piano). Ligia Digital Lidi 0103134-04 (France) 12G037 $17.98

GIOACHINO ROSSINI (1792-1868): Maometto II. Live from the "Rossini in Wildbad" festival of 2002, this is the world premiere recording of the 1822 Venice version of what is better known, in its French adaptation, as Le siège de Corinth. In meeting the demands of the Venetian public, Rossini provided a happy ending as well as adding a "Terzettone" which swells the first act by about a third. 3 CDs. Italian libretto available on-line; English synopsis. Anna-Rita Gemmabella (contralto), Luisa Islam-Ali-Zade (mezzo), Denis Sedov (bass), Massimiliano Barbolini, Cesare Ruta (tenors), Czech Philharmonic Choir, Brno, Czech Chamber Soloists, Brno; Brad Cohen. Naxos 8.660149-51 (New Zealand) 12G038 $23.98

AUGUST FREYER (1803-1883): Organ Works, Vol. 1 - Concert Fantasy in F Minor, Op. 1, Concert Variations on a Russian Song by A. Lvov, Op. 2, Concert Variations on a Church Chant by Bortnyansky, Op. 3, 12 Easy Pieces, Op. 4, 8 Pieces, Op. 5. Freyer was the first Polish organ virtuoso and almost single-handedly rescued his instrument from oblivion in Polish musical life while concertizing in France and Germany and teaching at home. The vast majority of his organ pieces are short preludes, suitable for advanced students and for church and concert use, represented here by two sets. Freyer only wrote three fire-breathing pieces of great flair and virtuosity and all three of them are included here. Wiktor Lyjak (organ of Wloclawek Cathedral). Acte Préalable AP0053 (Poland) 12G039 $16.98 >

CHARLES-VALENTIN ALKAN (1813-1888): Esquisses, Op. 63, Nos. 4, 10, 11, 37, 45 & 48, Le Chemin de Fer, Op. 27, Barcarolle from 3ème Recueil de Chants, Op. 65, Carnaval and Nuit d'Hiver from Les Mois, Op. 74, Préludes, Op. 31, Nos. 6-8, 12-14, 16, 20, 23, & 25, Etude pour la main gauche, Op. 76, Barcarolle from 1ier Recueil de Chants, Op. 38. Yes, it's the same pianist who made four Alkan recordings for Marco Polo but no, these are different recordings (made in May of 2002). Alkan collectors will want to check their repertoire lists and note that the Marco Polos are now, of course, out of print. Laurent Martin (piano). Ligia Digital Lidi 0103121-03 (France) 12G040 $17.98

PERE TINTORER (1814-1891): Quartetino for Piano, Violin, Viola and Cello, Gran duo concertant for Violin and Piano, Piano Trio, 6 habaneres for Piano, Bebé Leontina, Sospirs d'un torbador. This Catalan composer is unknown to Grove and Baker's and the booklet notes give a brief bio but nothing about the compositions or their dates. So, the fact that his quartetino sounds quite a bit like late Schubert, the solo piano pieces like Gottschalk in a mild mood and the other two chamber works like glittering salon pieces of the early 19th century surely mean that we have a very conservative composer here who, thankfully, had a gift for melody and lyricism. Trio Reger, M. Victòria Cortès (piano), Francesc Blanco (piano - solo pieces). La Ma de Guido LMG 2059 (Spain) 12G041 $16.98

FRIEDRICH GERNSHEIM (1839-1916): String Quartet No. 2 in A Minor, Op. 31, JOHANNES BRAHMS (1833-1897): String Quartet in C Minor, Op. 51/1. In its mastery of form, seriousness of purpose and quality of motives and melody, Gernsheim's quartet (1875, two years after its disc-mate) is every bit the equal of Brahms'. Discs coupling Brahms with Dessoff and Herzogenberg will follow. Mandelring Quartet. Audite 97.503 (Germany) 12G042 $16.98

FELIX WOYRSCH (1860-1944): Präambulum in D Minor, Musette in G, 3 Notturnos, Op. 1, 2 Waltzes, Op. 8, Theme and Variations, Op. 17, 4 Impromptus, Op. 23, Improvisationen, Op. 44, Nos. 1, 3, 7 & 8, 4 Metamorphosen, Op. 48. Although he wrote seven symphonies and three evening-length oratorios, Woyrsch's entire piano output, contained here, was in miniature forms, conservative in style, rarely going as far as Wagner, but sure to appeal to Romantic piano collectors. Rolf Plagge (piano). Aulos AUL 66108 (Germany) 12G043 $17.98 >

CHARLES VILLIERS STANFORD (1852-1924): Requiem, Op. 63, Overture, Ballet Music I and II and "There's a Bower of Roses" from The Veiled Prophet of Khorasan. Written in 1897 for a memorial service for famous painter Lord Leighton, Stanford's requiem is poised and spacious, emotionally controlled, the orchestra used economically to support the chorus and soloists but with telling use of instrumental solos with the vocal writing containing both song-like simplicity and operatic sweep. The aria and instrumental excerpts from Stanford's first opera (1879) are, as you might expect from its title, rather more colorful and "exotic". 2 CDs. Frances Lucey, Virginia Kerr (sopranos), Colette McGahon (mezzo), Peter Kerr (tenor), Nigel Leeson-Williams (bass), RTÉ Philharmonic Choir, RTÉ National Symphony Orchestra of Ireland; Adrian Leaper, Colman Pearce (excerpts). Naxos 8.555201-02 (New Zealand) 12G044 $13.98

IGNAZ JAN PADEREWSKI (1860-1941): 4 Songs to Poems by Adam Asnyk, Op. 7, 6 Songs to Poems by Adam Mickiewicz, Op. 18, 12 Songs to Poems by Catulle Mèndes, Op. 22. These ten Polish (1885 and 1894) and twelve French songs (1903) constitute Paderewski's entire song uvre with the former group full of Slavic flavor and, in the Mickiewicz set, drama and the French songs adopt a Romantic style with hints of impressionism. Polish, French texts. Teresa Jadwiga Stepien (mezzo), Mariusz Rutkowski (piano). Acte Préalable AP0073 (Poland) 12G045 $16.98 >

EDWIN HENRY LEMARE (1865-1934): Organ Symphony in G Minor, Op. 35, Chant Seraphique, Op. 75, Toccata di Concerto, Op. 59, Transcriptions: Carneval Overture (Dvorák), Minuet in A (Boccherini), Largo from "Xerxes" (Handel), Gavotte from "Le Temple de la Gloire" (Rameau). Hohman has helped immeasurably in retrieving the reputation of what was probably the biggest showman of all time at the organ (take that, E. Power Biggs!) and, with his third disc devoted to Lemare's uvre, he gives us the full-scale symphony from sometime just before 1900. Lasting 34 minutes and in four movements, it is a catalogue of organ virtuosity in the style of such contemporaries as Guilmant, Reubke and Liszt. Frederick Hohman (Kotzschmar Memorial Organ, Merrill Auditorium, Portland, ME). Pro Organo CD 7117 (U.S.A.) 12G046 $16.98

PADRE JOSÉ ANTONIO DONOSTIA (1886-1956): 21 Basque Preludes, Andante for a Basque Sonata, Nostalgia, Heartfelt Prayer to Our Lady of Socorri, Basque Minuet, On the Banks of the Ter, Tiento and Song, Homage to Juan Crisóstomo de Arriaga. For those of you who didn't buy the two-disc Claves set we offered four months ago(08G006), here are this Basque composer's preludes and a sample of his other piano works. The preludes date from as early as 1910 to as late as 1954 with the early preludes (these were written in four books between 1910 and 1923 ) very much in the character of Schumann klavierstücke, not demanding much in the way of technique (as Donostia was not a professional pianist) while later preludes and other pieces have definite characteristics of Impressionism. Jordi Masó (piano). Naxos Spanish Classics 8.557228 (New Zealand) 12G047 $6.98

HENRYK MELCER (1869-1928): Violin Sonata in G, Piano Trio in G Minor, Op. 2, Dumka for Violin and Piano. The trio (1892-4), almost 42 minutes long, is chock-full of the sort of hearteasing romantic melodies which you will associate with Brahms and Schumann and is a full-scale wallow for collectors of grand, emotional Romantic music. But Melcer evolved too - the sonata (1907), in the standard four movements lasting 29 minutes, is not only Franckian in its cyclic form but also in its harmonies. With the three-minute transcription of a Moniuszko song, this is a 74 package sure to delight the most dyed-in-the-wool Romanticist. The Warsaw Trio. Acte Préalable AP0111 (Poland) 12G048 $16.98 >

HENRYK OPIENSKI (1870-1942): Berceuse for Violin and Piano, Op. 1, Krakowiak for Violin and Piano, Op. 7, Thème varié for Piano, Op. 11, Songs: The May Song, April, Op. 3, Die Tränen, Op. 5, Immer wieder, Op. 8/1, Chanson d'automne, Op. 8/2, La lune blanche, Op. 8/3, Tesknota, Op. 8/5, Biela sie pola, Op. 8/6, Ici bas, Op. 9/1, Triolet, Op. 9/3, Czasem. About 19 minutes of this collection is taken up by the three instrumental pieces, two for the violin from the late 1890s, the Berceuse lyrical in a general European manner and its fellow more obviously Polish while the Thème varié of 1910 is a virtuosic display based on an original tune of folk style. Part of Opienski's importance lay in his performing and promotion of Polish music in Western Europe and French and German music in Poland and his songs show the ease with which he could set texts in all three languages with strong currents of Impressionism apparent in many of the French and German songs (as well as a little bit of the hothouse, decadent atmosphere which Zemlinsky cultivated). His early Polish songs are in the 19th century Romantic style while the set of Preludes (all to texts by the same Polish poet) show the influences of Wolf and Richard Strauss as well as Debusy. Polish, German and French texts. Mariusz Derewecki (violin), Anna Organiszczak (piano), Maria Pawlaczyk (soprano), Weronika Firlej-Kubansik (piano). Acte Préalable AP0075 (Poland) 12G049 $16.98 >

FELIX BOROWSKI (1872-1956): Suite in E Minor, Prière, Sonata No. 1 in A, Sonata No. 2 in C, Sonata No. 3 in D Minor. Born in England to a Polish father and spending his entire adult life in Chicago, where he taught and wrote criticism, makes Borowski Polish only in name. These three sonatas (1904, 1906 and 1924) and the earlier suite (1900) are full-throated Romantic works in the French style and should please anyone who collects Guilmant, Widor, etc. Zygmunt Strzep (Kuhn organ of St. Johannis Church Altona, Hamburg). Acte Préalable AP0095 (Poland) 12G050 $16.98 >

TRISTAN KLINGSOR (1874-1966): Sonatine Viennoise, 5 Impromptus de Montsouris, Bouque d'Olivier Métra, PIERRE DE BRÉVILLE (1861-1949): 7 Esquisses, Sonata in D Minor. This was one of the last Ligia discs which we offered, back in 1998, before the label lost U.S. distribution. Having just had Breville's violin sonata on Hyperion last month and with the added attraction of the 23 minutes worth of music by the famous poet and painter, whose pseudonym evoked the majesties of old Europe, we just had to offer it again! Carole Carniel (piano). Ligia Digital Lidi 0103056-97 (France) 12G051 $17.98

In Flanders' Fields - Four New Volumes from PHAEDRA

RAYMOND SCHROYENS (b.1933): Al di la del Sonno, PIET SWERTS (b.1960): Dreampictures, WILFRIED WESTERLINCK (b.1945): Landscapes II, FRITS CELIS (b.1929): Fantasia sopra qualche vecchie canzoni Fiamminghe, Op. 45b, ARTHUR MEULEMANS (1884-1966): Adagio, PAUL GILSON (1865-1942): Rhapsodie alla Marcia. This disc of music for string orchestra juxtaposes modern and late Romantic works (Meulemans' 1939 Adagio is an intense and worthy addition to this particular genre). The former are generally tonal: Swerts' piece has two movements - "The Terror" and "A Shimmer of Hope" - and conjures up the world of Bernard Herrmann's Psycho (also written for string ensemble) in the former movement while the latter is hardly free from anxiety; yes, you could almost expect a Hitchcock or Brian De Palma film to break out at any moment during this very atmospheric piece. Westerlinck uses a nine-note chord as the basis for changing textures, tempi and sonorous effects with the atmosphere alternating between expressive and aggressive. Celis' piece is a free (and sometimes freely atonal) improvisation on three old Flemish folk songs and Schoyens, in the longest piece here (19 minutes), depicts "Roaming Shades" and "Blissful Shades" in a moody, musical tone-painting of the Greek afterlife. Czech Virtuosi Chamber Orchestra, Brno; Edmond Saveniers. Phaedra 92038 (Belgium) 12G052 $17.98 > (In Flanders' Fields, Vol. 38)

JAN VAN DER ROOST (b.1956): Concierto de homenaje for Guitar and Chamber Orchestra, Concerto per Tromba for Trumpet and String Orchestra, Rhapsody for Horn, Winds and Percussion. These works are fine examples of relatively tonal, approachable music spiced up with various modern techniques which add color and zest to the proceedings. The guitar concerto (2002), dedicated to the late Joaquin Rodrigo, has a particularly busy percussion section and a finale which pulls out all the stops in virtuosity for the soloist but its slow movement "La melancolía" captures the spirit of Rodrigo without imitating him while that finale, "La Fiesta", has an ostinato riff which is startlingly reminiscent of the American film composer Danny Elfman, only with a slightly less sinister effect! A piccolo trumpet in the first movement ("Entry") and cornet for the second, titled "Elegy" (and a harpsichord in the orchestra) give even more variety of color to the trumpet concerto (2001), whose hell-bent finale, "Energy" has a similar ostinato base. The horn Rhapsody (1995) is notable for its very atmospheric and colorful orchestration as well as its predictably virtuosic writing for the soloist (van der Roost was a trombone player and seems particularly partial to brass instruments). Fabio Zanon (guitar), Ole Edvard Antonsen (trumpet), Jacob Slagter (horn), I Fiamminghi Chamber Orchestra; Rudolf Werthen., Symphonic Band Lemmens Institute; Jan van der Roost (Rhapsody). Phaedra 92039 (Belgium) 12G053 $17.98 > (In Flanders' Fields, Vol. 39)

AUGUST DE BOECK (1865-1937): 7 Mélodies (French texts, English summaries), GÖSTA NYSTROEM (1890-1966): Songs by the Sea (Swedish-English texts), RICHARD WAGNER (1813-1883): Wesendonck Lieder (German texts). Flanders' fields and Swedish seashore and Swiss mountains, of which we can ignore the last. Nystroem's wartime settings are fairly rare and their dark, cloudy mood, bordering on some stronger emotion which could be despair or could be madness is well captured here by this young Swedish soprano who is rapidly making a name for herself on the European stage. De Boeck's group sets poetry by a young Belgian woman, Jeanne Cuisinier, who later became a well-known anthropologist. But around 1910, devastated by an impossible love, she poured herself into poetry which surely would have inspired Schubert and which De Boeck set in 1911-12 and 1915, treating it in a late Romantic style with a strong Impressionist flavor as well. Nina Stemme (soprano), Jozef de Beenhouwer (piano). Phaedra 92040 (Belgium) 12G054 $17.98 > (In Flanders' Fields, Vol. 40)

JOSEPH JONGEN (1873-1953): Piano Trio in B Minor, Op. 10, Trio for Piano, Viola and Cello "Prélude, Variations et Final", Op. 30. One of ten opus numbers written before Jongen graduated from the Liège Conservatory, the B minor trio (1897) is full of the moody and passionate romanticism which characterized Romantic composers since Schumann. Coming ten years later, the oddly-instrumented second trio is also cyclic in form (like its predecessor) with all of its material coming from a single, folksong-like melody from which Jongen produces all kinds of ingeniously derived melodic material. Erard Ensemble (1878 straight-strung Erard Grand). Phaedra 92041 (Belgium) 12G055 $17.98 >

ERNEST BLOCH (1880-1959): Proclamation for Trumpet and Orchestra, Poèmes d'Automne for Mezzo-Soprano and Orchestra, Hiver-Printemps for Orchestra, Suite for Viola and Orchestra. The extreme rarity here is only 5:40, the 1955 Proclamation, very American-sounding in its discursive gravity, while the rest of the disc is firmly anchored in the fin-de-siècle hothouse harmonies of the Mahler-Zemlinsky-Schreker school with the 22-minute song cycle surely as desolately gorgeous a depiction of the despair and depression which the onset of winter can inspire in man as any composer could create. French-English texts. Reinhold Friedrich (trumpet), Sophie Koch (mezzo), Tabea Zimmermann (viola), Deutsches Symphony Orchestra Berlin; Steven Sloane. Capriccio 67 076 (Germany) 12G056 $16.98

ERNEST BLOCH (1880-1959): Suite Symphonique, Symphony in E Flat, Hiver-Printemps. No one can complain about Bloch being ignored anymore with the third recording of the late, craggy symphony which employs a personal version of the twelve-tone scale (and yet is very Mahlerian in much of its feel) and the fourth or fifth of the Hiver-Printemps diptych (here, Hiver is much slower than in Sloane's version above - ice is congealing here and this reading is even more compelling). Much less well-known is the 1944 suite, a three-movement work in neo-Baroque form (a first movement in the French overture-type, a central passacaglia and a grotesque final dance which employs the Dies irae). A brand-new release from Aulos. Stuttgart Radio Symphony Orchestra; Israel Yinon. Aulos AUL 66130 (Germany) 12G057 $17.98 >

PAUL PARAY (1886-1979): Mélodies with Orchestra: Le papillon, 3 Mélodies sur des poèsies de Theophile Gautier, 4 Poèmes de Jean Lahor, Villanelle, La promesse, Le chevrier, La plainte, Il est d'etranges soirs, Nocturne for Violin and Orchestra, 3 Poèmes for Chorus and Orchestra, Mélodies with Piano: Emprise, Nuit d'Italie, Chanson violette, Sépulture, Champ de bataille, En pays de Cocagne, Chanson napolitaine, Embarquement pour l'idéal, Viole, Mortes les fleurs, Paroles à la lune, Dans les bois, Le Poète et la Muse, Vocalise-Étude, Chaque chos a sa petit place, In manus tuas and Panis Angelicus for Soprano and Organ. Here are the first four volumes in an ongoing Paray series, from a most unlikely source - a Catholic church in Detroit! Make no mistake about the professionalism of the project though: this orchestra obviously contains musicians of the highest quality and the series is being done in conjunction with the French publisher Jobert. The songs were almost all written before the First World War although some were orchestrated much later. Paray's touch with the orchestra matches the quality of the texts themselves, sometimes sweet and gentle, sometimes melancholy, every now and then a hint of true Latin passion. The style remains classical in nature - no Wagnerian influences and almost no Impressionism, just a pure expression of French Romanticism in a straightforward, clear-headed manner which is very winning and a valuable addition to the catalogue of the French mélodie. 2 CDs. French-English texts. Ruth Lapeyre (soprano), Assumption Grotto Choir and Orchestra; Eduard Perrone (piano, organ). Grotto Productions GP-0004 (U.S.A.) 12G058 $19.98

PAUL PARAY (1886-1979): Jeanne d'Arc, Pastorale de Noël. The Pastorale was the work of an 18-year-old, originally for soloists, chorus and piano but recorded here in an orchestral version by the conductor. Charmingly fresh, full of attractive melodies with occasional quotes of both ecclesiastical and popular song, this might be seen as a 20th century equivalent to the (shorter) pastoral masses of Classical Bohemian composers. Jeanne is NOT the same as the Mass in honor of her 500th anniversary which was composed in 1931 and recorded in 1997 by Reference Recordings! This 45-minute oratorio dates from 1913 and is in three sections ("The Inspiring Prayer", "The Epic" and "The Prison of Rouen") which cover Joan's inspiration, the battle and the day before her immolation. The music is built entirely on two motives which are varied across the breadth of the work and the style often recalls the Liszt of the symphonic poems. French-English texts. Vocal soloists, Assumption Grotto Choir and Orchestra; Eduard Perrone (piano, organ). Grotto Productions GP-0005 (U.S.A.) 12G059 $12.98

PAUL PARAY (1886-1979): Artémis Troublée, Symphonie d'Archets. Originally a suite for orchestra dating from 1922, Artémis troublée was later turned into a ballet. This late romantic music with its distinctive melodic ideas and colorful orchestration is a real find. Those who like Ma Mère l'oye, Bacchus et Ariane and La tragédie de salomé will absolutely love it. The symphony is a 1944 transcription of the quartet (see below) Assumption Grotto Orchestra; Eduard Perrone (piano, organ). Grotto Productions GP-0006 (U.S.A.) 12G060 $12.98

PAUL PARAY (1886-1979): Violin Sonata, Cello Sonata, String Quartet. Dating respectively from 1908, 1921 and 1919, these chamber works are in the French tradition of Fauré and Debussy although the latter's late instrumental sonatas are meant rather than his overtly Impressionist works and have the classical form and clarity of expression which one identifies as typically "Gallic". Marion Tanau (violin), Nadine Deleury (cello), Eduard Perrone (piano), Varty Manouelian (violin - qt), James van Valkenburg (viola - qt), Robert deMaine (cello - qt). Grotto Productions GP-0007 (U.S.A.) 12G061 $12.98

GERMAINE TAILLEFERRE (1892-1983): The Music of, Vol. 1 - Images for Flute, Clarinet, Celeste, Piano and String Quartet, String Quartet, Forlane for Flute and Piano, 5 chansons popularies françaises for Soprano and Ensemble, Harp Sonata, 2 Valses for 2 Pianos, Galliarde for Trumpet and Piano. Although the works on these two discs cover most of the 73-year compositional career of this only female member of Les Six, the same ingratiating qualities exist throughout - brevity, wit, humor, clarity and elegance, impressionist harmonies, a gift for enchanting instrumental colors. This 1917-19 string quartet (at just over 10 minutes in length) ought to be mandatory recording for anyone who wants to issue another Ravel/Debussy coupling. Porter String Quartet, Karen Andrie (cello), Elizabeth Bodine (oboe), Jill Cohen (viola), Andy Connell (clarinet), John Fairweather, David Ryther (violins), Gordon Mumma (horn), June Orzel (bassoon), Nicole A. Paiement (conductor). Original 1996 release. Helicon HE 1008 (U.S.A.) 12G062 $11.98

GERMAINE TAILLEFERRE (1892-1983): The Music of, Vol. 2 - Piano Concerto, 2 pièces for Piano, Pastorale in A Flat for Piano, Partita for Flute, Oboe, Clarinet and Strings, Pastorale for Violin and Piano, Concerto for Flute, Piano and Strings, Impromptu for Piano. This was the first recording of Tailleferre's 1924 piano concerto, a neo-classical work with an "alla Scarlatti" first movement, a graceful adagio and a fugal finale demonstrating the composer's contrapuntal skill. Likewise a first recording for the 1962 Partita in which two of the composer's other stylistic characteristics are blended - orientalism and impressionism while the 1952 Concertino treads the border of light music with its various evocations of Brazilian and other Latin American popular music styles. California Parallèle Ensemble, UC Santa Cruz Orchestra; Nicole Paiement. Original 1999 release. Helicon HE 1048 (U.S.A.) 12G063 $11.98

DARIUS MILHAUD (1892-1974): Cantate de la Guerre for Soprano, Mezzo-Soprano and Mixed Choir, Op.213, Aspen Serenade, Op. 361, Saudades do Brasil for Piano, Op. 67, Nos. 1, 3, 9 & 12, Sonata for Harpsichord and Violin, Op. 257, ELINOR ARMER (b.1939): API (Bees) for Violin, Viola and Percussion. We offer this for the Cantate which Milhaud composed in Aix-en-Provence in 1940, before fleeing to the U.S. Setting texts by Paul Claudel, it is a ten-minute piece in four sections in which God and his sinning people address each other in agony, ending with an assurance of God's mercy and in which imitation varies with homophony. The 1946 harpsichord sonata is also fairly rare, a good example of modern harmonies giving an entirely different color to the nervous brilliance of the baroque instrument. English translations. Various artists. Kleos Classics KL 5131 (U.S.A.) 12G064 $16.98

ZOLTÁN SZÉKELY (1903-2001): String Quartet, ANTONÍN DVORÁK (1841-1904): String Quartet in E Flat, Op. 51. First violinist in the Hungarian Quartet and duo partner of Bartók, Székely wrote his only quartet in 1937 and it is very much an avant-garde piece for the time with its polyrhythms, polymodality, unusual melodic intervals and juxtapositions of extreme quiet and dissonant violence. These performers recorded the piece in 1999 as a token of their affection for the composer with whom they had spent two summers studying the Bartók quartet cycle for performance in New Zealand. New Zealand String Quartet. Atoll ACD 703 (New Zealand) 12G065 $14.98 >

BORIS BLACHER (1903-1975): 4 Lieder nach Texten von Friedrich Wolf, Op. 25, 3 Psalms, Aprèslude, Op. 57, 5 Sprüche Omars des Zeltmachers, Op. 3, Francesca da Rimini, Ungereimtes, 13 Ways of Looking at a Blackbird for Tenor and String Quartet, Nebel, Fragment for String Quartet, Sonata for Solo Violin, Op. 40. Employing atonality and simple tonality (in a children's cycle of nonsense rhymes) but always very brief and to the point (many of these songs don't last a minute and a half), these lieder will always be appendages to Blacher's more substantial orchestral works but will appeal to collectors of 20th century aphoristic expression. German, English texts, some English translations. Stella Doufexis (mezzo), Yaron Windmüller (baritone), Christopher Lincoln (tenor), Kolja Blacher (violin), Axel Bauni (piano), Petersen Quartet. Orfeo C 191 031 A (Germany) 12G066 $18.98

XAVIER MONTSALVATGE (1912-2002): El gato con botas. Montsalvatge's first opera, based on the fairy tale "Puss in Boots" about the resourceful cat who brings fame and fortune to his owner, is perhaps more idiosyncratically personal in style than the songs with piano, while remaining similarly attractive and easy to enjoy. Clever parodies of aspects of the Romantic operatic tradition blend seamlessly with musical story-telling of a very high order, with grateful and skillful vocal writing and warmly Romantic orchestral textures. While remaining a lively and lighthearted story of ready popular appeal, the piece admits no compromise in its beautifully crafted and evocative scene-setting, and the characters have real emotional depth even as they inhabit a G-rated imaginary world devoid of really serious issues. Hugely enjoyable. Spanish-English libretto. Marisa Martins (mezzo), Antonio Comas (tenor), Isabel Monar (soprano), Ouquestra Simfònica del Gran Teatre del Liceu; Antoni Ros Marbà. Columna Musica 1CM0103 (Spain) 12G067 $18.98

XAVIER MONTSALVATGE (1912-2002): Complete Songs, Vol. 1 - Canciones para niños, Cançó Amorosa, Bergerette, Canciones Negras, Nana, No t'abandonaré, 4 Rimes de Carner, Alelhí, Pastor hacia el puerto. These attractive songs by a Spanish composer who has publicly acknowledged an admiration for Stravinsky and Bartók will probably bring to most listeners' minds the French song traditions of the early 20th century. Ample chromaticism aside, the composer's chosen idiom remains resolutely tonal, while typically Spanish rhythms - several songs are in habanera form, for example - proudly proclaim Montsalvatge's national background. While admittedly not breaking any new ground in terms of musical vocabulary, these works are a fine addition to the canon of European artsong. The disc also includes video interviews with the composer and mezzo, conducted in Spanish by the pianist, which play on PC or Mac. Spanish, Catalan, French-English texts. Marisa Martins (soprano), Mac McClure (piano). Columna Musica 1CM0080 (Spain) 12G068 $18.98

SEYMOUR BARAB (b.1921): Cosmos Cantata for Soprano, Tenor, Baritone and Orchestra, Moments Macabres for Tenor and Orchestra, 5 Dances for Oboe and Strings. Perched on the edge of musical theater, the Cosmos Cantata, to texts by Kurt Vonnegut who was moved to write a more optimistic version of life in the next world after having heard the torture-and-hell-fire setting of the Council of Trent Mass by Andrew Lloyd Webber, inhabits a world not dissimilar to that of the latter composer. The dances are exquisitely turned light music while Moments Macabres, settings of anonymous humorous and morbid texts from The Oxford Book of Light Verse, are brilliantly cut little comedic gems. Texts included. Margaret Astrup (soprano), Frederick Urrey (tenor), Richard Holmes (baritone), James Roe (oboe), Manhattan Chamber Orchestra; Richard Auldon Clark. Kleos Classics KL 5112 (U.S.A.) 12G069 $16.98

WOLFGANG STOCKMEIER (b.1931): Concerto for Organ and Strings, Concerto for Organ and Chamber Ensemble, FRANCIS POULENC (1899-1963): Concerto in G Minor for Organ, Strings and Timpani. Dating from a year before the French composer's death, Stockmeier's first concerto seems to follow right in Poulenc's path as regards mood and affect - dark and somber but very neo-classical; so what a surprise to find out it's twelve-tone! In complete contrast, Stockmeier uses mostly winds and brass as accompaniment for his second (1973) concerto, in which avant-garde techniques popular at the time (including aleatory passages) allow you to make no mistake about its period. Wolfgang Stockmeier (organ), Rheinpfälzisches Instrumental Ensemble; Herbert Ermert, Gunther Hoffmann (organ), Members of the Bach Orchestra of Mainz; Diethard Hellmann, Harald Feller (organ), Bavarian Youth Orchestra Augsburg; Werner Andreas Albert. Aulos AUL 66135 (Germany) 12G070 $17.98 >

ELINOR REMICK WARREN (1900-1991): Along the Western Shore, RICHARD SAYLOR: 5 Pieces, LLOYD ROGERS: Etcetera Variations, BWV 1087 for 2 Pianos, WILLIAM GRANT STILL (1895-1978): 7 Traceries. Warren's evocative suite inhabits a world of picturesque Romanticism, not so very far from MacDowell in style. Still's miniatures are little character pieces, warmly appealing while remaining clear and economical of gesture, typical of the composer's piano music. Saylor brings us somewhat more up to date, with studies in piano timbre based on intervals and incorporating some clusters and a degree of dissonance besides, though far from any suggestion of the avant garde. Rodgers' piece is based on Bach canons and respectfully follows that master in style, suggesting a skillful two-piano transcription of Bach rather than imposing the contemporary composer's personality on the material. Althea Waites (piano), Mark Uranker (second piano). Cambria CD-1141 (U.S.A.) 12G071 $16.98

ROMUALD TWARDOWSKI (b.1930): Piano Concerto, Cello Concerto, Little Concerto for Piano and Instrumental Group, Old Polish Concerto for String Orchestra. Dating from 1984, the piano concerto is an utterly winning piece of Gallic charm and insouciance of bright and brittle colors (plenty of sharp brass accents from the orchestra) which will cause anyone hearing it blind to think that it must be a newly-discovered piano concerto by Poulenc. The cello concerto (1997), like the piano concerto in a single movement with embedded cadenzas, is a more lyrical and more melancholy work which has echoes of Lithuanian and Byelorussian folk melody while the 1980 Little Concerto is a piece written for young performers but which will appeal to older listeners as well and the 1988 Old Polish Concerto is in the genre of reference to Polish renaissance and baroque music which has been adopted so creatively by Górecki and others. Edward Wolanin (piano), Tomasz Strahl (cello), Chopin Youth Orchestra; Slawek Adam Wróblewski. Acte Préalable AP0110 (Poland) 12G072 $16.98 >

ROMUALD TWARDOWSKI (b.1930): 3 Miniatures, Small Sonata, Humoresque, Sonata breve "Igor Stravinsky in memoriam", Preludio, recitativo ed aria con variazioni, Concert Music, Sinfonia di campagne, Hommage à J.S. Bach, Improvvisazione e toccata for 2 Pianos. Unlike his concerto (above), Twardowski's solo piano pieces tend to show his lifelong attraction to Bach in their contrapuntal concision and sheer joy in solving problems of form and structure. Modern harmonies establish the contemporary quality of these works though, while the "Bells Symphony" stands out for its evocation of complicated bell-ringing techniques of Orthodox churches and which makes it a virtuoso tour-de-force and minefield for the unwary soloist. Joanna Lawrynowicz, Anna Wolanin, Szabolcs Esztényi, Edward Wolanin (piano). Acte Préalable AP0066 (Poland) 12G073 $16.98 >

ROMUALD TWARDOWSKI (b.1930): Missa "Regina caeli", Lauda Sion, Hosanna I, Hosanna II, Alleluia, Jubilate Deo. Different again from his orchestral and piano music, the mass (2001) is modest and elevated in mood but in simple, homophonic style. With the exception of the gentle Alleluia, though, its disc-mates are brilliant, highly rhythmic works whose driving style well describes the joyous quality of the texts. Academic Choir of the Silesian University of Technology; Czeslaw Freund. Acte Préalable AP0090 (Poland) 12G074 $16.98 >

JACK JARRETT: Symphony No. 1, LEROY SOUTHERS (1941-2003): Symphony for Chamber Ensemble, LEE MCQUILLAN: Romanza for Violin and Orchestra, BETH DENISCH: Golden Fanfare. Jarrett's symphony may be the find of this month's catalogue for collectors of tonal symphonic music. Although clearly written in the 20th century (1996), this work has a lot of Tchaikovsky in it - a really Russian feel which is also suggested by more modern Russians like Shostakovich but there is no hint of pastiche, rather, this seems to be a dialogue with an earlier, more conservative musical era. Southers' was an early work (1967) whose very attractive qualities go back to roots in Coplandesque Americana although a more personal voice is present as well which contains some of the uncertainty and anxiety of that era. McQuillan's is another work in memory of 9/11 while Denisch's short fanfare, inspired by a Bulgarian folk tune, is an attractive example of the genre. Dvorak Symphony Orchestra; Julius P. Williams. Albany TROY 704 (U.S.A.) 12G075 $16.98

GEORGE TSONTAKIS (b.1951): Piano Quartet No. 2, Eclipse for Clarinet, Violin, Cello and Piano, Bagatelles for Piano Quartet, Bagatelle for Piano. Tsontakis's finely crafted and emotionally gripping - and, let us say it, often deliberately beautiful, unselfconsciously and unironically so - compositional style is displayed to great advantage in these three works for piano quartet (one with clarinet substituting for viola in the customary lineup). Quartet No. 2 is an in memoriam piece, and its mood of lyrical melancholy (briefly interrupted by an energetic scherzo) gives full rein to Tsontakis' melodic gifts. Eclipse covers broader emotional territory while similarly adhering to the composer's trademark style of tonality. The vital rhythmic pulse of the music is also worth mentioning; quicksilver changes of meter and accenting lend a hectic propulsiveness to Tsontakis' fast movements. Bagatelles - the composer's first piano quartet - shares with the second an in memoriam element, expressed in music of somber reflectiveness, eloquent and deeply moving. Broyhill Chamber Ensemble. Koch International Classics 7550 (U.S.A.) 12G076 $16.98

GEORGE TSONTAKIS (b.1951): Heartsounds for String Trio, Double Bass and Piano, Meditations at Perigree for Piano, Clarinet, Horn, String Trio and Double Bass, Sarabesque for Piano. These ensemble works again demonstrate Tsontakis' remarkable qualities as an unabashed Romantic working in a familiar yet identifiably original compositional vocabulary. Some gestures in Heartsounds could very easily be by Schumann for instance, but in context they emerge as entirely original Tsontakis, a remarkable feat of alchemy. With their evocative titles and sense of narrative progession, these works seem to have a programmatic element, but this is never made explicit, and this is not program music. These exquisitely nuanced compositions arguably place Tsontakis among the finest American composers working today. Da Camera of Houston. Koch International Classics 7579 (U.S.A.) 12G077 $16.98

PAWEL SYDOR (b.1970): Virtuti Militari, MARCO AURÉLIO YANO (1963-1991): Oboe Concerto, BOHUSLAV MARTINU (1890-1959): Oboe Concerto. You shouldn't buy Yano's 38-minute concerto because he was born quadriplegic and died of brain cancer before reaching the age of 28. You should buy it for its striking first movement (unfinished and orchestrated for this recording) which appears to delineate the composer's struggles with and for life, in an often dissonant style, yet really nothing too far beyond what Villa-Lobos (a fellow Brazilian) might have produced, and for the heartbreaking melodic beauty of its final two movements employing Brazilian folksong which may represent the life Yano was denied. The Pole Sydor's 28-minute concerto from 1992 employs a wider variety of techniques in its story (laid out in the composer's note) of the struggle against oppression with which he would have been completely familiar while growing up. 2 CDs for the price of 1. Alex Klein (oboe), Czech National Symphony Orchestra; Paul Freeman. Cedille CDR 90000 079 (U.S.A.) 12G078 $16.98

ALEJANDRO RUTTY: Tango Loops for 14 Instruments and Tango Quartet, JOSEPH GENTRY STEPHENS (b.1972): The Gospel of Thomas for Chorus and Orchestra (Kyiv Chamber Choir), MARK VOLKER (b.1974): Sisyphus Rising, JONATHAN D. LITTLE: That Time of Year Thou Mayst in Me Behold, Op. 2, CHARLES NORMAN MASON: Expressway, TIMOTHY CUTLER (b.1973): 4 Songs for Tenor and Piano (Mykola Shulyak [tenor], Michael Dobin [piano]), MICHEL SIDNEY TIMPSON: Symphony No. 3 "Plethora", MICHAEL S. HORWOOD (b.1947): 6 Chromosomes for Orchestra. Another eclectic and thoroughly agreeable sampler of music for various forces by composers likely to be under- or un-represented in most people's collections. Rutty's Tango Loops throws transmuted tango fragments around in an amusing and effective parody of electronic cut-ups (no electronics are employed). Stephens has produced a stately work in devotional mood, consonant and gentle, while Volker's three movements are less conventional and full of nervous energy, in a more obviously modern idiom. Little's unaccompanied vocal work, setting Shakespeare, returns to the subdued mood and tonal idiom. Mason's Expressway is an enjoyably lively piece with a perpetuum mobile feel to it, and Timpson's symphony explores a wider range of moods in its brief 15-minute span, again in a mainly tonal idiom and with borrowings from several styles of contemporary music and musics of other cultures. Horwood's event-filled miniatures - none as long as half a minute - tweak the density of Darmstadt-style avant-gardism by encapsulating their musical ideas in piled-up textures which are over almost before they start. 2 CDs. Kiev Philharmonic; Robert Ian Winstin. ERM Media ERM-6704 (U.S.A.) 12G079 $29.98

PHILIP GLASS (b.1937): Symphony No. 2, Symphony No. 3. Dating from 1994 and 1995 these symphonies are milestones on the path to the style of the recent disc of concertos we offered a couple of months ago. Not yet fully eschewing the driving ostinati which form the basis of each of the seven movements in these works, Glass writes much more dense music especially in the second symphony for full orchestra (the third is for 19 strings), in which his polytonality and layered harmonies give the ear any number of different musical angles to pay attention to and its three movements have distinct personalities, the final one ending with a raucous and rousing conclusion. Bournemouth Symphony Orchestra; Marin Alsop. Naxos American Classics 8.559202 (U.S.A.) 12G080 $6.98

STEVE REICH (b.1936): The Four Sections for Orchestra, Triple Quartet for 36 Strings, Different Trains for 48 Strings and Tape. The version of Different Trains here dates from 2000, expanding the original string quartet to 48 players but with the same pre-recorded vocal track, making, in effect, a much more virtuosic work due to the increased difficulties of precision among twelve times the number of players. The Four Sections (1986) varies the monotony of Reich's minimalism by having a second movement of entirely percussion instruments after the long, leisurely string-dominated first while the third highlights woodwinds and trumpets while the fourth and final movement brings in the whole orchestra at the same time in music whose tempo has gradually been increasing also, ending in a loud, heroic finale. Triple Quartet (1999) is, like Different Trains, a twelve-fold expansion of a work for string quartet and tape except that the extra players take over the tape part as well. Orchestre National de Lyon; David Robertson. Naïve/Montaigne MO 782167 (France) 12G081 $16.98

ARVO PÄRT (b.1935): Berliner Messe for Choir and String Orchestra, The Beatitudes, Magnificat, De Profundis, Summa, Cantate Domino Canticum Novum (Psalm 95). An overview of Pärt's mature choral works (dating from 1977-1990) with the 1992 revision of the Berliner Messe, adding a string orchestra, running the rather narrow gamut of emotions which exist in this composer's work. The meditative, gentle quality of much of these works (except a fairly impassioned climax in 1990's The Beatitudes) does not prevent Pärt from gradually enriching his harmonies and allowing a bit more expression in the latest works. Jurgen Petrenko (organ), Elora Festival Singers and Orchestra; Noel Edison. Naxos 8.557299 (New Zealand) 12G082 $6.98

The Art of Turkish Song

NECIL KAZIM AKSES (1906-1999): I Can't Explain, Going Home, AHMET ADNAN SAYGUN (1907-1991): Wish, If I Return, Boziak CEMAL RESIT REY (1904-1985): Rain, I Hold Your Hand, ULVI CEMAL ERKIN (1906-1973): Hanife, Divan, NEVIT KODALLI (b.1924): Delight, The Cocktail Party, IHAN USMANBAS (b.1921): A Blind Black Cat, Misraym, MUSAMMER SUN (b.1932): If They Are Angry with Me for Loving You, Close Your Eyes and See Me, CENAN AKIN (b.1932): The Partridge, IHAN BARAN (b.1934): Ferayi, In Front of the House, GÜRER AYKAL (b.1942): Köroglu. These songs are mostly tonal, though Usmanbas employs sprechstimme and percussive interjections from the piano. Here and there some folk influence is evident, especially in the songs by Muammer Sun, Cenan Akin and Ulvi Cenan Akin, while elsewhere actual folk melodies are used. The dark-hued sound of the baritone voice and the mellifluous vocal lines in many of the works suggests an affinity with the traditions of Russian, Czech and Hungarian song (and collectors specialising in these will certainly find this disc self-recommending), though there are frequent reminders that these songs arise from an ethnic background somewhat to the south and east of most of the former Soviet states. Turkish-English texts. Mesut Iktu (baritone), Sergei Gavrilov (piano). VMS 129 (Austria) 12G083 $17.98 >

ROBERT SUDERBURG (b.1936): Solo Music for Unaccompanied Violin, Solo Music II: Ritual Cycle of Lyrics and Dance for Unaccompanied Viola, CHARLES MARTIN LOEFFLER (1861-1935): 4 Poèmes for Voice, Viola and Piano, Op. 5, PAUL HINDEMITH (1895-1963): Viola Sonata, Op. 11/4. The two cycles of pieces for solo strings by Suderburg fully exploit the virtuosic and expressive capabilities of the instruments, though witthout resorting to extended instrumental techniques beyond some creative use of harmonics and multiple stopping. What, exactly, the Sibelius quotations are doing in the violin work is not explained in the notes, but in any case Sibelius, as well as Bartók, are useful comparisons to bear in mind when trying to classify Suderburg's harmonic vocabulary. Timothy Baker (violin), Donald McInnes (viola), Russell Miller (piano), Elizabeth Suderburg (soprano). Kleos Classics KL 5106 (U.S.A.) 12G084 $16.98

CHRISTOPHER BLAKE (b.1949): Symphony "The Islands", We All Fall Down, Echelles de Glace, The Furnace of Pihanga. Inspired by the startling imagery and restless meter (though conventional in use of language) of poetry by New Zealand poet Charles Brasch, Blake's symphony matches Brasch in evocative nature painting. Sibelius is not infrequently evoked in discussion of New Zealand's most famous composer, Lilburn, and it is fair to say that his presence is to be felt in Blake's work as well. There is something about rugged mountainous landscapes, whether Scandinaian or antipodean, as a backdrop to symphonic writing that produces an austere yet soul-stirring harmonic vocabulary and orchestral texture hewn of granite blocks and shadowed by impenetrable forests, and these charactaristics are very much in evidence here. The three tone poems express serious preoccupations of the composer - a threnody for the suffering of children in wartime, an in memoriam work for a colleague and another awe-inspiring landscape - in music of Romantic intensity and unequivocal emotional involvement, like the symphony occupying neo-Romantic, tonal territory. New Zealand Symphony Orchestra; Lucas Vis, Marc Taddei, Philip Walsh. Atoll ACD 403 (New Zealand) 12G085 $14.98 >

KENNETH YOUNG (b.1955): Symphony, Virgen de la Esperanza, Dance. Young, principal tuba with the NZSO, acknowledges a debt to Shostakovich in his writing, which is inermittently apparent, but for the most part the comparison serves only to suggest the broad harmonic and orchestrational features common to the two composers. Elsewhere, the Bartók of the Concerto for Orchestra or Scandinavian symphonists of the Atterberg type are as apt references. The symphony, in the four accustomed movements, is a long-breathed and imposing structure, very tonal and with an infectious rhythmic vitality in its faster sections, while the slow movement possesses a deeply felt, quasi-Romantic pathos and drama. A similarly mysterious and quasi-devotional mood also haunts Virgen de la Esperanza, evoking a strangely compelling religious statue in Spain that made a strong impression on the composer, while Dance opens deceptively with a mysterious prelude before revealing itself as an exhibition of exuberant good fun in modo Bernstein at his most infectious. New Zealand Symphony Orchestra; Kenneth Young. Atoll/Morrison & Co. Trust MMT 2027 (New Zealand) 12G086 $14.98 >

CHRISTOPHER BLAKE (b.1949): Auckland!, EVE DE CASTRO ROBINSON (b.1956): Other Echoes, JOHN RIMMER (b.1939): Vulcan, JULIET PALMER: Secret Arnold, JOHN PSATHAS (b.1966): Luminous, LISA MERIDAN-SKIPP (b.1972): Firecracker, JOHN ELMSLY (b.1952): Resound!, DOROTHY BUCHANAN (b.1945): Peace, CHRIS CREE BROWN (b.1953): Y2K Pacemaker, PHILIP DADSON (b.1946): MAYA, DAVID HAMILTON (b.1955): Zarya. Auckland Philharmonia; James Sedares, Nicholas Braithwaite, Kazufumi Yamashita, Samuel Wong, Edvard Tchivzhel, Vladimir Verbitsky, Yip Wing-Sie, Anthony Halstead, Miguel Harth-Bedoya. Titled "Fanfares for a New Millenium", this is a collection of works commissioned by the Auckland Philharmonia for the turn of the year 2000. Needless to say, with eleven composers today, there will be eleven vastly different styles and approaches but all use most or all of the elements of a modern symphony orchestra to various effects and, averaging around five minutes in length, none outstays its welcome. Atoll ACD 100 (New Zealand) 12G087 $14.98 >

EVE DE CASTRO ROBINSON (b.1956): Triple Clarinet Concerto (Shona Charlton [Eb clarinet], Peter Scholes [Bb clarinet], Nicola May [bass clarinet], Auckland Philharmonia; John Hopkins), Pendulums of Blue (New Zealand Symphony Orchestra; Matthias Bamert), Noah's Ark (Ensemble Philharmonia; John Elmsly), Other Echoes (Auckland Philharmonia; Nicholas Braithwaite). Castro-Robinson's orchestral music occupies a very distinct sound-world, employing the resources of post-modern instrumental writing freely, though always in the context of a clearly structured and basically tonal argument. 'Other Echoes' is a most impressive construction in granitic blocks of sound, decorated by the composer's trademark birdsong (handled very differently from Messiaen, in case you were wondering). The concerto, for three players each using a different member of the clarinet family, abounds in energy and highly original writing for the orchestra, here as in the other two orchestral works, highly colored and expressive, and always decorated by suggestions of birdsong. Atoll ACD 300 (New Zealand) 12G088 $14.98 >

EVE DE CASTRO ROBINSON (b.1956): Tumbling Strains for Violin and Cello (Douglas Beilman [violin], James Tennant [cello]), Split the Lark for Violin and Piano (Mark Menzies [violin], Dan Poynton [piano), A Pink-Lit Phase for Flute, Viola and Harp (The Nash Ensemble), A Chaos of Delight I for Bass Clarinet (Andrew Uren), A Chaos of Delight II for Soprano (Jane Manning), Commemoration for Cello (Alexander Ivashkin), Small Blue for Piano (Poynton), Tingling Strings for Piano (Poynton). These works for soloist or small groups of instruments display a wide range of compositional techniques an a great deal of imagination. The two in memoriam pieces - Commemoration and Small Blue - are somber and harmonically familiar, though some additional vocal and percussive effects are employed in the piano piece. Elsewhere, a quirky energy and a definite sense of humor are apparent, and birdsong is important in several works (with all that that implies in terms of flexible intonation). The two 'Chaos of Delight' pieces, one for bass clarinet and one for voice, especially exploit a dazzling range of extended techniques, all in the service of a clear and personal musical voice. Atoll A 9806 (New Zealand) 12G089 $14.98 >

ANTHONY RITCHIE (b.1960): Viola Concerto, ANTHONY WATSON (1933-1973): Sonata for Solo Viola, DOUGLAS LILBURN (1915-2001): 3 Songs for Baritone and Viola, LEONIE HOLMES: Recitative II for Viola and Percussion, MARTIN LODGE (b.1954): Pacific Rock for Solo Viola, MARTIN RISELEY: Duo Capriccio for Violin and Viola. It turns out that due to an historical accident or two, the viola has gained a prominent position in New Zealand musical culture for over a century. Many of the country's leading composers have written major works for the instrument, as this disc clearly demonstrates. No disrespect is intended toward the other works here by stating that the disc is worth acquiring for Ritchie's fine Concerto alone. Progressing from a driven and energetic first movement, not without a suggestion of Vaughan Williams here and there, the concerto takes in an elegiac slow movement and an unexpectedly reflective cadenza which leads into an exuberant finale with a suggestion of big-band jazz. Watson's gritty, dodecaphonic and toughly expressive Sonata also deserves special mention. The other, shorter works cover a wide range of styles, sometimes evoking traditional music of native New Zealanders through economical use of microtones and bent pitches, but mainly rooted firmly in tonality. An excellent disc of first-rate unfamiliar music, definitely not just for viola enthusiasts. Timothy Deighton (viola), Penn's Woods Festival Orchestra; Grant Cooper, Paul Whelan (baritone), Dan C. Armstrong (percussion), Martin Riseley (violin). Atoll ACD 202 (New Zealand) 12G090 $14.98 >

Another side of Sorabji - his most major Spanish-style work

KAIKHOSRU SHAPURJI SORABJI (1892-1988): Fantasia ispanica. Sorabji was drawn to the atmosphere and temperament of southern Europe, and this work of 1933 is perhaps his most striking statement of this aspect of his multi-faceted creative personality. Unlike the vast architectural constructions of his most familiar style (the fugues, passacaglias and variations sets of works such as the 4th Sonata and Opus clavicembalisticum) and the sinister, poisoned atmosphere of his 'tropical nocturne' genre (Gulistan, Le jardin parfumé), his 'Spanish' works turn out to occupy yet another kind of territory (though in the highly sophisticated use of the piano, unmistakably charted by the same fertile imagination). Like the much smaller Fantaisie espagnole of 14 years earlier (at just over the hour, this piece is three times the size), Fantasia ispanica is a sun-drenched tone-poem, alternating ecstatic dance-rhythms and languid sensuousness, almost unmatched elsewhere in music. Beginning with a bold, quasi-improvisatory recitative, establishing the saturated colors of the composer's palette from the outset, the work consists of five movements, two slow and three fast, vividly evoking the richness and color of the landscape and life of the Mediterranean. The second section is a sinuous and dangerously somnolent slow movement, abruptly displaced by the third, which alternates two lively dance rhythms, beginning with the swagger of the bull-ring and building through a sequence of ever more wildly energetic tableaux. By contrast, the extended habanera that follows, which contains the most elaborate writing in the piece, is an exquisitely decorated study in chiaroscuro texture. One has the impression of sunlight passing over an ornate Baroque altar, illuminating a jewel here, a delicate carving there, casting rich, luminous shadows in between. The work ends with a return to the opening material, leading to a riotous and emphatic conclusion. Anyone intrigued by this unique figure in 20th century music but who may have been wary of the apparently forbidding aspects and scale of the composer's most familiar style will find this a perfect place to start; diehard aficionados will need no encouragement to acquire this disc. Jonathan Powell (piano). Altarus AIR-CD-9084 (U.S.A.) 12G091 $18.98

FLAVIO TESTI (b.1923): Saül. This opera on the biblical story of King Saul (the same one treated by Handel and Nielsen) uses Gide's version of the story, casting it as a psychological drama above all. Musically, the work is in a fairly conventional operatic form, avoiding avant-gardisms and with use of ostinato and declamatory vocalisations obliquely reminiscent of Orff. The voices are of prime importance in the drama, boldly dramatic and linearly melodic, carrying the weight of the narrative, with the orchestra mainly providing scene-setting accompaniment. The whole is a highly effective, traditional operatic drama with a ready appeal and some real emotional depth. 2 CDs. French-English libretto. Fabrice Mantegna, Daniel Galvez-Vallejo(tenors), Vincent Le Texier (baritone), Hanna Schaer (mezzo), Maîtrise de Radio France, Orchestre Philharmonique de Radio France; Massimo Zanetti. Naïve V 4988 (France) 12G092 $33.98

WILLIAM THOMAS MCKINLEY (b.1938): Wind, Fire and Ice for Orchestra, Mostly Mozart for Orchestra, Silent Whispers for Piano and Orchestra. These works share the characteristic of organic growth; one is conscious of the solo piano part, woven into the texture of the works almost incessantly, twisting through the orchestral textures like a growing vine. "Mostly Mozart" has an appealing lightness of touch, toying with little scraps of Mozartean gestures and achieving an essay in elegant post-modern irony, not without a generous dash of humor. The music is also capable of a darker tone, in case this all sounds like easy-going entertainment - the obsessive opening of 'Silent Whispers' has a distinctly sinister aspect, thrown all the more strongly into relief by the coolly detached neoclassical ambience of McKinley's style. London Symphony Orchestra; Roger Briggs, Royal Liverpool Philharmonic Orchestra; Gerard Schwarz, Victoria Griswold (piano), Warsaw Philharmonic Orchestra; Robert Black. MMC 2134 (U.S.A.) 12G093 $16.98

ANDERS NORDENTOFT (b.1957): Lightings, TAGE NIELSEN (1929-2003): Diptychon, LEIF THYBO (1922-2001): Sonata, PETER MØLLER (1947-1999): 5 Character Pieces, OLE SCHMIDT (b.1928): Theme and Five Variations. Nordentoft provides chamber-music textures and gentle, sinuous melodic lines over a restrained accompaniment, while Tage Nielsen makes more dramatic, Messiaen-like use of the organ (and could that be birdsong in the oboe part?) Thybo's Sonata inhabits a world of elegant classicism, but in fact can trace its origins back further than that, to the Renaissance composer Clément Janequin, and also pays tribute to variations for organ by Jehan Alain based on the same theme by Janequin. Schmidt based his variations on a theme by Alain; his musical language recalls Carl Nielsen more obviously than the other composers featured here. Møller's pieces ingeniously meld Baroque forms with unlikely bedfellows in the form of scales and modes derived from various musics of the far east. Duo Danica (Merete Hoffman [oboe], Asger Troelsen [organ]). Da Capo Open Space 8.226512 (Denmark) 12G094 $9.98

DAVID RAKOWSKI (b.1958): Ten of a Kind for 10 Clarinets and Wind Ensemble, Cerberus for 3 Clarinets and Ensemble, Mento for Clarinet and Piano, Piano Etudes: Sliding Scales, The Third, Man, Roll Your Own, Twelve-Step Program, Fourth of Habit, Fists of Fury. The zany humor apparent from the titles - The Third, Man is an étude on thirds, Roll Your Own on rolled chords, etc - is also an element of the music, and this is a welcome relief from the terribly, terribly serious aura that surrounds some modern music. The two big ensemble pieces (with groups of clarinets as 'soloist') are closely argued, tautly dynamic structures filled with event and a logical progression of argument, taking in a wide range of emotional territory along the way. Even the brief piano études with their humorous titles display a thorough affinity with the piano and include some gorgeous textures as well as hair-raising excitement and examples of brilliantly written pianistic virtuosity, not so very far removed from the sort of thing familiar to enthusiasts for Rzewski's music, for example. "The President's Own" U.S. Marine Band; Col. Timothy Foley, Beth Wiemann (clarinet, bass clarinet), Diane Maltester (clarinet), Peter Josheff (bass clarinet), Christopher Oldfather (piano), Marilyn Nonken (piano - etudes). Albany TROY 681 (U.S.A.) 12G095 $16.98

LUIGI NONO (1924-1990): Quando stanno morendo. Diario polacco n. 2, Sarà dolce tacere, "Ha venido", Canciones para Silvia, ¿Dónde estás, hermano?, Djamila Boupachà. Nono's writing for voices possesses a luminous, radiant quality, and creates a surprisingly lyrical and conventionally melodic impression despite the wide leaps and microtonal inflections casually incorporated into the musical language. The texts, and the means used to set them, vary widely: the smaller works are mostly serene and possess an uncomplicated beauty, even where there is some political message of protest against the violation of human rights by totalitarian regimes. The much larger Quando stanno morendo is a more complex work, and here the text and subtext - oppression in Poland in the 1980s - gives rise to a more strained, uneasy atmosphere, heightened by the subtle but telling use of live electronics. The fragmentation of he texts and the insistent quality of the textured sonic backdrop against which they are presented make this an emotionally wrenching work to experience, while never coming close to noisy protest and screaming to make their point. Indeed, what is remarkable is the restraint with which Nono adhered to his lyrical principles while nonetheless writing music as 'modern' as any to be encountered anywhere in Europe at the time. Neue Vocalisten Stuttgart; Manfred Schreier. SACD Hybrid disc. col legno WWE 1SACD 20603 (Germany) 12G096 $19.98

MINORU MIKI (b.1930): Pipa Concerto, Heian Music-Scope (Quartet version), East Arc. Miki's concerto exists in versions for Asian instruments and for western orchestra, the latter played here. Traditional techniques for playing the instrument and flexible intonation in a modal context are employed throughout, and the work makes no pretense to be anything other than a piece of Asian music, excepting a few slightly disconcerting western-Romantic orchestral gestures here and there. Heian Music-scope uses material from one of the composer's operas, this time pairing the pipa with a western piano trio (with the option of marimba instead of piano, as performed here, providing a kind of bridge between the entirely eastern-sounding pipa and the bowed European strings). East Arc is a colorful sequence of descriptive tone-poems for pipa and small ensemble with a strong sense of atmosphere, and with lively touches of humor and easy-going appeal. Yang Jing (pipa), Tokyo Metropolitan Symphony Orchestra; Naoto Otomo, Yui Ensemble. Camerata CMCD-28306 (Japan) 12G097 $17.98

VINKO GLOBOKAR (b.1934): Discours III for 5 Oboes (Heinz Holliger), Discours VI for String Quartet (Domus), Discours VII for Wind Quintet (Michael Gross, Alan Kirkendall [trumpets], Jan Babinec [horn], Vinko Globokar [trombone], Patrick Votrian [tuba]), Discours VIII for Wind Quintet (Slowind), Toucher for Percussionist (Jean-Pierre Drouet), Étude pour Folklora I for 19 Instruments (Members of the Fiesole Italian Youth Orchestra; Vinko Globokar), Res/As/Ex/Inspirer for Trombone (Globokar), Élégie Balkanique for Flute, Guitar and Percussion (L'Art pour L'Art). Admirers of Globokar's peculiarly wayward and idiosyncratic art will find this set a rich treasure-trove of his most individual musical preoccupations. Underlying all these works is the idea of writing instrumental music that in some manner or another emulates speech (or, this being Globokar, also screaming, breathing and all manner of other vocalisations besides). Fragments of instrumental sounds are flung about, sometimes disconcertingly suggesting electronic music (most notably in Heinz Holliger's multi-tracked recording of all five parts of "Discours III", and of course, every extended playing technique known to mankind (and some you will probably be hearing for the first time on this disc) is employed. Perhaps the biggest shock is "Discours VIII", which contains, among the whispering and shouting, material that sounds suspiciously like chords and even melodies - the sort of thing that normal composers write for wind quintets. "Etude pour Folklora I" stands apart from the rest of the disc in having something of a narrative element, though the vocabulary is still, as expected, consistently experimental. 2 CDs. Aulos AUL 66142 (Germany) 12G098 $35.98 >

WOLFGANG-ANDREAS SCHULTZ (b.1948): Die Versuchungen des heiligen Antonius for 2 Pianos, Mein junges Leben hat ein End - ein Totenrituel for Piano. Despite having studied with Ligeti and professing allegiance to the Second Viennese School, Schultz has forged his own language, which is basically tonal, and which makes frequent use of ostinato figuration and a strong sense of programmatic narrative argument (drawn from the literary inspiration behind both works - Flaubert in the one case, several texts on the subject of death and the transience of life in the other. The intrusion of frank atonality in some episodes of the works is finely judged for expressive effect, contributing to the sense of expressionistic Romanticism which pervades Schultz' music. Karl-Heinz & Michael Schlüter (pianos), Peter-Jürgen Hofer (piano). Aulos AUL 66120 (Germany) 12G099 $17.98 >

EDWARD SIELICKI (b.1956): Polymorphic Fantasy for Accordion and Tape, ANNA IGNATOWICZ (b.1967): Passacaglia for Marimba and Vibraphone, MARIAN SAWA (b.1937): Lajkonik for Solo Violin, ALEKSANDER KOSCIÓW (b.1974): Ilargia for Accordion, MARCIN WIERZBICKI (b.1969): Variations on No Theme for Piano, MARIA POKRZYWINSKA (b.1954): Toccata for Organ, ZBIGNIEW BAGINSKI (b.1949): A.D. 1988 for Piano, MARIAN BORKOWSKI (b.1934): Images II for Any Bowed Instrument. The composers of the youngest generation here produce music which draws freely on various styles, is generally approachable, often tonal and very creative in using the limited instrumental resources which they have chosen (Sielicki and Kosciow make a good case for the accordion which, particularly in the latter's hands, takes on the quality of an organ). Sawa and Borkowski use the avant-garde techniques associated with their generation while Baginski, at an in-between period, produces a rich and virtuosic etude which blends an interest in keyboard sonority with snatches of lyrical melody. Various artists. Acte Préalable AP0107 (Poland) 12G100 $16.98 >

ALICJA GRONAU (b.1957): Progres I for Solo Flute, PAWEL LUKASZEWSKI (b.1968): Stadium for Piano, ROMUALD TWARDOWSKI (b.1930): Plejady - Jaroslaw Iwaszkiewicz in memoriam for Violin and Piano, PAWEL BUCZYNSKI (b.1953): Nascitur mors for Percussion and Tape, ANDRZEJ DUTKIEWICZ (b.1942): Danse triste for Saxophone and Piano, WERONIKA RATUSINSKA (b.1977): For Seven Beats for Flute, Violin and Viola, SZABOLCZ ESZTÉNYI (b.1939): 3 New Etudes for Piano, LUCJAN KASZYCKI (b.1932): Atlantis for Tape. Fewer solo instrumental pieces and more traditional forms mark this third volume of "Musica Polonica Nova"'s Warsaw Composers series. Twardowski's short in memoriam piece, in fact, suggests the violin music of Szymanowski while Ratusinska's dabbles in minimalism and Dutkiewicz covers both dissonance and warm melody in his 13-minute saxophone/ piano piece and both Lukaszewski and Esztényi provide approachable keyboard modernism in their virtuosic etudes. Various artists. Acte Préalable AP0108 (Poland) 12G101 $16.98 >

Husum Festival 2003

FRANCIS POULENC (1899-1963): Les Soirées de Nazelles (Jonathan Plowright), PIERRE DE BREVILLE (1861-1949): Portraits de maîtres, FLORENT SCHMITT (1870-1958): Valse-Nocturne No. 1 (Marie-Catherine Girod), CARLOS GUASTAVINO (1912-2001): Bailecito, HEITOR VILLA-LOBOS (1887-1959): Dansa do Indio Branco (Arturo Sudbrack Jamardo), WILHELM STENHAMMAR (1871-1927): Poco allegretto, Op. 33/5, ALEXANDER SCRIABIN (1872-1915): 4 Préludes, Op. 22, KAIKHOSRU SHAPURJI SORABJI (1892-1988): Etude transcendante No. 13 (Fredrik Ullén), GIUSEPPE VERDI (1813-1901): Romanza in F, JULIAN SCRIABIN (1908-1919): Prélude, Op. 2, 2 Préludes, Op. 3, Prélude (Andrea Bacchetti), MIKHAIL GLINKA (1804-1857): Variations brilliantes (Elena Kuschnerova). The latest batch of unusual piano repertoire from the Danish festival with, perhaps, the biggest thrill being the infomation in the booklet that Swedish pianist Ullén is recording all 100 of Sorabji's Études transcendantes for BIS! Danacord DACODC 619 (Denmark) 12G102 $16.98

DIMITRI TIOMKIN (1899-1979): Music from the Films Night Passage, Tension at Table Rock, High Noon, The War Wagon, The Wild Wild West, Gunfight at the O.K. Corral, Rio Bravo, Rawhide, Red River, The Unforgiven, The Young Land, Duel in the Sun, The Fall of the Roman Empire, 55 Days at Peking, Land of the Pharaohs, The Magnificent Showman, Dial M for Murder, Strangers on a Train, Giant, The High and the Mighty, Wild is the Wind, The Guns of Navarone, Cyrano de Bergerac, The Well, Friendly Persuasion, Town without Pity, It's a Wonderful Life, Tarzan and the Mermaids, The Thing, The Alamo. A gigantic bargain with three full discs of orchestral excerpts and a 35-minute fourth disc with the vocal versions of main titles and other cues where they exist. 4 CDs. Mid-price. Crouch End Festival Chorus, City of Prague Philharmonic Orchestra; Nic Raine, Paul Bateman, Mario Klemens with vocalists Jason Howard & Keith Ferreira. Silva Screen/Primetime TVPMCD 811 (England) 12G103 $44.98

ALEC WILDER (1907-1980): Kindergarten Flower Pageant, She'll Be Seven in May, It's Silk - Feel It, Air for Saxophone, Jack, This is My Husband, Dance Man Buys a Farm, Seldom the Sun, Andante and Scherzo for String Quartet, Untitled Octets Nos. 17 & 27, A Little Girl Grows Up, Neurotic Goldfish, Andante, Invention for Flute, Oboe, Viola and Cello, Please Do Not Disturb, Air for Violin and Piano. American "light music" for small ensembles with Wilder's favorite instrument, the harpsichord, practically ubiquitous. Members of the Manhattan Chamber Orchestra; Richard Auldon Clark. Kleos Classics KL 5113 (U.S.A.) 12G104 $16.98

PAUL LEWIS (b.1943): The Secret World of Polly Flint, Woof! Fantasy, 2 Miniatures, Impromptu for Harmonica and Harp, Spring Suite, Tea for Three, Pavane, Seal Morning, Serenata, A Somerset Garland, Norfolk Rhapsody, Serenade and Dance, The Benny Hill Waltz. The English equivalent of the above only with the harmonica taking the place of the harpsichord. James Hughes (harmonica), Elizabeth Jane Baldry (harp), Dane Preece (piano), The Delamere String Quartet, Paul Lewis (wind chimes, conductor). Campion Cameo 2024 (England) 12G105 $13.98

LUDWIG SCHYTTE (1848-1909): Valse Fèrerie, GEORGES BOULANGER (1837-1891): Avant de mourir, Da capo, GUSTAV LANGER: Großmütterchen, RUDOLF KUMMERER: Alpenjägermarsch, JOSEPH STRAUSS (1827-1870): Aur Ferienreisen, JOHANN STRAUSS II (1825-1899): Overture to De Fledermaus, Intermezzo from 1001 Nacht, Wiener Blut, Op. 354, Radetzky March, Kaiserwalzer, Op. 437, Leichtes Blut, Unter Donner und Blitz, Op. 32, Im Krapfenwald, Op. 336. The unusual pieces are performed by a typical salon-style ensemble. Essen Philharmonic; Heinz Wallberg (Strausses), Le Nouveau Salon. Aulos AUL 66121 (Germany) 12G106 $17.98 >

FRIEDRICH HOLLAENDER (1896-1976): Meine Schwester liebt den Buster, Zwei dunkle Augen, Ich träume jede Nacht von Elisabeth!, Mélodie perverse, Deine süßen blauen Augen, Sag, warum? Das bist Du!, Du bist mein Typ!, Ich tanz' Charleston, Tango, Ach, Anastasia! and seven other German cabaret songs. The brilliant pianist and his wife in a scintillating collection of songs from the height of the decadent cabaret period in Berlin, 1920-29. Good notes and color reproductions of published sheet music. German-English texts. Jody Karin Applebaum (soprano), Marc-André Hamelin (piano). Helicon HE 1033 (U.S.A.) 12G107 $11.98