CLASSICAL CDs for Feb. 2001 - Pt. 2 of 2Some American music to start off Part 2 this month =
MICHAEL KAMEN: The New Moon in the Old Moon's Arms - Symphonic Poem - National Sym. Orch./Leonard Slatkin; Mr. Holland's Opus - An American Symphony - BBC Sym./Leonard Slatkin - Decca 289 467 631-2:
This is the first classical symphony for Kamen, known for his start with the New York Rock and Roll Ensemble, ballet music for many of the leading national companies, and over 70 film and TV scores - including Mr. Holland's Opus, Frequency, Brazil, the Lethal Weapon and Die Hard series, and The Iron Giant. Kamen has fashioned a synthesis of jazz, rock, world and symphonic music in many of his works. The New Moon came out of a visit Kamen made to Canyon de Chelly in Arizona - one of the main ruins of the Anasazi civilization which lived there until their mysterious disappearance around 1300 A.D.
His symphonic poem's title can be roughly translated as: A glimpse of the future in the light of the past. It has four main sections and its theme is the human spirit retaining its emotional quality as it travels through time. The first three sections are placed at 1000 A.D. and the last section is 2000 A.D. The flute player Kopapeli is depicted widely in Anasazi cave paintings, and in the work he is represented as leading his people thru the dance of life. Both solo flute and solo cello are featured in the final section, subtitled Reaching for the Stars. A variety of percussion is also heard throughout this imaginative and colorful symphonic work. The CD is filled out with a five-movement symphonic adaptation of his score for the Richard Dreyfuss film. In this full orchestral garb it cuts a classier figure than it did on the soundtrack but its Finale (the actual "Opus") still fails as a serious symphonic composition.
- John Sunier
LALO SCHIFRIN: Hommage à Ravel; GUNTHER SCHULLER: Piano Trio; GERALD SHAPIRO: Piano Trio - Eaken Piano Trio - Naxos American Classics 8.559062:
All composed between l984 and 1995, these three piano trios demonstrate the variety of approaches to American chamber music, and without resort to academic serialism. As in his Jazz and the Symphony set reviewed this month in our Jazz section, Schifrin mixes African and Latin influences into his lovely generally impressionistic Ravelian trio. The Schuller work eschews his usual serialism in this "third stream" effort that blurs the classical/jazz fence lines. The last movement is even marked "With Swing." The Shapiro work shares with Schifrin's an impressionistic leaning, but spiced with counterpoint and jazz. Its Adagio movement sports an absolutely ravishing melody, and its final movement is solidly minimalist, but retains interest thru an eight-minute length - ending in an apotheosis that seems it should be possible only with a full symphonic ensemble.
- John Sunier
ALEXANDER VOORMOLEN: Baron Hop Suites Nos. 1 & 2; Concerto
for Two Oboes and Orchestra; Eline (Nocturne for Orchestra) - P. Oostenrijk & H. Roerade, oboes/Hague Residentie Orchestra/Matthias Bamert - Chandos CHAN 9815:
Dutch concert music hasn't received serious attention, even in its own country. Radio Holland once offered a series on 400 years of Dutch music, but not much has been done until this new series from Chandos. This is the second release (I thought the first, music of Hol, rather a bore), and it constitutes the first recordings of music by Voormolen, who lived until 1980. He studied with Albert Roussel and was a friend of Ravel, but rather than doing a Dutch version of French impressionism he searched for a personal style. The Baron Hop Suites were inspired by a famous 18th century diplomat and the lifestyle of that period. It is neoclassic, redolent of Richard Strauss's Bourgeois Gentilhomme Suite, and completely delightful from start to finish. Just the title of one movement gives an idea of the satiric slant here: March of the Hereditary Prince-Stadtholder. The Double Oboe Concerto is also a spirited neoclassic work with spectacular passages for both instruments.
- John Sunier
DAG WIRÉN: Symphonies Nos. 2 & 3; Concert Overtures Nos. 1 & 2 - Norrköping Symphony Orch./Thomas Dausgaard - CPO 999 677-2:
Wiren, who lived until l986, is best known to audience for his witty Serenade for Strings. Besides composing, he was also a pianist, organist, conductor and music critic. He was considered an eccentric in Swedish musical life, partly because of his retiring nature and partly because he never made use of Swedish folk material in his music when nearly all other Swedish composers did. Wiren did have in common with some other highly individual composers of his time - de Frumerie, Larsson and von Koch - a strong interest in neoclassicism. The liner note contributor compares Wiren's refined sense of humor with Haydn's. He often composed in a divertimento style, with short motifs and economical development. All four of these works are in the composer's earlier more playful style, while his later compositions were of a more introverted nature. Wiren's Second Symphony is the major work on this CD. Dating from l939, it has a generally pastoral feeling but is full of unexpected surprises. Sections of seemingly wild improvisation are followed by stricter musical structures. The Third is a shorter work with even more economy of style. One expert called it an enlarged sonata form movement.
- John Sunier
Two Very Different Takes on Old J.S. Bach =
BACH in Brazil - Camerata Brasil - EMI 56939:
Any music lover appreciating the genius of Brazil greatest composer, Heitor Villa-Lobos, will be attracted to the title and concept of this unusual album. He created a whole musical form, the Bachianas Brasileiras, to meld Brazilian folk music with the contrapuntal style of J.S. Bach. But it turns out this mix of Bach and Brazilian music was far from unique with Villa-Lobos. His major folk form influence was the choro - a meeting ground between classical and folk/popular music. Though there were choros for piano solo, the usual instrumental setup was flute, acoustic guitar and a ukulele-like string instrument called the cavaquinho.
As the choro form grew, composers such as Pixinguinha and Gnattali wrote original pieces for it, and some are on this 14-track collection. Other tracks are choros-style transcriptions for the Brazilian chamber ensemble of movements from Bach such as 2-part Inventions, the Allegro from the Sixth Brandenburg, or the Badinerie from the Orchestral Suite No. 2. The single included Villa-Lobos selection is an instrumental version of his big "hit" - the Aria from his Bachianas Brasileiras No. 5. Chalk this up as another of a recent number of "crossover" albums which really do cross over without stumbling and falling!
- John Sunier
BACH: Works for Two Clavecins - Suites Nos. 1 & 2 for Orchestra; Concerto in C Major for Two Clavecins; Brandenburg Concerto No. 6 in B Flat Major - Mario Raskin & Oscar Milani, harpsichords - Pierre Verany PV700016:
This duo's previous CD for this label was a fun outing of tangos for two harpsichords. For the current album they have created their own transcriptions of three famous Bach works, while playing the Concerto straight (since it was written for two harpsichords by Bach). Bach's music was completely forgiving of what instruments might perform it in the composer's time, and now more than ever. After all, he transcribed his very own music himself all the time. While the Brandenburg is the big number here, all four pieces are enchanting, with the two orchestral suites reminding one not of scaled-down versions the chamber orchestra originals but more of the partitas or keyboard suites. The sound of the instruments is super-clean and resonant with a natural low end - no danger of a too-tinkly annoyance here. Both harpsichords are recent reconstructions of French-Flemish originals of the 17th century. The cardboard jewel-box-alternative packaging of this and some other French CDs is strong and good-looking - I wish all labels would switch to it.
- John Sunier
GIAN FRANCESCO MALIPIERO: Symphonic Fragments from Three
Goldoni Comedies; Stradivario ballet; La Cimarosiana; Gabrieliana - Italian-Swiss Radio Orchestra/Christian Benda - Marco Polo 8.225118:
Malipiero, who lived until l973, possessed a personality that was a mixture of comedy and tragedy. He was an official of the local Fascist Union of Musicians, paranoid and deeply pessimistic, living in seclusion, but he loved people and kept animals all over his house - goats, chickens, owls, salamanders. His large body of work in all categories was in an individual modern style but always accessible and often very witty. He abhorred 19th century Romantic music (most especially Verdi) and in the second two works on this CD followed the lead of Respighi, Casella and others in arranging music of early composers in 20th century orchestral garb. As the titles indicate, the two composers are Cimarosa and Giovanni Gabrieli. Malipiero described the ballet as "A Fantasia of dancing instruments," and the comedic Symphonic Fragments were inspired by the Venetian playwright Goldoni (the composer was attracted to anything about Venice). If this antipasto of Malipiero whets your taste buds for more, you'll find all 11 of his symphonies on this same label, with Antonio de Almeida conducting.
- John Sunier
OTHMAR SCHOECK: Sonatas for Violin and Piano Op. 16, 22 & Op. Nr. 46; Sonatensatz; Albumblatt: Allegretto - Matthias Wollong, violin/Patricia Pagny, piano - Musikszene Schweiz MGB CD 6163:
A play or novel I read recently (can't recall where) had a reference to a composer who was felt by the author to be the most boring one could possibly imagine. He could have used a fictitious name, but instead he used Othmar Schoeck. What an unfortunate reputation! How he got it I can't imagine, just as I can't understand all the musician jokes about Hindemith being such a pain. I can think of several much more boring or painful composers.
Schoeck was a Swiss composer, conductor and accompanist who lived until l957. He didn't compose a great deal of instrumental music, but in what he did the violin seemed to interest him the most. It may have had something to do with his life-long crush on a particular young woman violinist. I would not suggest starting with the first of these three violin sonatas or you may agree with that idea of Schoeck as a bore. Instead go to Op. 46 - a fine work with a long and lyrical opening movement and brilliant Scherzo. However, the other D Major Sonata - written in l905 and revised in l952 - is a strongly melodic and gloriously Romantic piece which would never be accused of inciting boredom. Its center movement is a theme and variations and the short closing movement a speedy virtuosic windup.
- John Sunier
BACH: Goldberg Variations & More - Blanchette & Michelini II, Arch guitars - Angelic Alternative Recordings:
Blanchette & Michelini Arch Guitar Duo plays VIVALDI, BACH, HANDEL & SCARLATTI - Angelic Alternative Recordings:
This duo has been playing together since they were age 14 and have turned out a series of albums on their own label (details at www.archguitar.com). Their unique instruments are a combination of the ancient and modern. One has 11 strings and plays the upper parts, while the other has a dozen strings and is heard in the lower or left hand parts. The performers wanted to combine the best of the lute with the guitar. The instrument bodies are based on the Spanish Vihuela of the 15th century, but the tuning is entirely different. An additional five or six strings are added to the normally-tuned six strings of the guitar. This allows the players to accommodate complex polyphony which most be simplified to be played on the modern six-string acoustic guitar. Their repertory stays solidly in the Baroque era, and they generally create their own arrangements.
The first CD actually only presents four of the Goldberg Variations plus the original Aria. The other works are by Scarlatti, Couperin, CPE Bach and John Dowland. The second album is similar, with many of the Bach selections coming from the Well-Tempered Clavier. The sound of the instruments is quite lovely - subtle, but not as reticent as the lute. Recording quality is also tops, with nice separation of the two arch guitars that is pointed up by in-car or headphone listening. At times - especially in the transcriptions of movements of Bach concertos for harpsichord - the duo sounds like one of the guitar quartets due to the availability of all the extra strings.
- John Sunier
A pair of releases of music from the Iberian Peninsula =
Españoleta - Chatham Baroque - Dorian DOR-90284:
This foursome was chosen Breakthrough Artist of the Year in l999 by NPR and NARM. The ensemble, dedicated to bringing earlier music to wider audiences, consists of three woman on two violins and a viola da gamba plus a gentleman on Baroque guitar and Theorbo. In their second Dorian CD the quartet is joined by a guest harpist and a percussionist and the theme is secular instrumental music of 17th century Spain. Some of the works are more Italian in nature since Spanish composers Ortiz and de Castro published works in Italy and another composer represented on this CD - Andrea Falconieri - wrote theater music in Naples, which was ruled by Spain at the time. Most of the pieces are dance-oriented variations based on commonly known melodies, so it is the variations that belong to a particular composer, not the original tune. There are Passacalles, Allemandas, Gigas, Minuets, and even a tarantela. The combination of the six instruments is just what might have been available in 17th century Spain for playing these variations, and allows for a great variety of timbres. The line note writer draws a parallel to jazz improvisation in the way such musicians performed variations on the known tunes. This label's crystalline sonics perfectly capture the fine details of the six players.
- John Sunier
Agur Jaunak - Basque Music - Sociedad Coral de Bilbao/Orch. Du Capitole de Toulouse/Michel Plasson - EMI Classics 5 56876 2:
Basques certainly don't want to be considered either Spanish or French. They are unified around their language, Euskara, which has little in common with any other current language in the entire world. (The CD title translates as "Goodbye Gentlemen" - see what they mean about no connection with any other language?) Their territory consists of seven provinces divided between northern Spain and Southwestern France. Singing is a way of life for Basques, just like their men wearing berets. The highly lyrical and often melancholic songs are mostly of folk origin but many have been composed or arranged by Basque composers - such as the opening one concerning the bombing of Guernica during the Spanish Civil War. Most of the lyrics are, however, quite cheery and even witty. Many of the songs are in 5/8 rhythm, a characteristic also found in Greek music. Some songs are for a cappella chorus, and a lovely choral ensemble sound they are. Others feature a soprano soloist with choir, the orchestra joins in on four of the selections, and there is a beautiful 21-minute instrumental suite by Guridi that transcribes six Basque folk melodies. There are English and French translations of all the songs, but you needn't pay any attention to the words to enjoy these gorgeous melodies. I feel this collection holds a similar appeal to the wonderful Songs of the Auvergne arranged by Canteloube. Anyone who loves those works would surely enjoy this Basque music.
- John Sunier
BONONCINI: Cantate Italiane--Gloria Banditelli, mezzo/Cristina Miatello, sop./Ensemble Aurora--Tactus TC 672701
Giovanni Bononcini (1670-1747) was brought to London in 1719 by the Duke of Marlborough as composer for the Royal Academy of Music, to rival Handel's very popular Italian opera seasons. The venture was unsuccessful, even though Bononcini was a capable composer, well-trained in his native Modena with a excellent reputation earned in Rome and Vienna. His music is typical of the time in its structure and harmonies; its distinction is in its long-lined cantabile melodies that fall pleasantly on the ear. Here mezzo-soprano Banditelli sings two of his better-known Italian cantatas, "Il Lamento d'Olimpia" and "Care luci del mio bene"; she has a strong, opulent voice, and though her approach is rather too bold and uninflected for these plaintive songs about lost love, she does well enough. She's accompanied by the four period instruments of Ensemble Aurora, who are somewhat shaky in unison and intonation but play briskly and effectively. Soprano Miatello sings the other four cantatas with a bright, clear voice, more sensitively and idiomatically than Banditelli, and her accompaniment by harpsichord and cello is also better. Excellent sound, but no English translations of the Italian texts. If you enjoy Baroque singing, or want to explore it beyond Handel, you will welcome this disc..
--Alex Morin
CAMPION: English Ayres--Michael Chance, counter-tenor/Rachel Elliott, sop/Mark Padmore, tenor/Peter Harvey, bar/Nigel North, lute/Mark Levy, bass viol/Concordia--Linn CKD 105
Thomas Campion (1567-1620) was unique among Elizabethan and Jacobean poets in that he was also a composer. "In these English Ayres," he said, "I have chiefly aymed to couple my Words and Notes lovingly together"--and that's just what he did, joining his ingenious versification to one charming melody after another. All the songs are in simple strophic form, most of them are about love (some with explicit sexual content), and all of them are quite lovely.
The performers on this disc are well known in the British early music world, and they are excellent. Michael Chance sings 11 of the 24 selections; he's one of the better counter-tenors around, using his clear voice expressively. The others, sometimes singing alone and sometimes as a group, are equally effective. Nigel North, a superb lutenist, provides most of the accompaniments; the rest, by Mark Levy on bass viol and the Concordia ensemble of four bewitching viol players, are every bit as sensitive and idiomatic. In lesser hands this music could sound precious, but not here; these expert musicians are vigorous and joyful and the result is enchanting.
--Alex MorinSend Your Comments to AUDIOPHILE AUDITION!
