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Symphony No. 4

LOUIS GLASS (1864-1936): Symphony No. 4 in E Minor, Op. 43. This is the first of a series of the complete Glass symphonies which should, by its completion, demonstrate that this composer deserves to be considered, along with his almost exact contemporary Carl Nielsen, as one of the most important Scandinavian symphonists of the late 19th/early 20th century. Unlike Nielsen, Glass was a dreamer, with a theosophical attitude to life and, although foreign to modernism, he was not unsympathetic to it. His Fantasia for Piano and Orchestra is influenced by Scriabin and his ballet Artemis was clearly influenced by The Rite of Spring. But, for the most part, his symphonies look to Bruckner and Franck for their impressive structural stature (this work lasts just over 60 minutes) and to Tchaikovsky for their heartfelt lyricism. Dating from 1911, the Fourth maintains quite a bit of minor-key tension throughout with Bruckner's influence particularly present in the slow movement. A breathtakingly idyllic trio interrupts an uneasily pulsating scherzo while the clouds part for a dynamic and triumphant finale. Watch for the remainder of this series as well as a series of unknown Danish piano concertos from the same source! Plovdiv Philharmonic Orchestra; Nayden Todorov. Danacord DACOCD 541 (Denmark) 06B001 $17.98

FRANZ SCHREKER (1878-1934): Symphony No. 1 in A Minor, Op. 1, Psalm 116 for Women's Chorus, Orchestra and Organ, Op. 6, Melodrama: Das Weib des Intaphernes. The first symphony (1898)is fragmentary - the final movement is lost - but shows the young composer's early anchoring in the tradition of Brahms and Bruckner. The former's lyricism is to the fore in the third movement while the architectural massiveness and rhythmic rambunctiousness of the latter are present in the first movement and scherzo. Even as a three-movement torso, this is a half-hour of immediate appeal. The psalm setting comes from 1900 and is also firmly in the Brahmsian-Schubertian axis. "Intaphernes' Wife" is a melodrama from the other end of Schreker's career (1934), composed on a ballad telling of Intaphernes' wife's psychological torment when faced with King Darius' offer to free her husband if she yields to him, shows the more intense characteristics of Schreker's late operas such as Der Schmied von Gent. Gert Westphal (speaker), Peter Dicke (organ), Cologne Radio Choir and Orchestra; Peter Gülke. Capriccio 10 850 (Germany) 06B002 $11.98

ROBERT BRUCE (b.1915): Symphony in B Flat. Now, this is just the sort of thing Records International exists for - to promote and propagate splendid music like this that has hung around unsuspected for decades and is now available only through a privately produced recording). Scottish-Born Bruce's symphony will appeal to anyone who enjoys the 20th-century progressive-tonality school, firmly based in Haydnesque classicism, that has no affiliation with trends or fashions, or any avant-garde pretensions whatsoever. In other words, if you have a representative discography of Nielsen, Robert Simpson, E.J. Moeran and Sibelius in your collection, you have no excuse whatsoever for not acquiring this disc. The piece belongs in this august company, and while arguably not exhibiting the stunning originality of the best of these monumental figures' work - but then, what does? - it is not embarrassed by the comparison. Most recommendable. Czestochowa Philharmonic Orchestra; Jerzy Swoboda. Private recording. (England) 06B003 $11.98

JOHN FERNSTRÖM (1897-1961): Symphony No. 6, Op. 40, Concertino for Flute with Small Orchestra and Women's Choir, Op. 52, The Capricious Troubadour - Serenade in Four Movements, Op. 21. This 48-minute-long symphony from 1938 is another magnificent work from those amazing Scandinavians. Using a large orchestra and painting with both broad and fine brushes, Fernström deals with big, striding, "Inextinguishable" themes in the unbuttoned first movement and then fines things down in a ternary slow movement with nervous agitation at the center of two broodingly melancholy episodes. The scherzo and finale resume the irresistible momentum, leading to a radiant conclusion. The ten-minute Concertino (1941) was described by Ture Rangström as "a butterfly at twilight with gold-dust on its wings", while the Troubadour is the earliest work here (1931) and consists of four humorous/ironic neo-classical movements influenced by French Impressionism. Volume 4 in Musica Sveciae's "Modern Classics" series. Susanne Hörberg (flute), Swedish Radio Symphony Women's Choir, Swedish Radio Symphony Orchestra; Mikko Franck, Stefan Solyom. Phono Suecia/Musica Sveciae PSCD 706 (Sweden) 06B004 $17.98

KARL AMADEUS HARTMANN (1905-1963): Symphony No. 7, Symphony No. 8. Although at one time, because of his known political beliefs, and ardent opposition to the Nazi regime, which led to his seclusion from German musical life and the fact of performance of his music only outside his native country, it was understandably fashionable to attribute humanitarian and political motives to the composer's every utterance (as has been recently the case with Shostakovich). From a respectable historical distance it is now possible to admire the music for its intrinsic power and tremendously skillful technique. Polyphonically complex and meticulously structured using devices evolved from those of the renaissance, baroque and classical periods, these symphonies, both basically following the composer's frequent practice of juxtaposing a profound adagio with a movement of restless activity, represent a highly personal vision, expressed in terms which are a natural extension of the European symphonic tradition as philosophy expressed through music. Bamberg Symphony Orchestra; Ingo Metzmacher. EMI 7243 5 56427 2 (Germany) 06B005 $17.98

ALEXANDER VOORMOLEN (1895-1980): Baron Hop - Suites Nos 1 & 2., Eline - Nocturne for Orch-estra, Concerto for 2 Oboes and Orchestra. Voormolen employed a neo-classicism closer to that of Richard Strauss in Le Bourgeois Gentilhomme than to the more strident, edgy style of Stravinsky. Earlier in his career, he was under the influence of the French Impressionists but the works recorded here are all from his Dutch period and will appeal to anyone who has enjoyed such composers as Leo Smit or Henriette Bosmans. The Baron Hop suites (1924 and 1931) are from a planned (but never carried out) comic opera based on the career of a famous Hague diplomat of the late 18th century and are stuctured like baroque dance suites. Eline (1951), based on a famous late 19th century Dutch novel, is the closest work here to Romanticism - an 11-minute psychological portrait of its tormented eponymous heroine while the 1933 concerto has two spirited neo-classical outer movements surrounding an intensely beautiful arioso. Pauline Oostenrijk, Hans Roerade (oboe), Residentie Orchestra The Hague; Matthias Bamert. Chandos 9815 (England) 06B006 $16.98

ZOLTÁN KODÁLY (1882-1967): Symphony, Dances of Marosszék, Theatre Overture, Concerto for Orchestra. This collection pulls together three of Kodaly's least-recorded works in fine new recordings: the symphony (first ideas in the 1930s but not completed until 1961) is an engagingly pastoral/rustic work with much Hungarian color and local charm; the concerto (1941) adopts the concerto grosso model to Hungarian musical syntax; and the overture is nothing less than the Hary Janos overture worked out into a 15-minute long concert piece. BBC Philharmonic; Yan Pascal Tortelier. Chandos 9811 (England) 06B007 $16.98

HAVERGAL BRIAN (1876-1972): Symphony No. 11, Symphony No. 15, Concert Overture: For Valour, Comedy Overture: Doctor Merryheart. Arrived so suddenly last month, we forgot to write it up! Brian collectors will need to introdution, however; you know what to expect! National Symphony Orchestra of Ireland; Adrian Leaper, Tony Rowe. Marco Polo 8.223588 (New Zealand) 06B008 $14.98

JEAN ROGISTER (1879-1964): Lamento et Allegro energico for String Orchestra, Adagio for 2 String Ensembles, Suite for String Orchestra and Flute in G Minor, Op. 114, Largo dans le style ancien et Scherzo, Adieu for String Orchestra and Viola. An accomplished viola player in the Quatuor de Liège, Rogister was drawn to exploring the timbres and sonorities of strings in depth and his musical personality comes out in each of these pieces - a generous lyricism made up of a blend of melancholy and élan and a sense of full, rich polyphony. Of especial note are the Lamento (1916) and Allegro energico (1940) which sound as though composed at the same time; the former expressing the desolation of World War I and the latter a (rather hopeful at the time) act of faith in ultimate victory. The 1960 Adagio was Rogister's last work and sums up his admirable musical personality. This is its first performance. Anne Leonardo (viola), Marc Grauwels (flute), Royal Chamber Orchesta of Wallonia; Jean-Paul Dessy. Cyprès/Musique en Wallonie CYP 3617 (Belgium) 06B009 $18.98

JENÖ TÁKACS (b.1902): Serenade, Op. 83/ - Square Dances from Old Graz, Rhapsody, Op. 49 for Violin and Orchesra, Passacaglia, Op. 73, Postcard Greetings, American Rhapsody. Tákacs taught and collected folk music in both Egypt and the Philippines (as well as spending 18 years teaching in Cincinatti) after the manner of Bartók and several of his more exotic items found their way into Postcard Greetings (1987) while American Rhapsody (1993) has four movements, only one of which is based on an American folk song (the others are Celtic, Hungarian and Jewish, so go figure...). The Rhapsody (1941) uses 18th century Hungarian themes while the most serious work here is the Passacaglia of the early 60s which kind of sounds like "Bartók meets Bach". Camerata Budapest, Dodici Chamber Orchestra Györ; Attila Szabó (violin). Hungaroton HCD 31947 (Hungary) 06B010 $16.98

EGON WELLESZ (1885-1974): Suite for Violin and Chamber Orchestra, Op. 38, RUDI STEPHAN (1887-1915): Music for Violin and Orchestra, Op. 4, KURT WEILL (1900-1950): Concerto for Violin and Winds, Op. 12. Wellesz suite was premiered in 1924 and demonstrates the composer's preoccupation with polyphonic layering and lack of set tonality. A very small chamber orchestra adds transparency and a certain delicacy. Dating from 1913, Stephan's work is his most complex, coming less than two years before he was killed in action, and exhibiting his novel vocabulary of wide-ranging tonalities, short linear themes, marked rhythms and a neo-classical style. Both works are set off by Weill's 1925 concerto with its influences of jazz and Stravinsky. Stefan Tönz (violin), Lucerne Symphony Orchestra; Jonathan Nott. Pan Classics 510 109 (Switzerland) 06B011 $17.98

CZESLAW MAREK (1891-1985): Volume 7 - Suite de 4 Morceaux for Violin and Piano, Op. 18, Berceuse for Violin and Piano, Op. 26, Violin Sonata, Op. 13, 2 Piano Duets: Sérénade Italienne, Op. 16a, Annemarie, Op. 38a. The sonata (1914) shows some of Pfitzner's influence (with whom Marek had been studying) while some of its chromatic angularity points toward Schoenberg; the whole work is passionate and often troubled as befits its time. Safe in Switzerland, the suite was completed in 1918 and dedicated to Marek's violinist wife and its four movements alternate deep personal feelings with elegant wit and high spirits. Annemarie is extended "jazz humoresque" dating from 1937 while the Sérénade is a transcription of the slow movement of his Sinfonietta which opened this series with such a start. Ingolf Turban (violin), Jitka Cechova (piano), Marie-Catherine Girod, Ludmila Janowska (piano duet). Koch Schwann 3-6576-2 (Germany) 06B012 $16.98

NIKOLAI KAPUSTIN (b.1937): Sonata No. 1 "Sonata-Fantasia", Op. 39, Sonata No. 2, Op. 54, 13 Preludes from 24 Preludes in Jazz Style, Op. 53. Kapustin studied under Alexander Goldenweiser but, unlike many of his fellow music students, he was also a jazz pianist who spent much of his twenties and early thirties touring the Soviet Union and abroad with a jazz orchestra. Thus, his music became an intriguing blend of classical and jazz traditions - his harmony, rhythm, melody and structure would be unthinkable without jazz - carried forth in classical forms (10 sonatas, 6 piano concertos among others). All three works here date from between 1984 and 1989 and will give both classical and jazz collectors much delight and plenty to think about. Steven Osborne (piano). Hyperion CDA 67159 (England) 06B013 $17.98

Resolicitations - All Back Orders Cancelled!

RICHARD STRAUSS (1864-1949): Taillefer - Ballade for Chorus, Soloists and Orchestra, Op. 52, Wandrers Sturmlied for Choir and Orchestra, Op. 14, Die Tageszeiten for Men's Chorus and Orchestra, Op. 76. We were never able to get resupplied when we imported this collection of rare choral/orchestral repertoire more than a year ago. Now we have plenty of stock and are able to offer it at a better price to boot. German-English texts. Johan Botha (tenor), Michael Volle (baritone), Felicity Lott (soprano), Ernst-Senff Chorus Berlin, Dresden Philhrmonic; Michel Plasson. EMI 7243 5 56572 2 (France) 06B014 $17.98

JOSEF ANTONI FRANCISZEK ELSNER (1769-1854): Overture to Leszek Bialy, KAZIMIERZ KAROL KURPINSKI (1785-1857): Overture to Zamek na Czorsztynie, FERDINAND PAËR (1771-1839): La Binodina in gondoletta for Soprano and Piano, FRÉDÉRIC CHOPIN (1810-1849): Piano Concerto No. 2 in F Minor, Op. 21, Fantaisie sur des airs nationaux polonais for Piano and Orchestra, Op. 13. This collection of unusual Polish Classical and Romantic orchestral music was offered in November of 1999 but never shipped. Janusz Olejniczak (fortepiano), Olga Pasiechnyk (soprano), Das Neue Orchester; Christoph Spering. Opus 111 OPS 30-270 (France) 06B015 $17.98

DRAESEKE - Complete Symphony Series on cpo

FELIX DRAESEKE (1835-1913): Symphony No. 3 in C, Op. 40 "Sinfonia tragica", Funeral March in E Minor, Op. 79. Previously available only as a 1955 Urania LP, re-released in phony stereo by Varese Sarabande in 1979, in a war-time 1942 recording, Draeseke's most famous symphony now receives its first modern recording as the first isssue in a complete series of the composer's symphonies. Dating from 1886, this work deserves a place alongside those of Brahms due to its impressive weight and seriousness, its memorable themes and their working-out and its impressive momentum, especially in the pulsating finale. The symphony's subtitle comes from its second movement Grave, as fine a funeral march as any since the Eroica but the remaining three are all dynamic and upbeat. Draeseke apparently had a gift for the funeral march as he wrote another impressive one in 1906 "in memory of the German soldiers who fell in Africa" (in colonial wars). North German Radio Philharmonic Hannover; Jörg-Peter Weigle. CPO 999 581 (Germany) 06B016 $15.98

LUDOLF NIELSEN - The Last of the Symphonies

LUDOLF NIELSEN (1876-1939): Symphony No. 3 in C, Op. 22, Hjortholm - Tone Picture, Op. 53. This is the most magnificent symphony to come out of Denmark that we've yet heard. Headed by a motto from the Danish poet Viggo Stuckenberg: "I see the world with flowers bedight, / Know joy requires a stormy night", Nielsen effortlessly blends the monumentality of Bruckner with the humanity of Mahler to construct an original 53-minute pæan to the struggle between joy and sorrow in which themes representing the two emotions wage constant battle with the former winning narrowly in the end, but only by sprouting from the ashes of catastrophe. The coupling is a tone-poem from ten years later (1923) which recalls a medieval Danish castle and the life of its surrounding inhabitants during its 300-year life before being destroyed in a religious/civil war in the 16th century. Bamberg Symphony; Frank Cramer. Marco Polo/Dacapo 8.224098 (Denmark) 06B017 $14.98

ANDRÉ CAPLET (1878-1925): Le miroir de Jésus. Probably Caplet's greatest work, this oratorio dates from 1923 and sets 15 short poems on the mysteries of Christ's life, death and resurrection. Using only strings and a harp, Caplet manages an astounding variety of expressiveness through a variety of means including harmonics, pizzicati, unusual harp techniques, singing, chanting, rhythmic declamation and sprechgesang for the soprano. The composer draws on medieval polyphony as well as impressionistic techniques in common with those of his good friend Debussy. Divided into three sections (Joy, Suffering and Glory), Caplet infuses the music with his fervent religious belief and produces a work whose variety of color and whose rich expressiveness should commend it to anyone interested in 20th century French music. French-English texts. Brigitte Desnoues (mezzo), Maîtrise de Radio France, Orchestre des Pays de Savoie; Mark Foster. Marco Polo 8.225043 (New Zealand) 06B018 $14.98

Basque Music Collection, Volume 3

JESÚS ARÁMBARRI (1902-1960): Preludio Orquestal, 8 Canciones Vasquas for Soprano and Orchestra, Elegía "In Memoriam", Aiko-Maiko (Ballet) - Symphonic Suite. Arámbarri composed little, spending most of his time as a conductor and all four of these works date from 1930-32. The orchestral prelude is based on three Basque folk songs and the 8 Canciones take Basque folk songs unchanged and dress them up with restrained harmony and orchestration. The elegy juxtaposes a song by Jesús Guridi with the Dies irae while the ballet - at 48 minutes the largest work here - is another treasure chest of Basque folk songs and dances. Basque-Spanish texts. Maria Bayo (soprano), Basque National Orchestra; Cristian Mandeal. Claves CD 50-2001 (Switzerland) 06B019 $16.98

OTTORINO RESPIGHI (1879-1936): Lucrezia - Istoria in 1 atto. Respighi left his last stage work incomplete at his death but his wife finished this Istoria based on Shakespeare's The Rape of Lucretia and on Livy. As in Maria Egiziaca, the composer employs archaisms suggestive of the 17th century - particularly Monteverdi, especially in his use of "recitar cantando" in the vocal line. Italian-English texts. Elisabeth Byrne (soprano), Daniel Washington (baritone), Giuseppe Morino (tenor), Junge Philharmonie der A.M.O.R.; Ettore Gracis. Bongiovanni GB 2013 (Italy) 06B020 $16.98

ARNOLD BAX (1883-1953): Symphony No. 5, The Tale the Pine-trees Knew. Both these works date from 1931 and the symphony was dedicated to Sibelius. The tone poem is, as usual with Bax, atmospheric and colorful, the composer admitting that he was thinking "of the Norse sagas and wild traditional legends of the Highland Celts". The symphony's jagged rhythms, massive brass outbursts and its somber central movement create an imposing score which, to some extent, inhabits the same wild Northern climes as those of its dedicatee while still exhibiting the traditional Bax fingerprints of blocks of instrumental color, enormous emotional range and an optimistic, driving, march-like conclusion. Royal Scottish National Orchestra; David Lloyd-Jones. Naxos 8.554509 (New Zealand) 06B021 $5.98

FRANCO ALFANO (1875-1954): 4 Pieces, Op. 3., Nostalgie, OTTORINO RESPIGHI (1879-1936): Valse, Canone, Notturno, Minuetto, Studio, Intermezzo, ILDEBRADO PIZZETTI (1880-1968): Sogno, Poemetto Romantico, Canti di ricordanza. These three members of the "Eighties' Generation" both looked to the baroque past as well as to current musical events in their desire to "recreate" instrumental music in Italy. Alfano (who completed Turandot) looks back to the Schumannian miniature while Pizzetti's 1909 Poemetto Romantico conjures up a world of somber yet calm elegance. Dating from 1943, his Canti bear the signs of contemporary anxieties and look back nostalgically to happier times. Respighi's 1903-05 pieces show a typical eclecticism. Ricccardo Sandiford (piano). Bongiovanni GB 5099 (Italy) 06B022 $16.98

EMI Special Imports - (Unavailable inthe U.S. for several years)

HUGO WOLF (1860-1903): Scherzo and Finale, Penthesilea, Prelude and Entr'acte from Der Corregidor, Italian Serenade in G. The major work here is Penthesilea, a symphonic poem from 1886 in three movements (a fourth was destroyed by the composer) which depicts "The Amazons Depart for Troy", "Penthesilea's Dream of the Rose Festival" and "Battles, Passions, Madness, Destruction". Reger thought it an important composition but ill-will between Wolf and conductor Hans Richter contributed to its being practically forgotten ever since. Richly orchestrated and very evocative, this 25-minute work deserves to be heard more often. The Scherzo and Finale are the only two remaining movements of a symphony which the young Wolf wrote in 1876 or 1877 and accidentally left in a train station. What we have is partially reconstructed by the composer himself and partially by Helmut Schultz in 1940. The orchestral version of the famous Italian Serenade and two pieces from Wolf's only opera make up an outstanding collection of unusual romantic repertoire from this tragic figure. Stuttgart Radio Symphony Orchestra; Dietrich Fischer-Dieskau. EMI 7243 5 56644 2 6 (Germany) 06B023 $17.98

RICHARD WAGNER (1813-1883): Das Liebesmahl der Apostel, Trauersinfonie, An Weber's Grabe: "Hebt an den Sang", Festgesang "Der Tag erscheint", Eine Faust-Ouvertüre, Siegfried-Idyll. Except for the Siegfried Idyll, all of these works date from the early 1840s, when Wagner was Kapellmeister at the court of Saxony in Dresden. "The Love Feast of the Apostles" is the largest of them, a 27-minute long "folkloric miracle play" in Wagner's words, which evokes the descent of the Holy Spirit at Pentecost. It remains of major interest for its evocation of the harmonic and structural stratification of the massive choral forces from the Temple of the Grail in Parsifal as well as its prefigurings of the musical elements of Lohengrin. Also included are two works written for the return of Weber's ashes to Dresden in 1844: a funeral march for 80 winds and an a cappella chorus. Der Tag erscheint was a commission for the dedication of a stature of the Saxon King and joins male chorus with brass. German-English texts. Mens' Choirs of the Gesellschaft der Musikfreunde Wien, Vienna Chamber Choir & Philharmonic Choir and Youth Choir of Dresden, Dresden Philharmonic; Michel Plasson. EMI 7243 5 56358 2 2 (France) 06B024 $17.98

ERNEST CHAUSSON (1855-1899): Incidental Music to La Légende de Sainte Cécile, Op. 73 and to La Tempête, Op. 18. Chausson's incidental music for Shakespeare's play includes five songs (in French translations) and eight instrumental pieces. Bucolic, poetic and lyrical, the score (1888) was much admired for its imagination and taste and is probably the first to use the newly-invented celesta (which joins only three strings, flute and harp). Dating from 1892, the 47-minute long Légende is a robust blend of the grotesque and the sublime and Chausson's music (several choruses and a final solo for the saint) evokes an atmosphere of mystery, charm and, finally, mystical intensity and celestial purity. French-English texts. Isabelle Vernet (soprano), Laurence Dale (tenor), Raphaëlle Farman (mezzo), Marie-Ange Todorovitch (soprano), François Le Roux (baritone), Jean-Philippe Lafont (bass), Chur de Femmes de Radio France, Ensemble Orchestral de France; Jean-Jacques Kantorow. EMI 7243 5 55323 2 9 (France) 06B025 $17.98

Emil von Sauer - Two new volumes of piano works

EMIL VON SAUER (1862-1942): Piano Sonata No. 1 in D, Propos de Bal, Konzert-Polka, Approche du printemps, Valse Impromptu, Quand vient l'été, Romance sans parole, Scherzo. Each of these two discs is equally divided in playing time between sonata and collection of salon/encore pieces. The first sonata is from 1903, thus postdating both of von Sauer's concertos. The second is from the following year; both are in a typically fluent, melodic and lyrical vein which characterized von Sauer's playing. The first has a particularly charming barcarolle-like intermezzo. The short pieces range far and wide in their influences, the Courant and Trio of the second disc clearly imitative of an earlier style while everyone from Chopin to Rachmaninov can be glimpsed elsewhere. Oleg Marshev (piano). Danacord DACOCD 533 (Denmark) 06B026 $17.98

EMIL VON SAUER (1862-1942): Piano Sonata No. 2 in E Flat, Courant und Trio, Gavotte et Musette, Le Luth, Sérénade française, Barcarolle, Scherzo pastoral, Serenata veneziana, Sempre scherzando. See above for notes. Oleg Marshev (piano). Danacord DACOCD 534 (Denmark) 06B027 $17.98

SIGISMUND THALBERG (1812-1871): Grande Fantasie de concert sur l'opéra "La Traviata" de Verdi, Op. 78, JOHANN PETER PIXIS (1788-1974): Melange sur des motifs favoris du "Siège de Corinth" de Rossini, HENRI HERZ (1803-1888): "Les perles animées" Grande Valse, Op. 211, CARL CZERNY (1791-1857): Variazioni sopra un tema di Rode, "La Ricordanza", Op. 33, FRÉdÉRIC CHOPIN (1810-1849): Barcarolle, Op. 60, FRANZ LISZT (1811-1886): Aprés un lecture de Dante, ALL OF THE ABOVE: Hexaméron. It was a fine idea to include single works by each of the virtuoso pianists who cooperated on the 1837 Hexameron and gives us the chance to hear Pixis' glittering display and fiendish virtuosity and Herz's charm and elegance along with the better-known virtues of the other composers on display. Oleg Marshev (piano). Danacord DACOCD 530 (Denmark) 06B028 $17.98

NIELS GADE (1817-1890): Violin Sonata No. 1 in A, Op. 6, Violin Sonata No. 2 in D Minor, Op. 21, Violin Sonata No. 3 in B Flat, Op. 59. The first sonata (1842, the year of the First Symphony also) is vernal and poetic with a hint of Mendelssohn while the second, from 1849, comes from the height of Gade's European fame and, though in a minor key, is more elegiac than turbulent. A melancholy composer is revealed in the 1885 third sonata, looking back at the good times in an autumnal, Brahmsian way, perhaps feeling left behind by music such as that of Mahler. Mid-price. Dora Bratchkova (violin), Andreas Meyer-Hermann (piano). CPO 999 644 (Germany) 06B029 $10.98

FERDINAND HEROLD (1791-1833): Symphony No. 1 in C, Symphony No. 2 in D, Overtures to Le Pré aux Clercs and Zampa. Known for his frothy, brilliant stage works, Herold wrote his only two symphonies as a student in Italy on the Prix de Rome in 1813-14. They are late Classical in style with academically correct construction whose finales are the only movements which betray the bubbling vigor and good cheer of his later operas (traits which overflow in both of the delightful overtures coupled here.) Orchestra della Svizzera Italiana; Wolf-Dieter Hauschild. Dynamic CDS 282 (Italy) 06B030 $17.98

ADAM ANTON BACHSCHMID (1728-1797): Violin Concerto in F, Flute Concerto in G, Violin Concerto in D. Bachschmid was known in his time chiefly for sacred music but this disc produces evidence of a fine, early-Classical instrumental composer as well. Period instruments. Margarete Adorf (violin), Ingeborg Scheerer (violin), Felix Renggli (flute), Nova Stravaganza; Siegbert Rampe. Ambitus amb 97 972 (Germany) 06B031 $17.98

JOSEPH WOELFL (1773-1812): Piano Sonatas in G, D & B Minor, Op. 28. We mistakenly left this out of last month's MANDALA listing. Here are more Mozartian/Haydnesque sonatas by this sadly short-lived French composer. Laure Colladant (fortepiano). Mandala MAN 4861 (France) 06B032 $18.98

JAN LADISLAV DUSSEK (1760-1812): 3 Sonatas with Scotch & German Airs for the Piano Forte. With Accompaniments for a Violin & Bass, Op 31, Sonata in F, Op. 20/3, Sonata in B Flat, Op. 24/3. Mid-price. Dating from 1793 and 1796, the latter two trios do without direct citations of folk music and are in the genre of "Sonata with Accompaniment of Violin and Cello", where the former two present themes and the latter accompanies. The Op. 31 (1795) offers the cello a bit more to do and presents a delightful picture of fashionable musical trends in the London of the 1790s. Trio 1790. CPO 999 583 (Germany) 06B033 $10.98

ANTONIN REICHA (1770-1836): Wind Quintets in C Minor, Op. 91/6 and in F, Op. 88/6. Almost all of Reicha's wind quintets play like reduced symphonies and, even if you're an "orchestral only " type, you can easily adapt yourself to this wonderful genre (I did, 20 years ago...). So, if you don't already have the cpo megabox containing the complete quintets, give this a try - and then ask us for the whole nine yards. Michael Thompson Wind Quintet. Naxos 8.554228 (New Zealand) 06B034 $5.98

PIETRO ALESSANDRO GUGLIELMI (1728-1804): Credidi for Vocal Soloists, Chorus and Orchestra, Overtures to Il paradiso perduto, La lanterna de Diogene, La morte di Oloferne & Enea e Lavinia, Symphony in E, Overture in G. Recipient of eight columns in the New Grove and author of over 90 operas, Guglielmi finally gets a look in for collectors with this set of overtures and one sacred work. Classical gap-pluggers attack! Soloists, Associazione Corale Massese and Chamber Orchestra "P.A. Guglielmi"; Paolo Biancalana. Bongiovanni GB 5602 (Italy) 06B035 $16.98

FRANZ BERWALD (1796-1868): Duo in D Minor for Violin and Piano, Fantasy on 2 Swedish Folk-Melodies for Piano, Concertino in A Minor for Violin and Piano, Duo Concertant in A Minor for 2 Violins, Duo in B Flat for Cello and Piano. These examples of Berwald's writing for home music-making date (with the exception of the 1816 Duo concertant) from the 1850s, the period when his lack of success with his orchestral works forced him to concentrate his considerable talents on Hausmusik, whose results are attested to by this fine new release. Tobias Ringborg (violin), David Bergström (violin), Mats Rondin (cello), Bengt-Åke Lundin (piano). Naxos 8.554286 (New Zealand) 06B036 $5.98

IVAN KHANDOSHKIN (1747-1834): Sonata for Solo Violin in G Minor, 8 Musiques galantes sur des thèmes populaires Russes. Five Russian folksongs are sung by soprano Olga Pasiechnyk and then paraphrased by either two violins or harpsichord; three others are treated only by the instrumentalists. The sonata, amounting to a not-inconsiderable 20 minutes, represents the Classical Italian and German influences on a very talented Russian musician of the times. Russian-English texts. Musica Petropolitana. Opus 111 OPS 30-259 (France) 06B037 $17.98

JOHANN LUDWIG KREBS (1713-1780): ClavierÜbung and Complete Works for Organ and Instrument Obbligato. These two discs are evenly divided between former and latter: with melodies based almost entirely on chorales, Krebs produced duos between organ and flute, corno da caccia, oboe, trumpet and clarino. The ClavierÜbung (dating from 1752-3) may have been inspired by Bach's section of manual chorale arrangements in his work of the same title. Regardless, Krebs produces a treasure trove of ideas and different musical styles which any baroque collector will enjoy. 2 CDs. Hassler-Consort Soloists, Franz Rami (Gabler organ in Weingarten). MD&G 614 0971 (Germany) 06B038 $35.98

GOTTFRIED HEINRICH STÖLZEL (1690-1749): Christmas Oratorio - Cantatas Nos. 1-5. Back in 1998 we offered a Stölzel Christmas passion set to texts by the famous Barthold Heinrich Brockes; the highly independent personality which came through showed that, far from being an epigone of Bach, this composer had a musical style all his own, affecting and effective. This release of a cantata cycle dating from 1736 can only increase the reputation of this sadly neglected Baroque master. 72-page booklet in double-CD box. German-English texts. Britta Schwarz (mezzo), Henning Voss (alto ), Jan Kobow (tenor), Klaus Mertens (bass), Weimar Baroque Ensemble; Ludger Rémy. CPO 999 668 (Germany) 06B039 $15.98

VÁCLAV VINCENC MA·EK (1755-1831): Partitas in D, A and E Flat, Concertino for 4 Hands, GEORG DRUSCHETZKY (1745-1819): Keyboard Concerto in E Flat. The wind-band partita is familiar to all, but the concertos for keyboard instruments with winds-only accompaniments are not. Fine stuff, stylistically above the plain Harmoniemusik type! Anikó Horváth, Borbála Dobozy (harpsichords), Budapest Wind Ensemble; Kálmán Berkes. Hungaroton HCD 31918 (Hungary) 06B040 $16.98

TOMMASO TRAETTA (1727-1779): Ippolito ed Aricia. Premiered in 1759, Ippolito was something of a milestone in Italian opera. Borrowing from the dance music and the storm effects in Rameau's Hippolite et Aricie, Traetta produced a new kind of Italian opera by infusing it with French elements. Not only Rameau's work but Racine's Phèdre supplied material for the libretto and the work is in the five-act form typically French. Dieties appear on machines accompanied by choruses and dances and there is a superfluous underworld scene. The sea monster's appearance is espcially effectively handled but there are many well-handled dramatic moments in this highly enjoyable work. 4 CDs. Special price. Italian-English libretto. Angelo Manzotti (tenor), Patrizia Ciofi (soprano), Bratislava Chamber Choir, International Orchestra of Italy; David Golub. Dynamic CDS 257/1-4 (Italy) 06B041 $55.98

FRANZ XAVER RICHTER (1709-1789): Leçons de ténèbres. Probably composed around 1773, Richter's setting of the "Lamentations of Jeremiah" offer an unusual, classical setting of texts more associated with Baroque composers. The tenor is accompanied by two violas or three cellos, the soprano by two flutes, the bass by two bassoons and the alto by two violas (all with continuo); the style is relatively severe, in keeping with the mood of the texts but hints of classical operatic style make colorful appearances here and there. Isabelle Poulenard (soprano), Pascal Bertin (alto), Gilles Ragon (tenor), Peter Harvey (bass), Stradivaria; Daniel Cuiller. Cyprès CYP 1624 (Belgium) 06B042 $18.98

ANTONÎN REICHA (1770-1836): Flute Sonata in G, Op. 54, Grand duo concertant in D, Op. 103. The earlier of the two works here (1804) is in fine, melodic, post-Mozartian style while the older Reicha's 1820 Grand duo shows his sheer delight in experimentation and preoccupation with theoretical aspects of composition. Andreas Kröper (flute), Geoffrey Lancaster (fortepiano). Supraphon SU 3496-2 (Czech Republic) 06B043 $16.98

ANTONÍN REICHA (1770-1836): Oboe Quintet in F, Op. 107, LOUIS MAURER (1789-1878): Rondoletto, Op. 43, SIGISMUND RITTER VON NEUKOMM (1789-1858): Oboe Quintet, Op. 8, WILHELM FERLING (1796-1874): Divertissement, Op. 6, LOUIS SPOHR (1784-1859): Andante con Variazioni from Op. 34. Neukomm's youthful (1809) piece is a delight all the way through - in fact, it could almost have been written by his teacher Haydn. One of Ferling's few non-pedagogical works, his Divertissement is musically imaginative; Maurer's little piece sparkles gayly but Reicha's quintet towers over all, an outstanding example of his fecund imagination. Kurt Meier (oboe), Amati Quartet. Pan Classics 510 122 (Switzerland) 06B044 $17.98

Romantic Dutch Orchestral Overtures

JOHANNES BERNARDUS VAN BREE (1801-1857): Concert Overture in B Minor, Overture Le Bandit, JOHANNES VERHULST (1816-1891): Overture in C Minor Gijsbrecht van Aemstel, Op. 3, JOHAN WAGENAAR (1862-1941): Frithjof's Meerfahrt - Concert Piece for Orchestra, Op. 5, Concert Overture Frühlingsgewalt, Op. 11, JAN VAN GILSE (1881-1944): Concert Overture in C Minor. Dutch musicians of the 19th century leaned strongly toward German and French composers and this series of overtures shows that the Dutch also tended toward more mildness of tone and lack some theatricality. The overtures of the first three composers here have their stylistic sources in Weber, Mendelssohn and Boieldieu while even Van Gilse's early 20th century work travels a Beethovenian course from minor darkness to major key light. Netherlands Radio Symphony Orchestra; Jac van Steen. NM Classics 92090 (Netherlands) 06B045 $17.98

Classical & Romantic German Orchestral Music

AUGUST POTT (1806-1883): Violin Concerto in A Minor, Op. 10, ERNST FRANK (1847-1889): Overture to Adam de la Halle, HANS VON BÜLOW (1830-1894): Des Sängers Fluch, Op. 16 for Large Orchestra, JOHANN GOTTFRIED SCHWANBERGER (1737-1804): Overture to Solimano, ANDREAS ROMBERG (1767-1821): Overture to Die Großmut des Scipio, Op. 54. Pott was a student of Spohr and one of Europe's finest soloists of that school. His concerto, subtitled "Les Adieux de Copenhague" is stylistically early Romantic with his teacher Spohr as a model. Frank was a minor member of Brahms' circle and this overture to his 1879 comic opera is attractive enough. Schwanberger's 1762 piece is in the Italianate tripartite style while Romberg's (from 1816) is in a Beethovenian vein. Conductor/pianist von Bülow chose the same poem Schumann had set foro soloists, chorus and orchestra eleven years before in 1852 but conceived his version as an orchestral tone poem which is probably the best item here although all are well above average. Stefan Tönz (violin), Göttinger Symphony Orchestra; Marc Andreae, Christian Simonis. Thorofon CTH 2414 (Germany) 06B046 $16.98

Historical Recordings of Unusual Danish Orchestral Music

J.P.E. HARTMANN (1805-1900): Triumphal March of the Nordic Gods, FINI HENRIQUES (1867-1940): Prelude to Voelund the Smith, JOHAN SVENDSEN (1840-1911): Romance for Violin and Orchestra, Op. 26, P.E. LANGE-MÜLLER (1850-1926): Prelude to Renaissance, NIELS W. GADE (1817-1890): Echoes of Ossian, Op. 1, FINN HØFFDING (1899-1997): It's Perfectly True!, SVEN-ERIC TARP (1908-1994): Mosaik - Miniature Suite, KNUDÅGE RIISAGER (1897-1974): Little Overture for Strings, Concertino for Trumpet and Strings, On the Occasion of - , 12 by the Mail-Coach - Suite from the Ballet, Paradise of Fools - Suite, 2 Beggar-pupils Songs, CARL NIELSEN (1865-1931): Helios, Op. 17, Little Suite, Op. 1, March from the Play The Mother, Prelude to Act 2 of Saul and David, JEAN SIBELIUS (1865-1957): Finlandia, Op. 26, Valse triste, Op. 44/1, Valse lyrique, Op. 96a. Recordings from 1939-47 by one of Denmark's finest conductors offer more than a few pieces of unusual repertoire: Henriques' prelude is wonderfully colorful in its depiction of a blacksmith and the series of neo-classical pieces by Riisager are a valuable addition to the catalogue. 2 CDs. Special price. Carlo Andersen (violin), George Eskdale (trumpet), Copenhagen Philharmonic, The Royal Orchestra, Tivoli Concert Hall Orchestra, Danish State Radio Orchestra; Thomas Jensen. Danacord DACOCD 523-524 (Denmark) 06B047 $29.98

ALFONSO RENDANO (1853-1931): Piano Quintet, Sonatinas Nos. 1 & 2 in stile antico, Chant du paysan, Duettino...senza parole, Minuetto, Il montanaro calabro, Alla gavotta e Canzone calabrese, Op. 18, Serenata bizzarra, Barcarola. As a child a pupil of Thalberg and as an adult, a friend of Rubinstein, Liszt and Bülow, Rendano was one of the most celebrated Italian pianists of his day. The piano pieces here range over his entire career, exhibiting a Romantic sensibility infused with the spirit of his native Calabria. The quintet dates from 1879 and brings echoes of Brahms, Schumann and Tchaikovsky as well as a trio in its scherzo which uses Calabrian folksong. Rodolfo Caporali (piano), other artists. Aura AUR 415-2 (Italy) 06B048 $5.98

ANTONIO BAZZINI (1818-1897): Works for Violin and Piano, Vol. 2 - 3 Morceaux en forme de Sonate, Op. 44, 3 Morceaux caractéristiques, Op. 45, 3 Morceaux lyriques, Op. 41, Menus propos! Causieres musicales. Première Suite, Op. 47, Rêverie Op. posth. This volume of the virtuoso violinist's compositions brings works from 1863-5 - the op. 44 is really his first violin sonata, cosmopolitan in taste and style, while the remainder of the disc is devoted to sentimental salon pieces (although op. 45 has some engaging eccentricities). Luigi Alberto Bianchi (violin), Aldo Orvieto (piano). Dynamic CDS 264 (Italy) 06B049 $17.98

JENÖ HUBAY (1858-1937): Works for Violin and Piano, Vol. 3 - Suite on the Opera "Le Roi de Lahore" by Massenet, Op. 3/1, 2 Mélodies de J. Massenet, Op. 3/2, Carmen - Fantaisie brillante, Op. 3/3, Eine Pusztenfahrt, Op. 57, Echos de la Puszta, Op. 7, Scènes d'enfants, Op. 84, Fliederbusch, Op. 109. Op. 3/1 made Hubay's name in the cultural center of Paris in 1880 although he had already written his Carmen fantasy three years earlier. Op. 57 treats six Hungarian folk songs to violinistic virtuosity while the 1898 Scènes d'enfants is a Schumannesque cycle inspired by the birth of the composer's first child. Ferenc Szecsödi (violin), István Kassai (piano). Hungaroton HCD 31876 (Hungary) 06B050 $16.98

CHARLES-VALENTIN ALKAN (1813-1888): Grands préludes, Op. 66, Nos. 1, 9 & 11, 8 petits préludes sur les huit gammes du plain-chant, Pièces dans le style religieux, Op. 72, Nos. 1-5, 7, 9-11. Alkan's works for organ and pedal piano remain relatively unknown. The present disc collects together some previously unrecorded works, which in general display little of the extravagant flamboyance of the best-known piano music, achieving their unquestionable and memorable individuality through subtle and unexpected harmonic shifts, so characteristic of the composer, and gently sinister, ambiguously wandering melodic lines. Devout and devotional, these works display a relatively unspectacular yet powerfully individual aspect of this fascinating composer's output, and are definitely worth getting to know. Nicholas King (organ of St. Peter's Church, St. Alban's, Hertfordshire). Symposium 1059 (England) 06B051 $18.98

ALEXANDRE GUILMANT (1837-1911): Symphony in A for Organ and Orchestra, Op. 91, Marche élégiaque for Organ and Orchestra, Op. 74/1, 2ème Marche funèbre for Organ and Orchestra, Op. 41/3, THÉODORE DUBOIS (1837-1924): Hymne Nuptial for Violin, Harp and Organ, CAMILLE SAINT-SAËNS (1835-1921): Romance for Violin, Harp and Organ, Op. 27, Sérénade for Organ, Harp, Violin and Viola, Op. 15. A third volume of works for organ and orchestra on Guild brings first recordings of everything but the Guilmant symphony, offering music of both triumph and joy and of mourning in addition to three fascinating chamber pieces pairing organ harp and string(s). The combination of colors in the latter group are gorgeous! Franz Hauk (organ), Philharmonic Ingolstadt; Alfredo Ibarra. Guild GMCD 7187 (England) 06B052 $16.98

SIGFRID KARG-ELERT (1877-1933): Flute Sonata in B, Op. 121, Jugend, Op. 139a for Flute, Clarinet, Horn and Piano, Suite pointillistique, Op. 135, Impresions exotiques, Op. 134, Sinfonische Kanzone, Op. 114, Sonata in One Movement for Solo Flute in F Sharp Minor, Op. 140, Chaconne for Flute Solo. Karg-Elert wrote all of these pieces during the First World War and they all make demands on the soloist which must have seemed impossible at the time. It's still a mystery who may have performed them or for whom they may have been composed but the fact remains that the composer provided music of the sort which is more normally written for the piano or the violin. Anyone interested in late Romanticism with a dash on Impressionism will enjoy these works and he need not be a flute-lover. The booklet includes a page of performance indications by Karg-Elert which will have stunned many flutists and which will appeal to anyone who enjoys the same by Scriabin. Gergely Ittzés (flute, piccolo), József Gábor (piano), Csaba Klenyán (clarinet), Gergely Sugár (horn). Hungaroton HCD 31925 (Hungary) 06B053 $16.98

MARCEL H.S. SULZBERGER (1876-1941): Violin Sonata, HANS JELMOLI (1877-1936): Variations on an Aria from "Platée" by Rameau for Violin and Piano, Op. 34, EMIL FREY (1889-1946): Fantasy on the Choral "O Haupt voll Blut und Wunden" for Piano, FRANZ LISZT (1811-1886)/FERRUCCIO BUSONI (1866-1924): Mephisto Waltz for Piano, CZESLAW MAREK (1891-1985): Chant de nouvel an for String Quartet, Chorale for Organ, PHILIPP JARNACH (1892-1982): Christ on Olympus - Prelude for String Quartet, OTHMAR SCHOECK (1886-1957): Scherzo for String Trio, SCHOECK/BUSONI: The Mechanical Clock ("The Mummy Dances") from Das Wandbild. This disc offers us a collection of works by Busoni's Zürich friend and disciples, many of them brief: the sonata by Sulzberger and the fantasy by Frey are the longest. The former dates from 1919 and its harmony recalls now Fauré, now the Second Viennese School while the latter emulates Busoni in taking Bach as the starting point for pianistic elaboration. Oliver Lewis (violin), Andrew Zolinsky (piano), The Ceruti Quartet, Nigel Potts (organ). Guild GMCD 7189 (Switzerland) 06B054 $16.98

MAURICE OHANA (1914-1992): Livre des Prodigues for Orchestra, Anneau du Tamarit for Cello and Orchestra, Synaxis for 2 Pianos, 4 Solo Percussion and Orchestra. 1966s Synaxis is another of Ohana's creations which seems to be a ritual of some pre-Christian sort (pre-any-identifiable-religion even) in which sound clusters fuse concepts of tone color and harmony into a single common concept of color. The percussionists and pianists (always playing as a single entity) contribute to a sound world of primitive, harsh violence which transfixes the listener and draws him ineluctably into the heart of this ritual. Anneau... dates from 1976 and is an homage to the memory of Lorca for which Ohana uses a relatively small orchestra - only 50 musicians. The lyricism is highly internalized; even the percussion are more reticent here. The work begins in a Scelsi-like fashion, a held note being worked on by tone-color and register until violent whiplashes from the orchestra identify the martyr and his suffering. The central part is less tense, almost dreaming and the work settles slowly into a mysterious silence. Livre (1979) is Ohana's greatest work (not only in size of orchestra), a grandiose concerto for orchestra inspired by "those prodigies which, from the dawn of time, have given rise tomyths or legends that still haunt the contemporary mind". Rhythmic and harmonic tension and invigorating energy abound. Anssi Karttunen (cello), Pascal Devoyon, Christian Ivaldi (pianos), Luxembourg Philharmonic Orchestra; Arturo Tamayo. Timpani 1C1056 (France) 06B055 $18.98

GOTTFRIED MÜLLER (1914-1993): Concerto for Large Orchestra, Op. 5, Dürer-Symphonie. This release will intrigue collectors of what is a very rare commodity these days: music written during the Third Reich by composers either allied with or approved by the regime. Like his compatriots Ernst Pepping and Johann Nepomuk David, Müller was a member of the neo-Reformationist composers who sought to throw out the romantic individualism of the 19th century and return to the austerity of Baroque-style music. Goebbels singled out Müller early on for greatness although he ended up slipping into oblivion, surpassed by his two colleagues. The concerto dates from around 1937 (in addition to lack of a date, the notes pass over much of Müller's work for the regime) while the symphony is as late as 1963. Both, however, could have been written in the same year since Müller's style seems not to have evolved at all during his career. Hence, we have dense polyphony, a Regerian variation technique and a Brahmsian use of harmony coloring music which is unremittingly melancholy, heavy and oppressive in nature (the Dürer woodcut inspiring the symphony is the one entitled "Melencolia"). Not that it's bad... It's quite impressive, Gothically imposing and it should delight anyone interested in German music of the 20th century. Bamberg Symphony Orchestra; Peter Gülke, Jan Koetsier. Cavalli Records CCD 402 (Germany) 06B056 $17.98

DINU LIPATTI (1917-1950): Concertino in Classical Style for Piano and Chamber Orchestra, Op. 3, Nocturnes in A Minor and in F Sharp Minor, Sonatina for the Left Hand, Pastoral in F BWV 590 by Bach, 2 Transcriptions from Bach's Cantata BWV 208. There is as much Bach as Haydn in the 19-year-old Lipatti's Concertino, probably his most well-known composition. The A minor Nocturne 1937) is an improvisation on a Moldavian Christmas carol while the other (1939) recalls Fauré and Ravel; the latter is also audible, mixed with Romanian popular themes in the 1941 Sonatina while Lipatti's Bach transcriptions are very non-interventionist. Marco Vincenzi (piano), Chamber Orchestra of Padua and Venice; Gert Meditz. Dynamic series 2000 S 2037 (Italy) 06B057 $13.98

PETERIS VASKS (b.1946): String Quartet No. 2 "Songs of the Summer", String Quartet No. 3. Vasks' second quartet was commissioned for a festival by Penderecki and dates from 1984. Some of the composer's trademark minimalism is present but a Messiaenic use of bird-song (in Vasks' own personal style) and some instrumental techniques which recall the older Polish composer combine in a work which is predominantly pastoral and hymn-like with a melancholy core. From 1995, the third has four movements, some of which use Latvian folk-song intonations and metrics as well as a Christmas carol; the work moves through a series of deeply felt quests for "peace on earth", finally arriving at a quiet, transcendent hope. Riga String Quartet. Caprice CAP 21635 (Sweden) 06B058 $17.98

FRANCO MANNINO (b.1925): Dediche, Opp. 510-548, Incantesimo, Op. extra, Elaborazione pianistica del Valzer da "Il Gattopardo" di G. Verdi. Mannino is a highly regarded composer for film (with over a hundred scores to his credit); he is also a novelist, playwright, and composer for the stage and concert hall. These piano works are all brief - some exceedingly so - and are all extremely approachable. The set of 39 little "dedications" contains a variety of styles and moods, from light, unequivocally tonal through somewhat more ambiguous harmonic territory, somewhat reminiscent of Busoni. Though these pieces are undeniably well written; they are not especially difficult or virtuosic. An atttractive disc, worthwhile and not especially challenging. Marco Sollini (piano). Bongiovanni GB 5097 (Italy) 06B059 $16.98

JOAN TRIMBLE (b.1915): The Cows are a-milking, Gartan Mother's Lullaby, The Heather Glen, My Grief on the Sea, Green Rain, Girl's Song, Pastorale - Hommage à F. Poulenc, Puck Fair, The Green Bough, The County Mayo, Buttermilk Point, The Bard of Lisgoole, The Humours of Carrick, Sonatina for 2 Pianos, Phantasy Trio. Trimble was, with her sister Valerie, a popular member of the British music scene in the middle part of the century due to their hugely successful piano duo, with their own radio series on the BBC. It was on account of this ensemble (for which Arthur Benjamin wrote his famous Jamaican Rumba) that Trimble came to write so extensively for the two-piano medium. There is a good deal of the British pastoral school in evidence here, tempered by Irish inflections drawn from the folk music of her native country. Both in folksong arrangements and her own music, the two-piano writing is idiomatic and natural, and the voice setting always grateful and attractive. The trio and sonatina, as well as the lovely, melancholy song My Grief on the Sea display a serious side to the composer, gently reflective and slightly somber. Patricia Bardon (mezzo), Joe Corbett (baritone), Una Hunt & Roy Holmes (pianos), Dublin Piano Trio. Marco Polo 8.225059 (New Zealand) 06B060 $14.98

Italian Futurist Piano Music from col legno

FRANCO CASAVOLA (1891-1955): Tango, Allegro, Danza delle Scimmie, Preludio a Prigionieri, ALBERTO SAVINIO (1891-1956): Les chants de la mi-mort, Serenata, SILVIO MIX (1900-1927): Profilo Sintetico Musicale de F.T. Marinetti, 2 Preludes, Crepuscolo d'agosto, Ommagio a Stravinsky, ALFREDO CASELLA (1883-1947): 2 contrastes, GIACINTO SCELSI (1905-1988): Rotativa, VIRGILIO MORTARI (1902-1992): Fox-Trot Futurista, Dramma-Sinfonia, ALDO GIUNTINI (1896-1969): Le Maccine, Il Mare, The India Rubber Man, CHESIMÒ (1908-1992): Eliche, Contraerei, Ala Spaziale, DANIELE NAPOLITANO (1872-1943): 4 Estratti Musicali, GIAN FRANCESCO MALIPIERO (1882-1973): Risonanze, GERMAINE ALBERT BIROT (1877-1931): Dada, IGOR STRAVINSKY (1882-1971): Piano Rag Music. Taken from recordings made during the 90s for Swiss-Italian radio, this new release promises to be only the first of a series entitled "Futuris Music". The pieces here are diverse, transgressing against custom and contaminating styles with each other; there is rumorismo ("noiseism"), machine-music of pounding rhythmic intensity as well as brief absurdist expressions. Everything, however, is motived by the contemporary need for modernization, for experimentation and, above all, for non-conformity. Daniele Lombardi (piano). col legno 20076 (Germany) 06B061 $18.98

SAMUEL FEINBERG (1878-1965): Piano Sonata No. 11 in C, Op. 40, 3 Preludes, Op. 15, MODEST MUSSORGSKY (1839-1881)/FEINBERG: Serenade from Songs and Dances of Death, SERGEI PROKOFIEV (1891-1953): Piano Sonata No. 4 in C Minor, Op. 29, 4 Pieces from Tales of an Old Grandmonther, Op. 31. The famous teacher of many even more famous Soviet pianists, Feinberg also composed 12 piano sonatas and three concertos. The 1922 preludes demonstrate his closeness to Scriabin's aesthetic of cosmic nihilism and Romantic decadence, the last in particular producing some very dense and original harmonies. The sonata dates from 1954 but still uses Scriabin's single-movement form, marked by sudden shifts in character, style and emotional tone although Feinberg simplified his style after 1930 or so. Sure to fascinate all pianophiles. Budget-price. Peter Paul Kanrath (piano). Aura AUR 423-2 (Italy) 06B062 $5.98

GEORGE ENESCU (1881-1955): Piano Suite No. 2 in D, Op. 10, Rumanian Rhapsody No. 1 in A, Op. 11, DINU LIPATTI (1917-1950): Sonatina for the Left Hand, FRANZ LISZT (1811-1886): (Rumanian Rhapsody) No. 20 in G Minor (from Magyar Dalok & Magyar Rapszódiák, S242). The newly famous (for his first Rumanian Rhapsody) 22-year-old Enescu won the Pleyel prize in a Parisian competition with his second piano suite. Like the first, it takes baroque suite titles for its movements (Toccata, Sarabande, Pavane and Bourrée) but unlike it, the composer attempts to diffuse the colors of French Impressionism and to pour them into the baroque models. Enescu made a solo piano version of his most famous work in 1949 and this is its only currently available recording. Monica Gutman (piano). Claves CD 50-9906 (Switzerland) 06B063 $16.98

RAFFAELE D'ALESSANDRO (1911-1959): Serenade for English Horn, String Orchestra and Timpani, Op. 12, Sinfonietta, Op. 51, Bassoon Concerto, Op. 75, Oboe Concerto, Op. 79. Several months ago we offered a Gallo release of D'Alessandro's music which carried no dates whatsoever. Now it makes sense: the composer is sort of an Italian-Swiss counterpart to his German-Swiss neo-classicists like Burkhard and French-Swiss ones like Honegger. A southern delight in melody infuses all the works here and is particularly delightful in the serenade for the melancholy voice of the English Horn but everything here is predominantly cheerful and pleasing - the outward mask of a composer who suffered from tuberculosis for much of his rather short life. Michel Rosset (eng horn), Franziska Weibel Nykiel (bassoon), Kurt Meier (oboe), Zürich Chamber Orchestra; Ronald Zollman. Pan Classics 510 117 (Switzerland) 06B064 $17.98

CHARLES KOECHLIN (1867-1950): Pastorale for Flute, Clarinet and Piano, Op. 75bis, Clarinet Sonata No. 1, Op. 85, Sonatine modale for Flute and Clarinet, Op. 155, 2 pièces for Clarinet and Piano, Op. 173bis, Morceau de lecture for Flute and Piano, Op. 218, 2 Duos for Flute and Clarinet from Op. 225, Stèle funéraire for Flute, Piccolo and Alto Flute, Op. 224, 7 Pieces from L'album de Lilian for Flute and Piano/ for Piano, Op. 149, L'album de Lilian for Flute, Clarinet and Piano, Op. 139/7. Koechlin's magical world of late Romanticism cum Impressionism is conveyed perfectly by the combination of these wind instruments which conjure a sun-lit pastoral world in which sprites and fauns may live, a musical world which invites the listener to laze, doze and dream of half-remembered scenes from European ancestral memory. Budget-price. Irmela Nolte (flutes), Deborah Marshall (clarinet), Sabine Liebner (piano). Koch Schwann Musica Mundi 3-6729-2 (Germany) 06B065 $6.98

WALTER GIESEKING (1895-1956): Sonatine, PIERRE SANCAN (b.1916): Sonatine, LENNOX BERKELEY (1903-1989): Sonatina, WILLIAM MATHIAS (1934-1992): Sonatina, HENRI DUTILLEUX (b.1916): Sonatine. Think of the color and delicacy with which Gieseking played Debussy and you will know what his sonatina (1935) sounds like. Its first movement is lyrical, the second liltingly pastoral and the third (a bit darker in nature) difficult and energetic. Sancan's (1946) and Dutilleux' (1942) works were morceaux de concours for the Paris Conservatory but are both true duos, in spite of the need to write technically difficult work for the flute. Berkeley's entry (1939) was originally for recorder (for Carl Dolmetsch); his and the Welshman Mathias' piece (1953) are just that bit less Latin-languid than the others. Katherine Kemler (flute), Michael Gurt (piano). Centaur CRC 2459 (U.S.A.) 06B066 $16.98

JAN JÄRVLEPP (b.1953): Garbage Concerto (A Concerto for Recycled Garbage and Orchestra), IMANTS KALNIN· (b.1941): Symphony No. 4 "Rock Symphony". Järvlepp's 1996 concerto is so-called because of the reclaimed objects the composer selected for use as percussion instruments: metal cans, glass jars, plastic bottles, bubcaps, recycling bin, paper bag and, in the slow movement, bottles filled with different amounts of water and blown over like a glass harmonica. The work is absolutely a delight: catchy phrases, insistent rhythms and influences from rock to Bartók. The Latvian Kalnins wrote his fourth symphony in 1972 when using rock influences was an act of dangerous defiance in the Soviet Union. This is, however, not Western rock; Kalnins uses a theme which he wrote himself (he had his own rock group which was proscribed by the authorities) which is more in the world of "pop". The scherzo is classical though while the finale is a romantic song cycle. Jackie Short (soprano), Kroumata Percussion Ensemble, Singapore Symphony Orchestra; Lan Shui. BIS CD-1052 (Sweden) 06B067 $17.98

WILLIAM THOMAS MCKINLEY (b.1938): Night Music for Tenor Saxophone and Orchestra, STEPHEN SUBER: Enchantments, - Concerto for Piano and Orchestra, RUTH LOMON (b.1930): Bassoon Concerto, R. JAMES WHIPPLE (b.1950): Concerto for Autumn Mood for Bassoon and Orchestra. Lomon's bassoon concerto is an inticate work, freely atonal but abounding in harmonic referents and indeed quotations from familiar music, alongside material that sounds note-row-ish, and occasional multiphonics for the soloist. The solo line is throughout very lyrical and linear, with an emphasis on the instrument's ability to sing. Whipple's concerto, really a brief tone-poem with bassoon solo, is a pastoral work, relatively uncomplicated and bucolically attractive. McKinley's Night Music exemplifies the composer's wholly successful fusion of concert music forms with jazz style, consisting of a rhapsodic tribute to Stan Getz (who premiered the work) incorporating written-out interpretations of Getz's improvisational style (and allusions to 'standards' from Getz' repertoire). Atmospheric and dramatic, Night Music has a haunting quality and a communicative directness which is most appealing. Suber's concerto is a virtuosic response to his native Southwest - the landscape, the character of the area and the composer's feelings and responses to it. Highly characterful and evocative, whether brilliantly busy as in the first movement, or calmly, eerily grand and mysterious, as in the central slow movement, this is a deeply felt work capable of striking a profound sense of communication with the listener. Michael J. Rossi (sax), David N. Evanson (piano), Deborah Greitzer (bassoon), Czech Radio Symphony Orchestra; Gerard Schwarz, Vladimír Válek. MMC 2072 (U.S.A.) 06B068 $16.98

ROBERT NELSON (b.1941): Symphonic Scenes from "A Room with a View", 2 Spirituals for Soprano and Orchestra, Christmas Cantata - A Nyw Werke is Come on Honde for Chorus and Organ. Nelson is a composer with a very natural sense of the dramatic, of the stage and of musical storytelling. Thus his opera after Forster A Room with a View, presented here in a suite of "Symphonic Scenes" is a highly agreeable, tonal, neoclassical work, unadventurous in idiom but most successful in its characterisations and depiction of the slight events of the charming story. Nelson's lushly romantic settings of two Negro spirituals are most affecting in a very Gershwinesque idiom. The Christmas cantata continues in this vein of rich romanticism, this time with English inflections (Vaughan Williams and the lighter Britten come to mind). A very attractive and worthwhile disc. Soloists of the Edythe Bates Old Moores Opera Center, Débria Brown (mezzo), The Moors School Chorus and Symphony Orchestra; Franz Anton Krager, Charles Hausmann, Ann Frohbieter (organ). Albany TROY 381 (U.S.A.) 06B069 $16.98

DAVID N. BAKER (b.1931): Tuba Concerto, Refractions, Alabama Landscape for Tenor and Orchestra, Life Cycles for Tenor, Horn and Orchestra. Alabama Landscape is a dramatic setting of a highly emotive poem by Mari Evans, relating the past injustices visited upon black residents of the south - slavery, lynchings - with current racial prejudice and its inevitable outcome in violence. The composer's idiom is romantic above all, with a taste of his work in jazz inflecting the whole without coloring it to any large extent. The suite for strings is a concentrated work with a sense of never a note wasted. As in Alabama Landscape, Life Cycles demonstrates the composer's remarkable knack for illuminating text through music of great character and evocative potential - illustrating rather than merely accompanying. The ingenious concerto - it is good to see this attractive instrument receiving increasing and due soloistic status in recent years - is attractive and delightfully approachable, with its allusions to classical and romantic models and other musical styles both in its material and structures. This (the first of a promised two volumes devoted to this fine composer) is one of the most attractive in Albany's "Paul Freeman Introduces" series to date. Daniel Peratoni (tuba), William Brown (tenor), Zdenek Tylsar (horn), Czech National Symphony Orchestra; Paul Freeman. Albany TROY 377 (U.S.A.) 06B070 $16.98

DAVID STOCK: Fast Break, GARY PHILO: Spring Music, AMY REICH: 3 Fanfares, ALEXANDRA PIERCE (b.1934): Short Suite Overture, EUGENE MCBRIDE (b.1943): Four for Orchestra, CAROL BARNETT (b.1949): Overture for a Greek Drama, WHITMAN BROWN (b.1957): Zudnick, CHARLES ALAN BEELER (b.1939): Homage to Roger Sessions, Mad Song for Orchestra, PERSIS ANNE PARSHALL-VEHAR: Light/Lux/Svietlo, STEPHEN RUSH: Possession. These little pieces - none approaches ten minutes in duration - share a common factor of bold use of orchestral forces, and cover a pretty wide range of styles, all within a predominantly tonal idiom. The Pierce is especially noteworthy, a powerful and varied suite, insistent and compelling. McBride's work, though ostensibly dodecaphonic, gives the impression above all of ostinato-driven rhythmic propulsiveness. Most of the pieces here - Brown's Zudnick, and Beeler's Homage, more introspective, are something of an exception - share this boldness and drama of gesture, and a restless concern to make an impact in a short time-frame. Silesian Philharmonic Orchestra; David Stock, Czech Radio Philharmonic Orchestra; Vladimír Válek, Warsaw National Philharmonic, Kraków Philharmonic Orchestra; Jerzy Swoboda, Slovak Radio Symphony Orchestra; Eugene McBride, Moravian Philharmonic Orchestra; Vit Micka. MMC 2081 (U.S.A.) 06B071 $16.98

The Latin-American Piano Page...

BRAZIL - OSVALDO LACERDA (b.1927): Brasiliana No. 4 for Piano 4 Hands, FRANCISCO MIGNONE (1897-1986): Valsa chôro Nos. 10 & 11, Valsinha, Sonatina No. 4, Valsas d'esquina Nos. 1 & 3, Congada for Piano 4 Hands, CAMARGO GUARNIERI (1907-1993): Canção sertaneja, Dansa negra, HENRIQUE OSWALD (1852-1931): Bébé s'endort, LORENZO FERNANDEZ (1897-1948): Suite brasileira No. 1, ALEXANDRE LEVY (1864-1892): Tango brasileiro, ERNESTO NAZARETH (1863-1934): Batuque, Odeón, JOAQUIM A. DA SILVA CALLADO (1848-1880): Flôr amorosa. Like the Argentinian milonga which prededed the tango, Brazilian popular music is rooted in the modinha which metamophosed into the later chôro. African music, of course, left its mark here as well and Mignone's Congada is a richly appealing dance originating among slaves from the Congo and it works itself up to a marvelous frenzy here. Mignone has the lion's share of the music here, in deference to his importance to modern Brazilian national-classical music, but everything is memorable and suffused with popular culture. Luiz de Moura Castro, Bridget de Moura Castro (pianos). Ensayo ENY-CD-9705 (Spain) 06B072 $16.98

CUBA - IGNACIO CERVANTES (1847-1905): 8 Danzas de salón, NICOLAS RUIZ ESPADERO (1832-1890): Ombre et mystère, Canción del guajiro, RENÉ TOURET (b.1916): 3 Danzas cubanas, AMADEO ROLDÁN (1900-1939): Canción de cuna del niño negro, HILARIO GONZALES (1920-1996): Preludio en conga No. 3, ALEJANDRO GARCÍA CATURLA (1906-1940): Berceuse campesina, ERNESTO LECUONA (1895-1963): Danza lucumi, Danza de los ñáñigos, 4 Danzas cubanas, Ahí viene el chino, La comparsa, LOUIS MOREAU GOTTSCHALK (1829-1869): Caprice. Cuba enjoyed the cross-fertilization of Creole and African music along with the music of its Spanish motherland. Both Hispano-Cuban and Afro-Cuban music is included in this collection and, in Lecuona's Ahí viene el chino, evidence of yet another exotic immigrant. Luiz de Moura Castro (piano). Ensayo ENY-CD-9722 (Spain) 06B073 $16.98

ARGENTINA - JULIÁN AGUIRRE (1868-1924): Huella, CARLOS GUASTAVINO (b.1914): Cantos populares Nos. 1 & 4, Bailecito, Cantinela No. 1, ALBERTO WILLIAMS (1862-1952): El rancho abandonado, ALBERTO GINASTERA (1916-1982): Suite de danzas criollas, Danza de la moza donosa, Danza del viejo boyero, 4 Preludios americanos, ASTOR PIAZZOLLA (1931-1992): Milonga del angel, Verano porteño, Otoño porteño, Invierno porteño, Adiós nonino. From the Pampa in the south to Buenos Aires in the north and from the late 19th century up to Piazzolla, this collection provides an overview of the musical styles available to Argentinian composers and shows that the element of sadness and melancholy explicit in the tango is also implicit in some of the older dances. Luiz de Moura Castro (piano). Ensayo ENY-CD-9714 (Spain) 06B074 $16.98

IGNACIO CERVANTES (1847-1905): Los tres Golpes, Invitación, Encantadora, Soledad, Picotazos, Ilusiones Perdidas, No Bailes Más, La Celosa, FRANCISCO MIGNONE (1897-1986): No Fundo do meu Quintal, 5a valso de esquina, Congada, ERNESTO NAZARETH (1863-1934): Espalhafatoso, Gotas de Ouro, ERNESTO LECUONA (1895-1963): La Comparsa, ANICETO ORTEGA (1824-1975): Vals Jarabe, TERESA CARREÑO (1853-1917): Vals "Le printemps", MOISÉS MOLEIRO (1905-1972): Joropo, MANUEL M. PONCE (1882-1948): Balada Mexicana. Volume One of Música Latinoamericana offers a couple of rarities: Ortega was one of Mexico's earliest representatives of musical Romanticism while Moleiro is the only Venezuelan represented on this page. Silvia Navarrete (piano). Clásicos Mexicanos SDX 27105 (Mexico) 06B075 $12.98

PEDRO H. ALLENDE (1885-1959): Tonadas Nos. 3-5 & 8, ERNESTO LECUONA (1895-1963): La Primera en la Frente, A la Antigua, La Mulata, Al Fin te Vi, CARLOS GUASTAVINO (b.1914): Tierra linda, Pampeano, LIA CIMAGLIA (1906-1998): Evocácion Criolla, LUIS A. CALVO (1882-1945): Entusiasmo, Intermezzo No. 1, GERARDO GUEVARA (b.1930): Fiesta, Espantapajaros, LUIS DUNCKER LAVALLE (1874-1922): Leggenda Appassionata, SCORZA NETO: Traveso Polichinelo, FRANCISCO MIGNONE (1897-1986): Nazarethiana IV, MARLOS NOBRE (b.1939): Nazarethiana, Op. 2, TERESA CARREÑO (1853-1917): Venise, MARIANO VALVERDE (1884-1956): Noche de Luna en las Ruinas, JESÚS CASTILLO (1877-1946): Fiesta de Pájaros, MANUEL M. PONCE (1882-1948): Cuiden su Vida. In addition to some familiar names, this second volume of Música Latinoamericana offers composers from Colombia (Calvo - whose Entusiasmo is sheer joy... no melancholy here!), Ecuador (Guevara - also high energy and upbeat), Peru (Lavalle - whose Leggenda is mysterious and intense), Chile (Allende - the Tonadas are not far off from Mompou's Canços i dansas) and Guatemala (Valverde and Castillo - both of whose works are waltzes for all the evocation of Debussy in Valverde's title...). Silvia Navarrete (piano). Clásicos Mexicanos SDX 27104 (Mexico) 06B076 $12.98

JOAQUÍN TURINA (1882-1949): Complete Piano Works, Vol. 11 - El castillo de Almodovar, Op. 65, En la zapatería, Op. 71, En el cortijo, Op. 92, Por las calles de Sevilla, Op. 96, Contemplación, Op. 99. Under the subtitle "Impressions", this latest volume brings us a series of evocations of the composer's beloved Seville as well as, in Contemplacíon (1944), Turina's impressions of three famous paintings in the Prado. "At the Shoemaker's" (1932) is an intriguing series of short pieces which describe the shoes of people from various walks of society. Antonio Soria (piano). Moraleda 6411 (Spain) 06B077 $16.98

JOAQUÍN TURINA (1882-1949): El Poema de una Sanluqueña, Op. 28, EDUARD TOLDRÀ (1895-1962): 6 Sonets. The oddity here is Turina's 1924 violin fantasy, one of several works of his inspired by Sanlúcar de Barrameda. Here he depicts, in four movements, the Sanlúcar women who "will not marry and Sanlúcar men wed strangers." Turina's usual melancholy accent is even more intense in this portrait of women "who live in a perpetually sad, dreamy state." Víctor Martín (violin), Miguel Zanetti (piano). Ensayo ENY-CD-9723 (Spain) 06B078 $16.98

VÍTùZSLAV NOVÁK (1870-1949): Lady Godiva, Op. 41, Toman and the Wood Nymph, Op. 40, De profundis, Op. 67. Two fine orchestral works receive their digital premiere here: Lady Godiva dates from 1907 and uses the contrast between Leofric the greedy lord of Coventry and his wife Godiva to produce a 16-minute work of conflict and resolution. De profundis was written under Nazi occupation and is a cry for deliverance from the heart of this Czech composer. In three movements, this piece expresses despair and tragic hopelessness which builds crushingly until the organ announces a mystical, hymn-like motif which quickly grows into confidance and, ultimately, in the final part labeled Sursum corda, defiance. A tense premiere took place in Brno in November 1941 (both works were available on an Ultraphon CD in recordings by Jaroslav Vogel from 1960 and 1962). Toman and the Wood Nymph (1906-07) is another representation of Woman, this time the Seductress as opposed to Godiva's Protectress. Based on a Czech folk legend, the work stirs up quite a passionate portrayal of erotic frenzy in an often dissonant and frenetic atmosphere of full-blooded Romanticism. BBC Philharmonic Libor Peek. Chandos 9821 (England) 06B079 $16.98

MAX REGER (1873-1916): Edition, Vol. 12 - Die Nonnen for Mixed Choir and Orchestra, Op. 112, Lieder for Contralto and Orchestra: Glück, Op. 76/16, Mittag, Op. 76/35, Glückes genug, Op. 37/3, Wiegenlied, Op. 43/5, Das Kindes Gebet, Op. 76/22, Mariä Wiegenlied, Op. 76/52, Äolsharfe, Op. 75/11, Aus den Himmelsaugen, Op. 98/1, Das Dorf, Op. 97/1, Flieder, Op. 35/4, Mein Traum, Op. 31/5, Fromm, Op. 62/11, An die Hoffnung, Op. 124. "The Nuns" dates from 1909 and contrasts the mysticism and increasing ecstasy of the text with the ascetically archaizing style of the music, in which Reger's use of delicate orchestral coloring is something of an exception in this genre. Some of this ability to concentrate on intimacy and delicacy is present in several of the songs which follow, orchestrated by Reger in 1914-15. But those who want something else from their Reger will delight in the Op. 124 (at almost 13 minutes more than twice as long as any of the other songs) in which, as one critic put it, Reger "inundates the poem with the flood of his musical imagination", doing some violence to Hölderlin's text and tragic vision as well. German-English texts in all but 4 of the 13 lieder. Lioba Braun (contralto), Bamberg Symphony Choir and Orchestra; Horst Stein. Koch Schwann 3-1777-2 (Germany) 06B080 $16.98

NINO ROTA (1911-1979): Divertimento concertante for Double Bass and Orchestra, GÜNTER NEUBERT (b.1936): Double Bass Concerto, SERGE KOUSSEVITZKY (1874-1951): Double Bass Concerto, Op. 3. The longest work here is Rota's, written between 1968-73 for a famous Italian soloist. In four movements, it characteristically places melody before all else and, as we all know, Rota could Write Melodies; the third movement Aria is particularly flattering to this sometimes unwieldy instrument. Neubert's concerto (1990) uses serial techniques in its first movement but a cantilena is more in evidence in the slow movement and the finale has elements of rondo and toccata. Gerd Reinke (double-bass), Iasi Philharmonic Orchestra; Gheorghe Costin. Querstand VKJK 9911 (Germany) 06B081 $18.98

ALF HURUM (1882-1972): 3 Impressions, Op. 4, Watercolours, Op. 5, Pastels, Op. 10, For Piano, Op. 3, Fairyland, Op. 16, Nordic Suite, Op. 18, Gothic Pictures, Op. 17, Rococo. The third CD we've offered by this Norwegian composer who moved to Hawaii, became a conductor and then gave up composition for painting, brings a flood of Impressionistic piano pieces. Debussy made an indelible impression on Hurum and, from 1911 onwards this influence is seen in the composer's own pieces. Dating from 1905-1918, this recording contains the vast majority of Hurum's piano pieces and, obviously, those with titles such as Watercolours, Pastels and so forth represent the most Impressionistic of them. However, Hurum was no epigone; his musical painting is every bit a match for his precise, delicate lines and fine use of color evident in the still life of his which decorates the booklet cover. 2 CDs. Øyvind Aase (piano). Thema TH 201-2 (Norway) 06B082 $35.98

SAMUEL BARBER (1910-1981): Symphony No. 1, Op. 9, Symphony No. 2, Op. 19, Overture The School for Scandal, Op. 5. Though the first symphony has a few recordings by now and the overture is almost a pops item, it is good to have 1943s Symphony No. 2 available at budget price. Inspired by the composer's conscription into the Air Force, Barber became dissatisfied with the piece and destroyed all but one copy of his darkest and most forward-looking of his works. Royal Scottish National Orchestra; Marin Alsop. Naxos 8.559024 (New Zealand) 06B083 $5.98

BOHUSLAV MARTINÒ (1890-1959): String Quartet No. 1, String Quartet No. 2, Three Horsemen. New to CD is the 12-year-old Martinu's earliest surviving composition - a three movement quartet based on a ballad by Vrchlicky on the three horsemen who brought the news of the burning of Jan Hus back to Prague. As might be expected, its treatment is straightforward and graphic but not naive. Two quartets were lost before the one recorded here as No. 1 (1918) was written. Bohemian influences mix with Ravel-like textures and melodic coutours in it while the 1925 quartet shows the influence of study with Roussel. Martinu Quartet. Naxos 8.553782 (New Zealand) 06B084 $5.98

ALEXANDER GLAZUNOV (1865-1936): Introduction and Dance of Salome, Op. 90, The King of the Jews, Op. 95. No, good Collectors! You're not being fed a re-issue of CHAN 9467 along with only 15 minutes of new music. This recording of The King of the Jews, Glazunov's music for a mystery play written by the Grand Duke Konstantin Konstantinovich, is different! (The other was conducted by Rozhdestvensky with the same chorus and orchestra.) Still a little bizarre though.... Dating from 1908, Glazunov's music for Salome was for a St. Petersburg production of Wilde's play with Ida Rubinstein, Bakst and Fokine all involved (must have been quite something!) and its two sequences look back to the Rimsky of Scheherezade and to the orientalism of, say, the bacchanale from Saint-Saëns' Samson et Dalila. Russian State Symphonic Cappella and Symphony Orchestra; Valeri Polyansky. Chandos 9824 (England) 06B085 $16.98

MÉLANIE BONIS (1858-1937): Cello Sonata, Méditation, Sérénade, LUISE ADOLPHA LE BEAU (1850-1937): 4 Stücke, Op. 24, Barcarole, Op. 65a/5, Cello Sonata, Op. 17, CÉCILE CHAMINADE (1857-1944): Sommeil d'Enfant, L'Anneau de Argent, Pastorale enfantine, Op. 12, La Chaise à Porteurs, Op. 55/2, Nuit étoilée. Having offered solo piano recitals of all three of these Belle Epoque composers, Relief now gives us a disc of works for cello and piano. Chaminade's pieces are all salon-style miniatures although not overly sugary or sentimental. Bonis' two miniatures are in similar style while her 1904 sonata recalls Fauré. Le Beau was born in Germany and her 1878 sonata shows a bit less sweetness and, though full of melodic charm, recalls Schumann and Brahms more than French composers. Cecylia Barczyk (cello), Madeleine Stucki (piano). Relief CR 981042 (Switzerland) 06B086 $18.98

CHARLES VILLIERS STANFORD (1852-1924): Sonata Britannica, Op. 152, HUBERT PARRY (1848-1918): Chorale-Prelude on "Eventide", CHARLES MACPHERSON (1870-1927): Fantasy-Prelude, WILLIAM FAULKES (1863-1933): Grand Choeur in D, HERBERT BREWER (1865-1928): March Héroïque, CUTHBERT HARRIS (1870-1932): Caprice, FRANK BRIDGE (1879-1941): Adagio, FELIX MENDELSSOHN (1809-1847)/W.T.BEST (1826-1897): War March of the Priests. Brewer's march is emblematic of the extrovert ebullience which informed much Edwardian music (think of Elgar's Pomp and Circumstance marches) and exemplifies much of the music on this release which is subtitled "Victorian and Edwardian Organ Music". Stanford's mighty sonata (1917) least fits that superscript with its Brahmsian richness and intensity but Parry fits in perfectly and it's a surprise to find Frank Bridge here (albeit a young one), whose Adagio begins in serenity and peace and builds through a gradual crescendo to nearly full organ. David Briggs (Lewis organ of the Church of St. John the Evangelist, Upper Norwood, London). Priory PRCD 680 (England) 06B087 $16.98

MAX REGER (1873-1916): The Piano Works, Vol. 7 - 6 Intermezzi, Op. 45, Lose Blätter, Op. 13, Aquarellen, Op. 25, Liebestraum (1898). Although in 1905 Reger declared his opp. 1-19 and op. 25 "to be hopeless nonsense" and "terrible sins of my youth", the "Loose Pages" contain several works with truly ingenious ideas worked out with suble attention to detail and demonstrate how the young composer took Bach, Mendelssohn, Brahms and Schumann and created new music from their influences. The Aquarelles date from 1897/8 and represent a transitional period and still show (slighter) influences of Brahms and even Grieg but the 1900 Intermezzi represent Reger at his highly expressive, demanding and complicated best. A symphonic impression is created by parallel octaves, cascading chords, dense harmony and dazzling runs, making it clear why Reger was perceived at the time as one of the leading avant-garde composers. Markus Becker (piano). Thorofon CTH 2317 (Germany) 06B088 $16.98

ASTOR PIAZZOLLA (1921-1992): Suite for Oboe and String Orchestra, Molto cantabile for English Horn and Orchestra, Oblivion for Oboe and Orchestra, 2 Tangos for String Orchestra, 2 Pieces for Clarinet and String Orchestra, Op. 15, The Four Seasons. It was in the wake of his studies with Ginastera in the early 40s that Piazzolla wrote such classically formatted pieces as the suite and the op. 15 pieces (both in 1950) where the tango is present only in a pervasive sense of melancholy and hints of violence. In 1952 the 2 Tangos expode in pure rhythm, stylized abstraction and violence. By the early 70s, such pieces as The Four Seasons were performed in various arrangments, the one here, for string orchestra and piano, as good as any in refining and magnifying the spirit of the tango. Lajos Lencsés (oboe, eng horn), Robert Bianciotto (clarinet), Toulouse Chamber Orchestra; Alain Moglia. Capriccio 10 872 (Germany) 06B089 $11.98

FRANK MARTIN (1890-1974): Le Vin Herbé. This is Frank Martin's retelling of the Tristan and Isolde story, using Joseph Bédier's 19th-century novelisation of the story. Economically scored yet as passionately chromatic and lush, in its own way, as Wagner, this is one of Martin's most appealing works, possessing as it does a real dramatic passion. There is no point in comparing Martin's work to Wagner's, though anyone who can't help feeling that the Swiss composer, with his unextravagant means, exquisitely controlled structure, incorporating occasional note rows and tonal centres, might be a bit dry and Stravinskian owes it to themself to hear this work, which abundantly expresses the possibilities latent in the text for an exploration of the implications of uncontrollable passion unresolvable except in death. The music is simply gorgeous, and in places as frankly erotic as any music has any right to be. 2 CDs. French-English texts. Steven Tharp (tenor), Laura Danehower Whyte (soprano), I Cantori di New York; Frank Shapiro. Newport Classic NPD 85670 (U.S.A.) 06B090 $35.98

ADOLPHUS HAILSTORK (b.1941): The Sonata for Trumpet and Piano, DAVID BAKER (b.1931): Sonata I for Piano, ELLIS MARSALIS: Fourth Autumn, ALVIN SINGLETON: In Our Own House for Saxophone, Trumpet, Perucussion and Piano, COLERIDGE-TAYLOR PERKINSON: Statements - Second Sonata for Piano. This second volume of music by African-American composers presents a wide range of fine music, as did the first. Beginning with a gently jazzy nocturne by Elias Marsalis (father of Wynton, Branford and Jason, the latter two of whom appear on the CD), the program progresses via Baker's alternately lyrical and tumultuous Sonata I and Singleton's original and striking ensemble piece, commissioned for this recording, to Hailstork's immensely appealing jazzy trumpet sonata. The final work is Perkinson's somewhat neoclassical Second Sonata, with its use of note-rows in a very tightly organised structure with definite tonal centers and implications. Karen Walwyn (piano), Branford Marsalis (sax), Rodney Mack (trumpet), Jason Marsalis (percussion). Albany TROY 384 (U.S.A.) 06B091 $16.98

WAYNE PETERSON (b.1927): Vicissitudes, Duodecaphony, Labyrinth, Capriccio, Diptych. Peterson's music, immaculately crafted and fluid in form (a characteristic probably related to his work as a jazz pianist, though jazz style is not predominantly an overt feature of these works), is sonorous, elegant and subtly harmonious, though never harmonically predictable or conventional. Rhythmically flexible - this is indeed a prevailing feature of these works - the music is in a constant state of flux, seldom settling to any kind of resolution, but rather carrying the listener along through a stream of precisely modulated consciousness. New York New Music Ensemble. Koch International Classics 7498 (U.S.A.) 06B092 $16.98

MORTON FELDMAN (1926-1987): For Frank O'Hara, Bass Clarinet and Percussion, De Kooning, Instruments I. Hearing these ensemble pieces casts a new light on Feldman's compositional technique, as compared to works for solo piano, for instance. The slowly evolving relationships between isolated sounds, the meterless progression of the music, takes on a new dimension when the sounds have different timbres, and the suspension of clock time necessary in the appreciation of Feldman's music becomes, paradoxically, easier to achieve, as one is caught up in the varying textures imposed on the music by the precisely notated, exquisitely subtle percussion sounds, for example. New Millenium Ensemble. Koch International Classics 7466 (U.S.A.) 06B093 $16.98

SIMEON TEN HOLT: Palimpsest for String Septet. Palimpsest is an extended essay in consonant, easy-going minimalism, woven out of melodic fragments with sometimes an archaic, pre-classical era feel, and sometimes a folky feel. It is as though Grainger's Random Round grew up, put on a lot of weight and became solidly respectable. The overlapping interaction of the material takes place over a rhythmic base of constant pulse, and listened to in extenso the piece achieves an agreeable sense of mesmeric stasis intermittently relieved by an agreeable quickening and agitation. Donemus CD 85 (Netherlands) 06B094 $18.98

CARSON KIEVMAN (b.1949): Introdictus, Toccatada, Meditation, Harpo, Nuts & Bolts, The Temporary & Tentative Extended Piano. Paulo Pesenti's funny and illuminating booklet notes say a good deal of what need to be said about Kievman's music as presented on this disc. "Love for the extremes, fascination with nature, playful theatricality are three recurrent features [] His music can be disordered, chaotic and messy. It can be irresistable, moving and sublime. It can be both sophisticated and naive, incomprehensible and transparent, frustrating and exciting. Worse, the bits that first sound like one thing become the opposite thing after repeated listening and vice versa. The proof is in the pudding." [Mr Pesenti is the second person I have known to malapropize this common expression, but the chances of his being acquainted with British electronics genius and noted eccentric Tim de Paravicini are, one would imagine, slight]. [] If one needs an (ugly) neologism to describe the essence of Kievman's music, this can only be "strato-stylistic" (I said it was ugly). Like radiccio or archaeology, the music of Kievman is about layers on layers on layers". Yeah, what he said. The music is similarly entertaining. David Arden (piano). CRI CD 845 (U.S.A.) 06B095 $16.98

EARLE BROWN (b.1926): Times Five for Flute, Trombone, Harp, Violin, Cello and Tape, Octet I for 8 Loudspeakers, December 1952 for Piano, Novara for Flute, Trumpet, Bass Clarinet, String Quartet and Piano, Music for Violin, Cello and Piano, November 1952, December 1952, Four Systems (all for Piano and Electronics), Music for Cello and Piano, Nine Rare Bits for One or Two Harpsichords. Brown so epitomises the avant-garde experimentation of the 1950s - more so in a way even than Stockhausen, Boulez, and Feldman (and in a way, as much as Cage) - that his music now sounds like a textbook summation of that era, a clearly delineated and chronologically bounded piece of music history. So we have graphic scores interpreted as serial sequences of material and the relationships between them; the sonic equivalent of abstract "drip paintings", as in the Octet I, in which bursts of sound - noise really - projected over eight loudspeakers (thereby suggesting a discontinuity between this procedure in music and the graphic arts, where for example in Pollock's abstractions it is relationships between elements revealed over extended inspection which lend the works their drama, something that is difficult to achieve in music which lacks temporal simultaneity); aleatoric juxtapositioning of material, and extended playing techniques. As a quick primer of 1950s avant garderie, this disc is invaluable. Various Artists. CRI CD 851 (U.S.A.) 06B096 $16.98

LUCIANO BERIO (b.1925): Ekphrasis (Continuo II) for Orchestra, Coro for 40 Voices and Orchestra. Ever fascinating and inventive, Berio has already outlasted many of his avant-garde contemporaries through the timeless quality of his imagination, and he has contributed several major works to the repertory which do not betray their orgins in a particular period of musical history (though they are, of course, demonstrably of the latter part of our century). These two works from the mid-1990s and mid-1970s respectively share this epic quality; the more recent, Ekphrasis (Continuo II) suggests the timeless permanence of architecture, the earlier work has a great deal to do with the possibilities of the voice, which suggests the very origin of music itself. The journey through "Coro" suggests a metaphorical landscape of antiquity, in which one encounters oracles each with their own distinctive communicative style (and each with its unique instrumental color-association, something which forms a particularly striking feature of Berio's style) in a fascinating array of dazzling vistas of ideas and invention. Frankfurt Radio Symphony Orchestra; Luciano Berio, Bavarian Radio Choir, RSO Frankfurt; Lucas Vis. col legno 20038 (Germany) 06B097 $18.98

ROY WEBB (1888-1982): Music from the Films Cat People, Bedlam, The Seventh Victim, The Body Snatcher, I Walked with a Zombie. Webb scored over 300 films but this collection of the music he wrote for five Val Lewton "horror" films contains some of his best work. Like the screenplays themselves, Webb took the "less-is-more" approach, unique and understated, subtly using orchestral color, thematic metamorphosis and advanced harmonic language, matching perfectly the melancholy fatalism of these brooding psychological thrillers. The usual copious annotations and stills from the films are included in the booklet. Slovak Radio Symphony Orchestra; William T. Stromberg. Marco Polo 8.225125 (New Zealand) 06B098 $14.98

GEORGES AURIC (1899-1983): Music from the Films Notre-Dame de Paris, Lola Montez, Farandole, Esmeralda - Little Dance Suite for 2 Harps, 2 Guitars and Cello from Notre-Dame de Paris. Volume 3 of this series of Auric's film music offers an interesting suite from a 1940 film, Farandole, which has disappeared utterly (not a print anywhere!), conductor Adriano adapting the suite from Auric's mansucript which bore no descriptions of the cues. Unlike the more lushly scored, Romantic-type music used in Notre-Dame (1956) and Lola Montez (1955), this pared down score is akin to the neo-classicism of Hindemith, Eisler and Weill. Moscow Symphony Orchestra; Adriano. Marco Polo 8.225070 (New Zealand) 06B099 $14.98

JERRY GOLDSMITH (b.1929): Supergirl - Original Motion Picture Soundtrack. This 1984 film was a box-office disappointment but Goldsmith is at his usual best, creating music rich with the promise of adventure and heroic presence. Contains 12 cues not previously released and two in different versions than on the original release. National Philharmonic Chorus and Orchestra; Jerry Goldsmith. Silva America SSD 1025 (U.S.A.) 06B100 $16.98

PERCY GRAINGER (1882-1961): The Grainger Edition, Vol. 14 - Lord Peter's Stable-Boy, The Shoemaker from Jersualem, Hubby and Wifey, The Only Son, Ye Banks and Braes O' Bonnie Doon, Lisbon, The Bridegroom Grat, The Land O' the Leal, Walking Tune, Willow Willow, Harvest Hymn, The Old Woman at the Christening, The Nightingale, The Two Sisters, Sea Song, Bold William Taylor, The Power of Love, Lord Maxwell's Goodnight, Colonial Song, Free Music, The Twa Corbies, Died for Love, Molly on the Shore. The sheer eccentric brilliance of Grainger's inspiration - was there ever so striking an example of lateral thinking and total absence of conformity to - well, anything very much - in all music history? - shines through all these arrangements and "room-music" versions of familiar and less familiar works, both original and folksong-derived. It must by now be apparent to anyone who has been paying the least attention that there is nothing of the quaintly pretty about Grainger, and the sinister undercurrents that flow just beneath the surface of all these brief vignettes of love, death, mourning and loss qualify them as among the most subtly and insidiously disturbing music ever written in any medium. Guaranteed to haunt a few sleepless nights, and to titillate the most jaded musical palate with a delightful frisson of the forbidden and the taboo. Della Jones (mezzo), Martyn Hill (tenor), Stephen Varcoe (baritone), Academy of St. Martin in the Fields Chamber Ensemble. Chandos 9819 (England) 06B101 $16.98

HOLLIS TAYLOR: Slovenian Dance, Come to the Water, Geese, Celebrate Moldova!, Hommage a Zoltan Kodaly, Basque Three-Step, Two-Step for Prepared Bow, Albanian Dance, Fast Forward, Split Personality, Rogue Trader's Polka, Kristin's Wedding Dance, Circle Dance, Fiveplay, Bosniana, Sending the Bride to a Stranger's House, Greek Dance, Mountain Gavottes, Turkology, A Piece Without Violins. Well, this is just fascinating; a "Cook's Tour" of (mostly) Eastern European folk melodies reworked as violin duos, combining the utmost inventiveness in violin technique and texture with great respect for the original idioms (and a vivacious sense of humor which never distracts from the musical purpose. A classically trained violin virtuoso who has always striven to look outside the obvious pathways of music history, Taylor has mined a rich vein of material here, taken from traditions in which folk-fiddling is an integral part and reimagined in a most vital and appealing manner. Hollis Taylor (strings and percussion). Twisted Fiddle Music TF50005-2 (U.S.A.) 06B102 $14.98