It’s so nice to hear the wonderful Czech Philharmonic on a different record label after being confined to an airless acoustic and smothered in excess warmth on Supraphon practically forever. And even though Pentatone has almost entirely abandoned their dedication to the SACD format (and along with it their proclamations of providing cutting-edge, state-of-the-art recorded sound), the sound of this fabulous orchestra on this latest release is excellent - even on good ol' fashioned CD. They sound positively rejuvenated - with sparkle and life, air and spaciousness, precision and detail, dynamics and power without heaviness - all while retaining their glowing beauty of sound we are accustomed to hearing from them.
 
It's also so nice to hear them play with a conductor other than humdrum Semyon Bychkov, who has been recording a lot with them, also for Pentatone. The wonderful sound of the orchestra on this recording must be attributed as much to their conductor, Tomas Netopil, as to the recording engineers. I’ve not encountered this conductor before, but based upon this showing, he is adept at commanding an orchestra’s attention - energizing them to life and keeping them engaged and on their toes. And that’s exactly what Dvorak’s set of Legends needs. There is never a dull moment here, or a slack tempo, or lapse in musical alertness under his direction. I don't ever remember hearing these enchanting musical gems come to life as much as here; nor do I ever remember hearing the Czech Philharmonic come to life on record as much as here. Their playing is ever responsive to Netopil’s every gesture, every subtlety of ebb-and-flow rubato, every nuance in the line, every caress of a phrase. And at all times, the music is delightfully lilting and buoyant, with naturally flowing tempos which propel the music along with a newfound spring in its step. Dvorak’s Legends are rarely completely satisfying on record; they don’t just play themselves, as, for example, his Slavonic Dances can. They require inspired leadership and real insight from a conductor who can bring sufficient light-and-dark shadings, infused with life and vitality, to really make them sing. And in this regard, Netopil succeeds where most others fall flat.
 
The 3 Slavonic Rhapsodies, recorded a year-and-a-half later, are not quite as outstanding. There is just a touch of the residual thickness to tutti passages which was largely absent in the Legends. Nevertheless, Netopil’s gift of bringing this music to life is everywhere evident, and he rarely allows the music to sag down under its own weight. While there’s no denying these are grander, heavier works (they are scored for a slightly larger orchestra as well), Netopil does his utmost to keep them flowing aloft without too much grandiosity. The more familiar Third is certainly the best of the bunch, due in part to its lighter, happier writing. Indeed, the orchestra clearly sounds to be enjoying themselves. And considering they’ve surely played it a thousand times, it’s remarkable how fresh and invigorating it sounds in Netopil’s hands. In fact, he comes very close to matching Dorati’s incomparable 1979 Decca recording of it with the Detroit Symphony Orchestra (only sporadically available in big-box, all-Dorati compilations which seem to come and go with the wind). While the recording is not quite as airy and sparkling as in the Legends, it’s more than satisfactory.
 
The production is first rate, though the informative booklet sadly makes no mention whatsoever of Netopil - which is stupid on Pentatone’s part; he’s a wonderful conductor in this repertoire and is the primary reason this recording is special. So why not provide at least a bio? However, along with excellent recorded sound and an astonishing 80+ minutes' playing time, this is a most enjoyable release. It's truly inspiring to hear how wonderful the Czech Philharmonic can really sound.

​Here we have another recording of the wonderful Meccore String Quartet, featuring playing of consummate refinement. I am not familiar with these works, and if the music isn’t the most engrossing I’ve heard from this group, it is still rewarding to hear string quartet playing at its finest.
 
This recording comes from the Prelude Classics label, founded by the quartet’s violist, Michal Bryla. Bryla is also the producer and recording engineer. And what an impressive endeavor it is! There is a comprehensive booklet which explores the composers and the music, and also includes extensive information about the musicians, including details about the instruments each plays, as well as thorough specifics about the recording technology used. So I can touch on these aspects as well.
 
Let’s start with the Paderewski Variations, which comes second on the CD, but is important in that it is the premier recording of an unpublished work, discovered in the 1980s. The individual parts were prepared by members of the Meccore Quartet directly from the manuscript score. The piece sounds typical of music written in the late 19th Century, with a very traditional set of 15 short variations, all in the same key, each with a clear beginning and end (i.e. they do not continuously flow into one another). This music often reminds me very much of Schubert, and even Beethoven. The variations themselves do not vary markedly in mood or character, and thus are not particularly interesting; nor are they imaginatively scored. (One variation near the end does at least introduce pizzicato). However, I was constantly drawn into the glorious quality of the playing. From the very opening statement of the Theme, the group’s legato is remarkable. And elsewhere, the lovely singing lines - especially from the 1st violin - provide much enjoyment. In all truthfulness, it is the very short (2 minute) Fugue at the very end which I found the most creative and interesting.
 
One minor production quibble, the Variations are not individually tracked, nor are they listed in the booklet. I would have found this beneficial.
 
The Wieniawski is another rarity (I can find only one other recording of it - on a 2023 DUX release) which I found to be more rewarding musically. This was composed not by the well-known Henryk, but by his younger brother, Jozef. Written in the same year as Paderewski’s Variations (1882), Wieniawski’s String Quartet is much more compositionally interesting. It too is traditionally crafted - late Classical in structure and firmly rooted in Romantic harmonic expression. The 1st movement Allegro con brio also reminds me a bit of Schubert, but with an irresistible, propulsive energy. While the 2nd is reminiscent of Tchaikovsky’s own Andante cantabile - though Wieniawski can get a little wayward in the central section with its meandering noodling which doesn’t really add much interest.
 
A somewhat cumbersome (rather than delightful) waltz occupies the Scherzo, again sounding very much like Tchaikovsky, and introduces another wondrous violin melody in the central section. The final Allegro energetic returns us to some of the poignant melodrama of Tchaikovsky, though without being burdened down with too much fervor. It is played with compelling light and dark shadings of texture and dynamics.
 
While I began to enjoy (and more fully appreciate) both works much more during a second and third listen, ultimately it is the superb playing of the wonderful Meccore String Quartet which brings the most pleasure.  
 
The booklet tells us that, for this recording, 1st violinist Wojciech Koprowski plays an original 1846 Charles Francois Fand violin used by Henryk Wieniawski himself, while the remainder of the group plays their usual complement of modern-day reproductions made by Krzysztof Krupa. (There is a fascinating documentary video on YouTube which details the making of these instruments for members of the Meccore Quartet, complete with interviews with Krupa himself.) I am always struck by the sheer loveliness of Mr. Koprowski’s sound, and this recording is no exception. Learning he uses a different violin here, I might perceive his tone as being perhaps just a touch less rich and more textured than I typically hear from him. (Though I noted a similar sound from the viola as well, which is likely merely a playing style appropriate for music from this period.) This is a subtle observation; I enjoyed his glorious singing lines enormously throughout both works, and therefore can simply conclude Koprowski is an absolutely wonderful violinist no matter which violin he plays!
 
As to the recorded sound, the booklet details the technology utilized for this recording, which is interesting reading. Utilizing the celebrated (but rarely used) Decca Tree microphone bundling, Mr. Bryla has made every effort to make the most natural-sounding recording possible. And as such, he has succeeded - though this is a different sound from that heard on the group’s previous “Paris Polonais” CD from Chopin University Press. The overall transfer level here is quite high (requiring me to turn the volume down several notches from my normal listening level), affording the group a rather up-front perspective and revealing a slightly more coarsely textured string sound than usually heard from them. Though placed within a pleasing, reverberant acoustic, there is a barely discernible “empty hall” quality which isn’t quite as natural-sounding as it could be (though this was less noticeable on headphones). Fortunately, it is not terribly distracting and the ear soon adjusts.
 
The production overall is excellent. As mentioned above, the booklet is a tour de force, including highly attractive pictures of the musicians in entertaining, candid shots. And the disc is an impressive multi-channel hybrid SACD/CD - though with a rather short playing time of just 46 minutes, I would have expected another piece to have been included. Nonetheless, this disc is valuable for the unusual repertoire and stylish, elegant string quartet playing.

This year’s Best of the Year recordings come easily to mind - memorable in every way. While Chandos and BIS (2 of my favorite labels) made the list, I was surprised that Warner - my least favorite label by far - also made the list. Perhaps more surprisingly, BIS also made the worst list - twice!
 
Overall, this year’s worst are not quite as bad as the winners (losers) in that category in 2023, where there were some real stinkers of real distinction. This year’s contenders are the worst more-or-less based on the curve. There were many releases in 2024 which were merely good - mostly uneventful and unmemorable. So to make the worst list, these titles were even less good, less memorable than all the rest.
 
Nevertheless, 2 stood out to me as being particularly sub-par. Interestingly, 1 of them, plus another one in the Runner Up category (and a 3rd recording covered in my “Year in Review” roundup), all come from the same musician (Michael Collins - one on his clarinet, the other two from the podium). So I suppose I can conclude I am simply not a fan of his musicmaking and can stop buying his records. Similarly, the other worst title, plus a runner up, come from the same label (harmonia mundi). And they are there as much for mediocre recorded sound as mediocre performances. There is absolutely no excuse for inferior recorded sound with today’s technology and know-how. Again I see a pattern and will likely avoid this label in the future. 
 
I encourage anyone interested in these recordings to read my full-length reviews elsewhere on this blog. I provide simple, concise summaries here.
 
Best
Sutton Orchestral Works - Seal/BBC Philharmonic (Chandos)
Bacewicz Symphonies - Oramo/BBC Symphony Orchestra (Chandos)
Stravinsky - Slobodeniouk/Sinfonica de Galicia (BIS)
Debussy/Ravel/Attahir - Quatuor Arod (Warner)
“Paris Polonais” - Meccore String Quartet (Chopin University Press)
 
The Sutton disc was a complete surprise. I didn’t know what to expect from this composer. And as it turns out, this is quite simply wonderful music which instantly appeals to the heart and soul, as well as the mind. Creative, interesting and superbly orchestrated, with fabulous orchestral playing and recorded sound - Chandos does it again.
 
Speaking of Chandos, Bacewicz’s Symphonies are not only incredibly accomplished musically (and in orchestration), but this SACD is simply one the most impressive-sounding recordings I have heard. Chandos continues to provide some of the very best state-of-the-art orchestral recordings produced today. And this one is simply stunning. If you like the big, blocked chordal harmonies which inhabit the music of Arnold Bax, you will love these symphonies of Bacewicz. These are stupendous orchestral performances, with outstanding conducting from Oramo. I eagerly await the next volume in the series to appear.
 
The recording of Stravinsky Symphonies is notable for presenting the wonderful Sinfonica de Galicia at their finest. Slobodeniouk is a real orchestra-builder, and he’s developed this orchestra into a world-class ensemble. Their Stravinsky is most impressive - incisive, articulate and musical - and BIS affords them outstanding recorded sound. This is one of the most impressive BIS releases I’ve yet heard.
 
The remaining two titles represent string quartet playing at its absolute finest. Quatuor Arod plays Debussy and Ravel as if discovering them anew. And that’s quite an achievement! They also present a terrific new work, commissioned by them, by Benjamin Attahir. The accompanying documentary DVD movie is a commendable addition, making this a surprisingly worthwhile, well-recorded title from Warner (Erato).
 
The wonderful Meccore String Quartet presents a program of music from Polish composers who studied and lived in France. The music is uniquely original, fascinating and innovative - yet entirely approachable and endlessly rewarding. It is exquisitely played, with sumptuous recorded sound. This is a somewhat hard-to-find title which is worth seeking out; it displays some of the best string quartet playing I’ve ever heard.
 
Runners Up
Dorothy Howell Orchestral Works - Miller/BBC Concert Orchestra (Signum)
“United” - Pacific Woodwind Quintet (Fuga Libera)
 
Dorothy Howell’s orchestral music is sheer pleasure - light, pleasant and smiling - miraculously brought to life by the marvelous conductor, Rebecca Miller, replete with lively orchestral playing and sparkling recorded sound. While the Pacific Woodwind Quintet makes its debut with some interesting music, excellent recorded sound and truly superb playing. My notes describe this group as “jaw-dropping”.

Worst
Schumann String Quartets - Quatuor Hanson (harmonia mundi)
Mozart Symphonies - Collins/Philharmonia (BIS)

I am still baffled why Quatuor Hanson recorded the Schumann Quartets for harmonia mundi. I can only surmise the label needed to fill a gap in their catalog and the Hansons were available to offer their services. I can hear no real musical value in having made this recording. And I can’t believe this wonderful young quartet’s playing sounds so cold and clinical in this music. (Harmonia mundi's icy, up-close recorded sound is certainly partly to blame.)
 
Why BIS decided to let Michael Collins turn the Philharmonia Orchestra into a chamber orchestra and record a much unneeded and completely unnecessary Mozart symphonies series is a complete and utter mystery. Driven, heartless Mozart isn’t something anyone needs. And BIS’s thin, forward recorded sound doesn’t help. I certainly won’t be acquiring anymore in this series. (We can hope they don’t even continue with it.)
 
Runners Up
“Home” - Miro Quartet (Pentatone)
Ferguson/Bliss/Holloway Chamber music - Wigmore Soloists (BIS)
Dutilleux Orchestral Works - Gimeno/Luxembourg Philharmonic (harmonia mundi)
 
The Miro Quartet hasn’t recorded much over the decades, and when they finally do get into the studio, they come up with this dud for Pentatone? With two uninspired commissions and the most dreary rendering of the Barber Quartet imaginable, this makes for a pretty bad showing. It’s too bad; this is a very good string quartet. And one wonders where they ever came up with this program. (As a matter of fact, I’ve been seeing a lot of bad programming choices lately from several groups - two on the Pentatone label alone.)
 
The latest album from the Wigmore Soloists isn’t very good either. I struggled with this one, trying to determine why it’s so disagreeable. Is it because the music isn’t very good, or is it because the bright, excruciating clarinet playing isn’t very good? Or is it the unflattering recorded sound from BIS? In the end, I concluded it’s a combination of all 3. And I’m still baffled why they aren’t recorded in their namesake Wigmore Hall, from which the group originates. I won’t be buying any more recordings of the Wigmore Soloists.
 
The Dutilleux collection on harmonia mundi isn’t bad, it’s just not very alluring - missing too much of the atmosphere and mystery of Dutilleux, especially in Metaboles. You can’t just play the notes on the page without creating something out of it, and think (hope) it’ll come out ok at the other end of the microphones. The recording engineers are just as much to blame as the conductor here, with the orchestra laid out in a flat, 2-dimensional plane, lacking spaciousness. The orchestra plays all the notes with expert precision, but without an inspired vision from the podium, it’s just sound. The Cello Concerto, recorded 4 years later, comes off best.

With the proliferation of new Classical releases this year, I've found myself spending much more time listening than reviewing, eager to move on to the next batch of CDs that arrives in the mail. So I decided to gather some of those I haven't reviewed and write brief, encapsulated mini-reviews of the most memorable ones (some in good ways, others not). I've sorted them into the "Good" and "Not Very", plus an Honorable Mention section in between. (And one so appallingly bad, it gets its very own category at the end.)
 
VERY GOOD
Stravinsky Agon and Symphony in C - Metzmacher/SWR Symphony (SWR)
Lucas Foss Symphony #1 - Falletta/Buffalo Philharmonic (Naxos)
Castelnuovo-Tedesco String Quartets - Quartetto Adorno (Naxos)
Bruce Broughton "String Theory" - Bloxham/LSO (Naxos)
"Hungarian String Trios" - Trio Boccherini (BIS)
"French Piano Trios" - Trio Gaon (Hanssler)
Heimat in der Ferne Violin Sonatas - Rudin/Kusnezow (Fuga Libera)
 
A splendid Stravinsky collection comes from an unexpected source - Ingo Metzmacher (a name new to me) conducting the SWR Symphony Orchestra on their own label. The Agon ballet is absolutely splendid - vividly characterized with bright, alert, colorful orchestral playing. The coupling is a very good Symphony in C and a decent enough Symphonies of Wind Instruments (unfortunately in the watered-down 1947 revision). The recorded sound is excellent.
 
I’ve always liked the music of Lucas Foss, but, sadly, hardly ever encounter it. This new Naxos CD from the wonderful JoAnn Falletta and her equally wonderful Buffalo Philharmonic, therefore, is most welcome. Falletta has an extraordinary talent for bringing lesser-known music from lesser-known composers to life in ways which often elevates it to new heights. And such is the case here with Foss’s 1st Symphony. It is fantastic in her hands, experienced as never before imagined. (My notes emphatically proclaim it “Sensational!”). Foss was born in Berlin (as Lukas Fuchs) and studied briefly in Paris, before moving to Philadelphia at age 15 to continue studies at the Curtis Institute. (His teacher was none other than Fritz Reiner, who premiered his first symphony in 1945.) This performance of his 1st Symphony, composed when he was just 22, instantly establishes it (however belatedly) as one of America’s most significant, well-crafted, treasured, uniquely American creations. It can stand proudly alongside those masterful symphonies by pioneering American composers such as William Grant Still, William Dawson, Howard Hanson (et al) as one of the very best.

If only his Flute Concerto (composed 4 decades later) were as gratifying. I have never liked it, and despite glorious playing from flutist Amy Porter in this reading, still don’t. The fillers on this disc, though, are excellent. "Ode" (a bit brooding, with vague hints of Rachmaninoff's "Isle of the Dead") and "Three American Pieces", which falls into the same harmonic soundscape as the symphony, are both rewarding - infused with an air of new discovery from this marvelous conductor. This disc is indispensable - especially for this recording of the symphony, which is even more persuasive and musically involving than the only other recording of it I could find on my shelves, from the Boston Modern Orchestra conducted by Gil Rose (which presents all 4 symphonies on 2 SACDS on their own label, BMO Sound).
 
Another composer I always enjoy is Castelnuovo-Tedesco and I am grateful once again for the Naxos label for producing a much-needed recording of his 3 String Quartets. 71 minutes of absolutely glorious music - original, inventive, instantly appealing and thoroughly rewarding. It is played by a wonderful string quartet I had not encountered before, the Quartetto Adorno. They are afforded some of the best recorded sound from Naxos, making this an essential acquisition.
 
Some interesting new concert music from film-score composer Bruce Broughton also comes from the great Naxos label. Broughton’s music is mostly tonal (sort-of) while continually experimenting with atonality, and always melodically alluring. We start with a beguiling oboe concerto (“And On the Sixth Day”), played enchantingly by the LSO principal oboist, Olivier Stankiewicz. And the atmospheric, ethereal orchestral contribution makes a lasting impression, expertly scored. There are free-flowing tunes aplenty, over a harmoniously expansive landscape, creating an oboe concerto which can hold the listener’s interest more than usual for such a work lasting over 20 minutes.
 
The concluding piece is a substantial (nearly 30 minutes) Theme and Variations for strings, called “String Theory”. I was dismayed to see this clever title exploited after having already been taken, on a splendid 2016 composition by Pierre Jalbert, recorded for Orchid Classics. As it turns out, both works are marvelous, though in different ways. Broughton presents an attractive prelude and main theme followed by an interesting set of 17 variations - with energetic and invigorating passages (which generate plenty of momentum) alternating with sentimental, tuneful sections. At first I was hoping to hear more extravagant string techniques, but during a second listen, I began to appreciate its straightforward, genuinely accomplished musical creativity and deliberate avoidance of gimmickry. The scoring is imaginative, captivating the listener's interest throughout with judicious (and always tasteful) use of pizzicato, harmonics, glissandos, col legno, etc., among its appealing tunefulness. I do wish Naxos had tracked each Variation separately, rather than randomly grouping them together in 3 large clumps. (The meager insert/leaflet doesn't even list them individually.) Nevertheless, I came away enjoying this piece much more than I anticipated, and I was delighted to hear the LSO strings obviously enjoying themselves.
 
As always with these kinds of albums, the LSO’s sightreading prowess is impressive. And they are expertly led by cellist-turned-conductor Jonathan Bloxham, who is adept at bringing out singing lines, colorful detail and vivid characterization. And the Naxos recorded sound is up to its usual excellence with this orchestra in Henry Wood Hall. (Incidentally, and irritatingly, a new horn concerto was also recorded for this album, and is apparently available on the digital download version but not the CD, which plays for just 50 minutes. Tsk-tsk.) 
 
The BIS collection of Hungarian String Trios played by the wonderful Trio Boccherini is positively delightful from beginning to end. Collectors may be familiar with a shorter, similar collection on a 2003 CPO disc played by Deutsches Streichtrio, which can’t begin to compare in charm, beauty of playing or alluring recorded sound to this newer one. The two groups duplicate music by Leo Weiner, Kodaly and von Dohnanyi. But BIS adds a substantial extra work by Laszlo Weiner (no relation to Leo), bringing the total playing time to over 65 minutes (compared to CPO’s meager 49’.) Trio Boccherini is a superb group, whose playing is imbued with ardent musicianship and characterful spontaneity. (Their recording of the Beethoven String Trios on a pair of CDs from Genuin is also outstanding.) They bring this music to life as never before, and BIS affords them some of their very best recorded sound - warm, spacious and detailed. This is one of the most enjoyable discs all year. 
 
Coming late in the year, just as I was unboxing the Christmas CDs, a collection of French Piano Trios from a new group, Trio Gaon, captured my interest. Expert playing and superb recorded sound can’t begin to summarize the gloriousness of the musicmaking heard on this Hanssler CD. I can proclaim this reading of the Ravel Trio to be the best I can ever remember hearing. Rhapsodic soaring lines, underlined with colorful, rapturous harmonies and rich dynamic swells - this group often sounds positively symphonic. I was continually amazed that only 3 instruments were at play here, as they demonstrate once again Ravel’s marvelous creation as the supreme masterpiece it is.
 
Debussy’s Trio, an early student work from 1880, is wonderful too as played here, making it seem nearly as magnificent as Ravel’s. While Francaix’s Trio was, remarkably, written over 70 years later (1986). It is witty and precocious, and reminds me so much of his Concerto for Two Pianos from 20 years earlier, one wonders if he consciously repurposed some of its thematic material in this later trio. The concert closes with the shorter, happier of Lili Boulanger’s two pieces for piano trio, “Of a Spring Morning”. This is an outstanding disc by every measure and I can’t wait to hear more from this group.
 
Finally, a disc of Viennese violin sonatas from two artists previously unknown to me, violinist Fedor Rudin and pianist Boris Kusnezow. I can’t remember what prompted me to buy this release (most likely because it appears on a label I’ve always admired, Fuga Libera), but I’m so glad I did; it is hugely enjoyable. They start with a delightfully refreshing, light, airy and thoroughly unfussy Beethoven A-major Sonata (Opus 12, #2), replete with lively, ebullient tempos. Schubert’s Rondo Brillant in B-minor is a contrasting (and as it turns out, wisely chosen) interlude before the main attraction appears in the form of a relative rarity - the Violin Sonata in G by Jan Vaclav Hugo Vorisek. I had never heard it before and found it to be wholly worthy of Beethoven’s company. It can be heard to exhibit the piano prominence of Beethoven's own sonatas and the lyrical singing tunefulness of Schubert, combined with highly virtuosic writing (for the piano) of perhaps Hummel or Paganini. It certainly showcases the effortless bravura of pianist Boris Kusnezow in what sounds to be some very difficult passagework in all 4 movements, executed with verve and aplomb. This is a real find and I loved it. 

Excellent recorded sound compliments this thoroughly rewarding recital, though the production itself is a bit odd. Rather than concluding the program logically with the exhilarating final Allegro molto of the Vorisek, a short arrangement of a slow, somber Mozart opera aria is appended at the end for no apparent reason - which is absurd. Also, curiously, the booklet, which contains an enlightening program note written by the performers, makes no mention of the musicians at all. I guess we have to google that. This is the first recording of this duo, and I hope to hear more from them in the near future.
 
HONORABLE MENTION
Frederick Block Chamber works - ARC Ensemble (Chandos)
Sibelius works for Violin and Orchestra - Ehnes/Gardner/Bergen Philharmonic (Chandos)
Hans Gal works for chamber orchestra - Soderblom/Ostrobothnian Chamber Orchestra (CPO)
 
A Chandos CD presents premier recordings of chamber music by Frederick Block. (Born in Vienna as Friedrich Bloch, he modified his name to “Frederick Block” when he moved to New York in 1938.) This release is notable for the outstanding playing and musicianship of the wonderful ARC Ensemble (“Artists of the Royal Conservatory” in Canada), whose "pioneering work focuses on the research, performing and recording of music that has been marginalized and forgotten due to political repression". This is the 8th recording in an important and significant “Music in Exile” series for Chandos. (There were two more a decade earlier for RCA.) It’s also notable for outstanding recorded sound, which cannot be taken for granted (witness the inferior sound this same label regularly produces for another innovative ensemble, the Kaleidoscope Chamber Collective, for example). Block’s Piano Quintet in particular is an outstanding work, and so too is the Piano Trio. Only the String Quartet can get a little wayward at times before it’s done (it goes on a little too long, at over 24 minutes), but is still worth hearing. This disc is rewarding, not only for the rarity and richness of the music, but the outstanding playing and excellent recorded sound (CD only).
 
And yet another Chandos highlight from the year had initially brought some trepidation. I feared that an over-familiar and -recorded Sibelius concerto, coupled with some of his less-known violin music, as played by James Ehnes, who frankly isn’t the most charismatic fiddler around, would be a rather sleepy affair. But I was wrong - thanks in large part to conductor Edward Gardner, who is far from sleepy. As a matter of fact, the concerto’s first movement is, quite simply, glorious. It’s refreshingly straightforward and unfussy, propelled by naturally flowing, unperturbed tempos. Ehnes’ gorgeous sound suits it perfectly, while Gardner minimizes unnecessary outburst of melodrama, demonstrating impressive scope and direction, generating splendid momentum. And if the finale isn’t as electrifying as it can be, it is certainly impressively played. Ehnes is immaculate almost to the point of whimsical; the predictability and sheer perfection in his playing exhibits no evidence whatsoever of its fiendish difficulties, denying us a bit of what should make it so hair-raising. It’s more than satisfactory, if not especially revelatory.
 
In the remainder of the program, Ehnes’ gorgeous tone is again perfect for the music, but helpfully not as voluptuous as he can sometimes be. He lightens it to a beautiful silkiness when appropriate, and pours on the passionate richness just when it’s needed most. This music, much of which is rarely recorded, is intriguing. While it’s unmistakably Sibelius, and often recalls his violin concerto (especially in the Humoresques), Ehnes and Gardner bring life and individuality to the writing. And it’s literally like hearing it all for the first time. While I certainly didn’t need another recording of the concerto, this disc, which plays for an astonishing 79+ minutes, is worth it for all the “filler” material, which occupies 50 minutes of that. There are some real discoveries here which are most rewarding, and the SACD is beautifully recorded. 
 
I have always thought of Hans Gal as a contemporary composer (1890-1987). Indeed his symphonies and concertos can sound quite modern - harmonically/rhythmically/tonally exploratory and innovatively creative - as heard in a splendid series of recordings made by the Northern Sinfonia, conducted by Kenneth Woods (concertos) and Thomas Zehetmair (symphonies) for the Avie label. He can even get a little strange sometimes! So I was pleasantly surprised to hear how traditional, proper, tonal, refined and cultivated these pieces for (mostly) string orchestra are. (Only one work has winds.) The entire program is pleasant and smiling, very well played and recorded. Its 75 minutes’ length is perhaps too much for one sitting, but taken in smaller portions, this music is thoroughly enjoyable.
 
NOT SO GOOD
Stravinsky Chamber works - Barbara Hannigan/Juilliard/Royal Academy (Linn)
Stravinsky Violin Concerto/Orchestral music - Ehnes/Andrew Davis/BBC Philharmonic (Chandos)
Hans Huber Piano Quintets - Carmina Quartett (CPO)
Henselt & Bronsart Piano Concertos - Wee/Collins/Swedish Chamber Orchestra (BIS)
Bruckner & Klose String Quartets - Quatuor Diotima (Pentatone)
 
It was an interesting (and rather odd) idea to combine students from Juilliard and the Royal Academy to record some Stravinsky. And an interesting (and rather odd) choice of conductor too. Barbara Hannigan’s experience as a conductor is not extensive and I was surprised to see her on this project. And, unfortunately, she is not the leader these students needed. They are not professionals and obviously not used to playing together, and thus needed perhaps a bit more direction than they received. The program is enticing, but the readings lack character and spontaneity, or even a spark of youthful vitality. They are curiously careful - as if trying to just get all the notes out in the right place at the right time (which they manage to do.) This is a sad disappointment and I can’t help but wonder why Linn Records would ever consider recording this.
 
Another disappointing Stravinsky release comes from Chandos. Where James Ehnes’ Sibelius is infused with freshness from Edward Gardner, such is not the case in Stravinsky with the nearly-80 year old Andrew Davis on the podium. The violin concerto is merely good - missing much of the jagged Stravinsky bite. It is affable to a fault, rendering it uneventful and completely forgettable. As is the remainder of the orchestral program, which is even more lackluster. Davis’ Apollon Musagete is undercharacterized to the point of blandness - not helped by the plush recorded sound, which, though beautiful, tends to polish off too much of the ragged Stravinsky spikiness which is an essential ingredient in this music. 
 
On the face of it, Huber’s Piano Quintets look interesting. There is some good music in them, but too often becomes impossibly grandiose and, frankly, a bit hokey. I can’t fault the playing of pianist Oliver Triendl, who is excellent; and so too is the Carmina Quartett (although their continuous full-power vibrato can get a little tiring). The CD is reasonably well recorded, and this recording makes the best possible case for these works. This release is typical of the CPO label - notable for rare repertoire, usually played by relatively unknown artists, presented in good (but rarely great) sound. This one is interesting to hear just once, perhaps while doing the dishes, but not something I’d return to very soon.
 
The discs of unfamiliar piano concertos and string quartets are good reminders why some music is rarely, if ever, recorded - it’s either not all that good or not all that memorable. I didn’t enjoy either piano concerto on BIS - heavy, Germanic and uninviting. And the performances, especially from conductor Michael Collins (I do wish he'd stick to his clarinet), seem steadfastly earthbound and fail to spring to life.
 
And on Pentatone, I shake my head at Quatuor Diotima‘s choice of music to record. They’ve made so few records, why on earth would they ever turn to Bruckner and the unheard-of Klose for their next recording project? I can understand a desire to be distinctive, but this isn’t even appealing music. Of all the string quartet repertoire they haven’t begun to explore yet, surely something more worthwhile (and enticing) could have been found to signify an enterprising endeavor. A great disappointment from one of my favorite young string quartets.
 
THE ABYSMAL
Haydn Late Symphonies Vol. 1 - Adam Fischer/Danish Chamber Orchestra (Naxos)

This can be quick; my notes are succinct: “Icy. Clipped. Lacking any kind of warmth, joy or semblance of sound musicianship. Even tempos are inconsistent. What orchestra would put up with this?”

The last sentence of my notes says: “DON’T BUY ANY MORE OF THESE.” And I haven’t. There are too many worthwhile releases out there to waste time on any more of these. 

Listening to this disc is pure pleasure. Adrian Sutton is a wonderful composer, and prolific at writing melody. Along with lavish orchestrations, this recording positively invites one to sick back, relax and indulge in the luxuriousness of it - replete with superb orchestral playing and sumptuous recorded sound.
 
Even though most of this material is heard here in premier recordings, it does tend to sound somehow vaguely familiar. The music is tuneful, tonal, harmonically expansive, lush, and positively cinematic - in a pleasantly comfortable way. It’s got plenty of variety and vitality though, making it endlessly engaging and interesting. I thought this music often exhibits the melodic prowess of John Williams, combined with the lyrical warmth of Vaughan Williams and early Richard Rodney Bennett, adorned with the glamorous orchestration of Kenneth Fuchs. And that’s very high praise indeed! It’s a wonderful combination in orchestral music, which in this program, just keeps giving and giving, with never a sense of routine or sameness. Each piece is thoroughly involving, captivating the listener from beginning to end.
 
If the violin concerto isn’t quite as strikingly innovative as the one I recently reviewed by film score composer Kris Bowers, it’s definitely in the same league of excellence (and infinitely superior to either violin concerto by John Williams or the one by Danny Elfman). Both are lyrical, richly melodic and lushly scored, rather than virtuosic and flashy. Bowers tends to be more dynamic and rhythmically propulsive, with dramatic brass exclamations frequently interrupting its melodiousness; while Sutton is a bit more rhapsodic and sumptuous, with intimate interplay among soloist and instruments within the orchestra.

Korngold's violin concerto is a strong influence on both composers, but even more so with Sutton, where nostalgic melodic lines and rich harmonies are punctuated with frequent, episodic outbursts of melodrama. In the first movement, Korngold is commingled with Vaughan Williams, but soon blossoms into the John Williams of E.T. in the rapturous climax leading up to the cadenza, and even more so in the sweeping violin melodies and wistful motifs in the flute which follow it. The second movement, then, is all Vaughan Williams - which really does sound like “The Lark Ascending”, but less despairing. Along the way, there are winsome interactions between the violin and various winds in the orchestra (notably piccolo and clarinet), which are positively lovely. The final movement is a bustling scherzando with an even stronger influence of Korngold, and even a surprise appearance from Max Bruch (!) in an interesting double-stopped passage near the end, before the piece comes to a triumphant conclusion.
 
The frequent hints of various composers make for happy reminiscing, bringing a smile each time a different composer is evoked. The violin playing by Fenella Humphreys is accomplished and heartfelt, and the orchestral support is colorful, sophisticated and involving.
 
After this, I was pleased the remainder of the program gets even better. I found the purely orchestral works to be inspired, original and thought-provoking - with an even more distinctive voice, uninhibited in its outpouring of creative expression.
 
“Short Story” is a rather traditional, British-sounding depiction of the airy countryside, reminiscent of Bennett’s “Summer Music”, complete with tunes galore, again often featuring the piccolo. And we know we are hearing something special. And that impression continues in “A Fist Full of Fives” - cleverly titled, as the meter is in 5/4 and there are 5 thematic sections. The subtitle “with huge fire and energy” doesn’t necessarily fit; I hear it as dancing most delightfully, with animated, articulate passages alternating with lyrical wisps of melody throughout. The first section is delicate and gossamer, with incisive, articulated interjections from every section of the orchestra. The second subject takes over, played by a wind quintet, followed by yet another glorious melody on the strings. Muted trumpets soon announce an energetic, galloping rhythmic section, and another dance ensues. It’s effervescent and festive, and a bit of the “fire and energy” emerges with the trombone rips near the end, bringing it to a thrilling conclusion.
 
It must be noted here the expert leadership of conductor Michael Seal, who manages to make the persistent 5/4 meter totally danceable - lifted aloft, easy and effortless, never clunky or cumbersome. This work is a true masterpiece which, along with "Short Story", should be included in every major orchestra’s repertoire. Both are simply wonderful.
 
Jumping ahead to the concluding “Five Theatre Miniatures”, we have a marvelous suite of themes taken from previous stage works, repurposed here in orchestral arrangements which would make a splendid (if rather short) ballet. The opening excerpt from Sutton’s music for Murder on the Orient Express is energetic and brilliantly scored, with percussion aplenty and more trombone raspberries. This is music right out of a stirring album of “Epic Film Scores” and certainly gets the heart pumping. Next is an Intermezzo, where we are treated to another glorious John Williams-esque melody, full of poignancy and heartwarming tenderness.
 
A short, lively gigue is a welcome interlude, followed by “Polperro Beach”, with its restless, undulating pulses evoking waves, above which another glorious melody rises in the strings. True to its marking, tranquillo, this is serene and peaceful, but builds to a fine climax. The suite closes with another energetic gallop, recalling a familiar John Williams theme from Star Wars The Phantom Menace, bringing the concert to a dramatic and exciting conclusion.
 
Going back to the suite I skipped over, we hear Sutton’s more familiar music for the British theater production, War Horse (not to be confused with the John Williams score for the 2011 Spielberg movie of the same title.) This is a truncated version (6 selections lasting under 15 minutes) of his earlier 2016 concert work, “War Horse, the Story in Concert”. It is enjoyable and programmatic in a cinematic way which would actually make splendid movie music. It's the perfect length in this condensed suite.
 
While at first I was disappointed Chandos chose to release this as a standard stereo CD rather than the full multi-channel SACD treatment it deserves, I needn’t have worried. The recorded sound is resplendent and the presentation is luxurious. And the BBC Philharmonic once again demonstrates it is one of the very best, with playing which is elegant, dynamic, engaging and full of life. Conductor Michael Seal is very much at home in this repertoire, making the most of these scores. In fact, he often reminds me of John Wilson in that regard - who, incidentally, has made a few recordings for Chandos with this same orchestra (Coates, Copland).
 
It’s rare I can find nothing to grumble about in a new recording, but this is one of those pleasant exceptions. It is, without hesitation, one of my favorite CDs of the year - glorious music, glorious orchestral playing and glorious recorded sound. Orchestral recordings don’t get much better than this for sheer enjoyment and pleasure. I loved every minute of it.
 
Postscript: I learned after listening to this disc and writing this review that Adrian Sutton was recently diagnosed with incurable cancer and was actually undergoing chemo treatments during the composition of his violin concerto. I can’t even imagine the strength and determination it took to continue with it, especially as the end result is such a remarkably accomplished and uplifting achievement. What an extraordinary talent.

I passed on the Calidore String Quartet’s previous Beethoven set of the late quartets, issued in early 2023. Based solely on the sound samples I listened to online, I thought they sometimes sounded a bit forced, like they were perhaps trying too hard. However, I couldn’t resist acquiring this second volume of the middle quartets, as these are some of my most favorite string quartets in all the repertoire. And I’m happy to hear they relax beautifully for them. In fact, their playing here is so wonderful, I may have to explore more of their recordings.
 
Comparisons with the magnificent Dover Quartet’s Beethoven set on Cedille Records are unavoidable. The Dovers are simply unmatched in Beethoven, bringing such freshness, insight and sheer enthusiasm to these masterpieces, it’s as if hearing them for the first time. I was surprised to hear the Calidore String Quartet come close to matching the exalted levels of excellence attained by the Dovers - at least in the Razumovskys. Their recorded sound, however, is not quite as exalted. Although very good in the Op 59s, it's not as opulent as the Cedille for the Dovers. Unfortunately, it’s less good in #10 and 11 on disc 3 (which I will explain when we get there).
 
Musically, the Calidore Quartet’s Beethoven is refreshingly straight-forward, musical, sweet, joyful and completely unfussy. If their dynamic range isn’t quite as striking as the Dovers, their playing is certainly an equal to many of today’s superb young string quartets in precision of ensemble, crisp articulation, singing expressive lines, sweetness of tone (especially the 1st violin), and detailed inner voices. Tempos are sensible, alert and energetic, though not as spectacularly vivacious as the Dovers. Adagios are almost always a bit slower and less flowing, but not excessively so. The Calidores also tend to play more consistently with vibrato, rather than thinning it to none at all, which is becoming customary these days. (The Dovers do it a lot, as do many others.) There is plenty of variety in their speed and intensity of vibrato, along with nuance and variety in expression and tone colors. And I actually enjoyed it more than when vibrato is eliminated altogether for dramatic effect. The Calidores are slightly more traditional in this regard, I suppose (with never a need to call attention to it), but there is no denying their enduring sweetness of tone. They actually remind me more of the Pacifica Quartet (another one of my favorite American string quartets) than the Dovers.

Beginning with Opus 59 #1, the 1st movement is warm and singing, with excellent dynamics and articulation - yet simple and natural, in a pastorale way. Special mention must be made of the sweet, singing tone from 1st violinist Jeffrey Myers. This is surely one of Beethoven’s most smiling creations, and the Calidores relish it. The 2nd movement is effervescent and joyful, with the scherzando element perfectly demonstrated. The Adagio is perhaps a tad slow, but in the final Allegro, their dynamics and articulation are again most impressive.
 
With #2, we hear inner details more fully revealed - perhaps in part because of the airier, slightly more transparent recorded sound (which, though subtle, is in every way beneficial). And it is the viola which asserts itself with authority, revealing many important inner lines in the 1st movement which often go by without sufficient notice. There is also a fullness of harmonic progression, especially in faster passages, highlighting the chordal structure in the writing which is most enlightening. Again, this often comes from the prominence of the viola (with a wonderful richness of tone from Jeremy Berry). 
 
The Allegretto is vigorous without being gruff, while the final Presto is as happy and sweetly singing as it is propulsive and crisply articulated. The interplay between 1st violin and viola is especially delightful and engaging. This is simply some of the most joyful Beethoven one could hope for.
 
In #3, beginning in the 1st movement, we hear the 2nd violin gain importance in Beethoven’s writing, becoming a real equal to the 1st. And in the 3rd movement, adeptly dueting with the 1st violin here and the viola there - at all times their equal. This is absolutely marvelous chamber music, and absolutely marvelous chamber music playing, with superb contributions from 2nd violinist Ryan Meehan. The final movement is appropriately vigorous and invigorating - dramatic and very exciting - without ever becoming forced or aggressive. The group knows their limits, and never tries to overplay their fortissimos.
 
The “Harp” (#10) is, once again, sweet and simple. And I really like that their vibrato is minimized rather than completely eliminated. The variety of tone and expression is there, but so is the sweetness. Too often there is a thin, icy quality when vibrato is ruthlessly eliminated. I admire the way the Calidores play this.
 
I also perceive dynamics are a bit more pronounced, and so too is a bit of coarseness to the string texture that I hadn’t heard in the Razumovskys. And I soon realize the microphones seem a bit closer to the musicians, providing a more upfront perspective than before. The dry acoustic is revealed more clearly as well. (I hadn’t even noticed it being particularly “dry” before, but it is very obvious now.) The booklet reveals this was recorded several months earlier than the others, and while the recorded sound is still clean and never harsh, it isn't as alluring. But the sweetness of tone in their playing remains. The closer scrutiny of the players also tends to emphasize their wooden, textured sound (sometimes helpfully, others not so much), and highlights the husky presence of the viola that I noted earlier, which again sounds simply glorious.
 
After the slow introduction of the 1st movement, I am pleased the Allegro isn’t rushed off its feet, but the Adagio is again too slow for my liking. (It is marked ma non troppo, "but not too much”, which the Dovers demonstrate exactly how and why that is musically important.) The Presto is certainly vigorous, but the closeness of the microphones here is somewhat detrimental, lending a gritty texture which can become distracting above mf. The final Variations go by uneventfully, and I come away thinking this performance, though good, isn’t quite up to the exalted level of the Razumovskys.
 
Nor is the “Serioso” (#11). The opening Allegro con brio could ideally use more brio (although the cello certainly brings the gusto), and the Allegretto more seriously could (should) have moved at a quicker tempo. This feels more like Andante (at best), but does provide a more striking contrast to the 3rd movement’s Allegro vivace, which certainly moves (but sounds faster than it actually is). And here again I really wish there was a bit more air and spaciousness to the acoustic. The final Allegretto agitato is played with a touch of delicacy and seems a little less agitato than often heard. But I liked it very much. And it leads effortlessly to the final sprint at the end, where the Allegro is taken at an exhilarating presto - gossamer and very exciting. Overall, this reading is pleasing in a rather relaxed, appropriately “serioso” way. 
 
If not as fresh, invigorating or downright riveting as the Dover Quartet is in these works (nor as well recorded), there is a satisfying consistency to the playing of the Calidore Quartet which makes this set of 5 quartets enjoyable. And I really like that the production presents them in chronological order (though the booklet reveals they weren't recorded in that order). I look forward to the final volume of the early quartets, coming in January 2025, as I believe producer and sound engineer, Judith Sherman, is getting better at this as the sessions progress. I would expect all the wonderful musical qualities to continue in the Opus 18s, and hope for further improved recorded sound, which should make for a wonderful combination.

This is another rather hard-to-find release, appearing on a label I’ve never heard of, la dolce volta. Similar to the Paris Polonais disc I recently reviewed, this one seems to be available only sporadically on CD, and more readily as a digital download. Either way, it is worth seeking out. (I managed to get a CD from Amazon just before they updated their listing to "currently unavailable".)  

As the title indicates, this is a collection of French symphonic poems by female composers. It is an interesting program, with 61 minutes of unjustly neglected music, superbly played and recorded.
 
Not everything here can be considered a true masterpiece of course, but there is some wonderful music along the way. And it’s perhaps unfortunate (and unfair) that the only living composer of the bunch, Betsy Jolas, is given top billing on this production, as I found her piece the least substantive and musically creative among them. But I’ll get to that momentarily.
 
Let’s begin with Wagner. Oops - I mean Augusta Holmes. The brass opening of her Andromeda sounds for all the world like Mahler, and even more like Franck (her teacher), with unmistakable hints of The Accursed Huntsman, written the same year (1882). But the piece overwhelmingly sounds like Wagner. Not only musically (and in orchestration), but also length - it goes on for nearly 15 minutes. It is pleasant and bursting with big, Romantic melodic lines - richly orchestrated. But the entire piece sounds curiously, persistently familiar - almost like deja vu. Not that that’s bad, it’s just not terribly individual or distinctive. But I enjoyed every minute of it.
 
Jump ahead 30+ years, and Lili Boulanger takes us from Wagner to the soundworld of Debussy. Her music is more delicate, more transparently scored, more harmonically exploratory, and more, well, Impressionistic.
 
The first of its two sections, “On A Spring Morning”, is refreshing after the grandiose Holmes which precedes it. Full of color, it conjures up the shimmering glow of dawn sprinkled with the anticipation of a new day - sounding ever so much like Debussy's La Mer. “On a Sad Evening” is sad, yes, but permeated by a palpable sense of doom. The 24-year-old Boulanger was well aware of her terminal illness (tuberculous) as she composed this, and that realization can be felt in the very essence of the music. (She died later that year, 1918, just 10 days before Debussy.)
 
If this music sounds familiar, that’s probably because these two pieces were originally written for Piano Trio and have been recorded several times - most recently by the Neave Trio on Chandos. The orchestrated version has also been recorded before - by JoAnn Falletta in 1992 for Koch - although, curiously, she reverses the usual order of them, starting with Sad and closing with Spring.
 
Next up are 3 symphonic poems by Mel (Melanie) Bonis. These were originally piano works based upon legendary females, but never published in her lifetime. They were orchestrated while she was studying with Charles Koechlin in 1908-09. (There was a 4th one, "Omphale", which they never finished). ​

These are seductive - colorful and heady. "Cleopatre" occasionally brings to mind Richard Strauss and Szymanowski, flavored with the glittering orchestration of Rimsky-Korsakov. "Ophelie" is all Rimsky - the dramatic brooding of Le Coq d'or; while "Salome" is spirited and sensuous, with glimmers of Scheherazade. I wish someone had taken the initiative to have the 4th piano piece orchestrated, as I didn't want this to end.  

Despite (or because of) their evocation of the rich orchestrations of Rimsky-Korsakov, these three by Bonis are arguably the highlights of the entire disc - expertly crafted, musically engaging and superbly orchestrated. 
 
As a matter of fact, all three of these composers are brilliant at orchestration, which is probably the most salient characteristic of their music. It is brought vividly to life here by conductor David Reiland and the wonderful Orchestre National de Metz Grand Est (in Northeast France), aided by sumptuous recorded sound.
 
Finally we get to the "main attraction" of this program, the new work by Betsy Jolas. It was commissioned in 2016 by the Berlin Philharmonic after a meeting with its then conductor, Simon Rattle. Jolas explains in the booklet that the work is an homage to one of her favorite composers, Mussorgsky, and his Pictures at an Exhibition specifically. And similar to that famous work, it has short sections (just 3 of them) separated by little “strolling” interludes. But they are not based on a recurring theme and thus don’t hold the piece together like Mussorgsky does. And the three primary sections (“Knocks and clocks”, “Shakes and quakes”, “Chants and cheers”) are more clever than they are substantive, and are simply too short to make any kind of lasting impression. (Although the final section, which to my ear resembles neither chants or cheers, is somewhat reminiscent of Dutilleux, which roused my interest somewhat.) The entire piece lasts just 12 minutes and I wish there were more to it. Jolas obviously has talent, and the concept is novel. If only she had developed these sections into something more (and definitely added a few more of them), this piece might have been more of a success. As it is, I found it slightly amateurish and not much more than a curiosity.
 
As to the production - on first glance, it is impressive. It comes in a thick, hardback book with a sleeve at the back for the CD. But with the extravagance of the sheer size of it, the booklet itself (in French and an English translation) is rather unwieldy and unorganized; and for all the pages it occupies, is surprisingly meager with in-depth information about the music or the composers.
 
Let me describe what we’ve got here.
 
The English section begins with a 2-page printed translation of a poem by Augusta Holmes (Andromeda). There is no introduction to it or any reference to how it relates to the music on the program. It just … appears. Immediately following it, there is a commentary about the importance of knowing if a piece of music is written by a woman or a man and whether that knowledge influences our enjoyment of it. That narrative quickly makes an abrupt segue to the origins of "program music" in French symphonic poems. These seem to be just random thoughts expressed without coherence or context.
 
Eventually they get to brief descriptions of the music and composers pertinent to this recording, followed by a little interview with Betsy Jolas (consisting of 3 succinct questions about her commission etc.). Then the booklet goes back to short summaries of the composers again - but just 3 of the 4 of them (and in a different order from how they were discussed earlier). And nothing more about Jolas. How odd. The final pages contain some random photos of the recording session, and close with info about the conductor, the orchestra, and production details.
 
Fortunately, the recorded sound is excellent and the playing of the orchestra is superb. And there is some glorious music here, much of it musically rewarding - and remarkable, considering it is written by women, merely for the fact of its relative neglect. And in response to the question posed in the booklet about gender, no, that did not influence or affect my appreciation, understanding or enjoyment of this music. I considered this program based solely on its musical merit. 
 
Finally, it's interesting to compare this collection of mostly rare French orchestral music to a similar 2-CD set I reviewed earlier this year, Aux Etoiles, which offers considerably more of it. Two selections are duplicated: the shorter, happier of Boulanger’s pair (“Spring”), and one from Bonis's trilogy, “Cleopatra”. In both, Nikolaj Szeps-Znaider in the earlier set adopts broader tempos than does Reiland. And in general, Znaider tends to bring out the symphonic grandness in all of the music on his set, while Reiland elicits more life, characterization and sparkle from his orchestra - and receives consistently superior recorded sound as well. Both collections are invaluable, but if I had to choose just one, it would be this later, single disc collection.  

This is a somewhat unusual (and likely hard-to-find) title. It comes from the Chopin University Press in Warsaw, Poland. It seems to be available only via digital download in the U.S., but a CD can be obtained from Europe. (I got mine, as I do most new CD releases, from Presto Classical.)
 
The three quartets presented here come from a generation of Polish composers who studied and spent significant time in Paris. Thus the title of the album, Paris Polonais. Decidedly Polish in origin, there is a French flavoring to this music which is extremely attractive. And while these composers were contemporaries, their music is individual and distinctive, making this album most appealing. All 75 minutes of it.
 
Let me first say how strikingly beautiful this disc sounds. The playing of the Meccore String Quartet is exquisite, and the recorded sound is luxuriant. This is a very different sound than heard from this group on their recent Penderecki CD on the Capriccio label. This is much more atmospheric, with the musicians set back in a lovely, reverberant hall - affording them an almost impressionistic glow. The engineer has masterfully mitigated the reverberation (which under less careful hands might be just too much), presenting the group with focus and presence, allowing plenty of detail.
 
I was not familiar with any of these composers, so each piece is a new discovery. And a complete revelation.
 
The disc opens with the most instantly gratifying and approachable composition, the String Quartet by Stefan Kisielewski. This is a student work - firmly tonal and youthful, based upon folk song. There are hints of Bacewicz, with whom he was friends, but more notably, Shostakovich.
 
The opening Allegro moderato (taken at a superb tempo) is playful, rhythmic and spiky, alternating with lyrical passages in an endlessly varied, almost restless outpouring of thematic motifs. There are many soloistic passages, often with various instruments engaged in back-and-forth exchanges, as if in animated conversation. Notable among them is the characterful playing of 1st violinist, Wojciech Koprowski, and the unmistakable, voluptuous richness of tone from violist Michal Bryla. I noted his incredible sound on the earlier Penderecki recording, and hearing it again here, I am reminded of how glorious it is.
 
The 2nd movement Adagio is deeply reflective, but not heavy. It features opulent sound from each player individually, and a rich blend from the group as a whole. This is simply gorgeous string quartet playing.  
 
The very short, Prokofiev-ian Gavotte is a quick, lively court dance, followed by an energetic finale, taking us back to the folksy playfulness of the opening movement - again reminiscent of Shostakovich. The piece is brought delightfully to life by this fine group, revealing it to be a real find. I absolutely loved it.
 
The 2nd String Quartet by Roman Palester is a bit more challenging. It is very long (32+ minutes) - laid out in a single, continuous movement with many varied sections within it. The CD confines it to just one track, insisting the listener get all the way through it in one sitting. And I'm glad it did. I was amazed that it didn’t feel long at all, though there is no denying the sprawling scope of it. It is more atmospheric and harmonically adventurous than the Kisielewski. And it instantly drew me in - completely immersing me into its intriguing soundworld.
 
Right from the pp opening, not quite tonal (but not deliberately atonal either), the otherworldly atmosphere created is mesmerizing - before an energetic, ff rhythmic theme commands attention, played with superb articulation. There are reflective moments of yearning too - tunes with hints of tonality (but not quite), played rapturously by this group's 1st violinist. There are occasional contrapuntal passages between two players as well, endlessly alternating with engaging rhythmic interjections from the entire group. And so it goes for over half an hour, with an incredible variety of mood in the music, and articulation in the playing, keeping the listener absolutely transfixed. I enjoyed every minute of it.
 
I cannot stress strongly enough the importance of the superb playing of the Meccore String Quartet to the success of this piece. The vivid characterization, wide dynamic range and rich tonal colors on display here combine for a stunning performance. And the recording expertly captures the immediacy and dynamics of the group, enveloped in a spacious hall acoustic. This is an unbelievable piece of music - emotionally demanding (but not draining), and intensely moving.
 
Finally, the String Quartet by Konstanty Regamey is rooted firmly in the 20th-Century. Written 12 years after the others, it is more “modern” still (even more so than the Palester), completely atonal, but surprisingly lyrical, in an intimately communicative way. The 1st movement is rather harmonically dense but rhythmically propulsive too. The characterization this group brings to this music is captivating.
 
The Lento is sad and expressive, beautifully played, while the Allegramente is more rapturous and impressionistic, with some passages exhibiting enticing bits of harmonic tonality. It’s also light and dancing, with folk tune elements irresistibly conveyed - enhanced by silky, shimmering string sound which delights the listener from beginning to end. And with it, this wonderful concert comes to a satisfying and musically fulfilling conclusion.

I had a hard time finding the words to describe this recording. The music is so uniquely rewarding and the playing so superb, the entire disc becomes an engrossing experience. And difficult to adequately describe. You really must hear it for yourself.
 
Fortunately, the entire production is excellent. The CD comes in a highly attractive tri-fold enclosure with an interesting plastic-coated (almost rubberized) texture to it - affording it a most unusual, luxurious feel. There is also a substantial booklet (in Polish and an English translation) containing some of the most comprehensive and interesting program notes I’ve seen in a CD release. (This cannot be taken for granted these days; I'm seeing more and more CD releases which skimp on the program notes - or, in some cases, forego them altogether.) There is a fascinating deep-dive into the 3 composers (and these works) as a group, followed by individual notes detailing each one separately. There is also an informative bio of the quartet and its musicians, along with highly attractive photography. Add in the excellent recorded sound, and this is one of the best productions of new music I’ve encountered in a long time.
 
While this recording isn’t a main-stream release, and therefore might be a bit of a challenge to obtain, it is worth the effort. It is surely one of the best recordings I've heard this year - musically, sonically, and most definitely, artistically. This is simply magnificent string quartet playing.

I loved the Quatuor Hanson's two previous recordings for Aparte Records. So when I saw them doing Schumann on Harmonia Mundi, I wondered, why Schumann? Of all the string quartet repertoire which they haven't even begun to explore yet, why Schumann? They must have a special affinity for his music.

Not hardly. Listening to them play this, that's obviously not the case. Their playing is immaculate and cold - lacking warmth and expression. They made the horrible decision to play much of this music almost entirely without vibrato. Or their usual sweetness of tone - exacerbated by Harmonia Mundi's icy, grainy, close-up recorded sound. The word which comes most frequently to mind is acerbic. This is about as far removed from the rich, Romantic Schumann we all know and love as you can get. And again, I wonder why. 

When pianist Adam Laloum joins them for the Piano Quintet at the very end of the program, they manage to find some humanity in the music. And a touch of warmth. And I wonder why. Did Mr. Laloum insist on a more beautiful sound? (Perhaps.) Maybe the group just likes this piece more than the quartets. (Perhaps not.) There is still an emotional detachment and cold perfection in their playing, which remains steadfastly vigorous without being invigorating. While they do sound a bit more like we are used to hearing them play, it's not enough to salvage the set. And the recorded sound continues to annoy.

This group's change in record labels reminds me of another string quartet which I have greatly admired in the past - the Attacca Quartet. I thought their albums of music by John Adams and Caroline Shaw on small independent labels (Nonesuch and Azica) were simply awesome. And then they moved to SONY, and their debut album there is abysmal ("For All Joys"). And now something similar (although to a lesser degree) has happened with Quatuor Hanson when switching to a different/bigger label. And I wonder why.

Everything about this release is puzzling. Harmonia Mundi has already embarked on a comprehensive series of Schumann chamber music featuring Isabelle Faust (et al) - including the Piano Quintet just 6 months ago (11/2023) - and one wonders why they decided to veer away from that fruitful partnership and turn to the Quatuor Hanson for the string quartets. 

Whatever the ill-advised reason for making this unnecessary recording, this is Schumann without much love. I tried it on two different occasions and hated it both times - not the music, but the music-making and the irritating, unpleasant recorded sound. To experience this music played with freshness, involvement and heartfelt expression (with superb recorded sound), look no further than the magnificent 2019 recording (of the 3 quartets) played by the Dover Quartet on Azica Records. They bring precision and a glowing warmth to this music which the Hansons simply can't begin to match. 

This disc mysteriously showed up in my mailbox one day. I didn’t order it; and no one had contacted me about sending a promo copy. Not really interested in it, I laid it aside and forgot about it. Until one day when I wasn’t really in the mood for anything in my stack of new releases, I spotted this CD buried underneath them and thought I’d give it a try and see if it was any good. I read that the composer, Kris Bowers, is primarily a film/TV score composer, which piqued my interest.
 
Well…nearly half an hour later, after being completely mesmerized by what I was hearing, I came to the realization I had just listened to something wonderful. Who is this composer? Who is this marvelous violinist? And the orchestral accompaniment is played by a youth orchestra? That’s simply astonishing.
 
This violin concerto was commissioned in 2019 by the Los Angeles-based American Youth Symphony as part of their Korngold Project, and was premiered by them the following year with Charles Yang soloist. Unfortunately, extended effects and reduced funding sources in the wake of the Covid-19 pandemic necessitated the orchestra to cease operations in 2024. This CD is their closing legacy.
 
Violinist Charles Yang, who attended Juilliard with Bowers, is a current member of Time For Three - self-described as a "classically trained string trio" (though not the usual kind - 2 violins and a double bass, all of whom sing while they play), which “explores a variety of musical genres including bluegrass, rock, jazz and hip hop". A quick sampling of their YouTube videos confirms they are a crossover group for sure - with an eclectic blend of vocals and strings, playing up to the audience with exaggerated involvement on stage, sometimes enhanced by ethereal lighting. While they are obviously accomplished musicians, I wouldn't have expected to hear such consummate playing from one of their members in a traditional Classical concerto on this CD.

Ultimately, none of this really matters - except that it’s interesting to know. What does matter is that Yang is an excellent violinist. The first thing that struck me (other than the superb recorded sound) is his tone - silken and wooden (rather like Ray Chen), infused with vibrant radiancy. And the heartfelt expressiveness in his playing - notable for legato singing lines soaring aloft with sweetness and fervor. Despite whatever music he was playing, it was a joy listening to him.
 
As to the concerto itself, amazingly this is Kris Bowers’ first concert work for orchestra, and it is certainly worthy of the commission and Yang’s lavish talents. (He surely should have been named first on the album cover, before the soloist.) It is superbly crafted - creative, captivating, beautifully orchestrated and extremely gratifying musically. In fact, it is so good, it makes the violin concerto by that other “film composer”, Danny Elfman (his so-called "Eleven Eleven” Concerto, reviewed elsewhere here on my blog), sound rather hackneyed and commonplace in comparison (which it is). This concerto by Bowers is in a much more exalted level altogether - even compared to the two by John Williams (since we’re talking about film composers).
 
Considering Bowers was commissioned to write this piece as part of the orchestra’s Korngold Project, it’s not surprising that it sounds so similar to Korngold’s own violin concerto, with its rhapsodic melodies and rich harmonies in the orchestra. But Bowers reveals his film-score roots much more frequently (and dramatically) than does Korngold - especially in the opening Moderato, where energetic, rhythmic outbursts often interrupt the impassioned melodic passages. There is almost an improvisational feel to it, as it establishes a freer and more adventurous exploration of harmony. Its abundance of melodies never becomes overly sentimental; there are moments of real struggle in this music, with embattled interplay between orchestra and soloist. 

The Second movement is even more reminiscent of Korngold - a pensive, nostalgic Larghetto, played here rather more like a free-flowing Andante, with an attractive forward momentum and sweeping lines. What makes it so special is the appearance of a scintillating Scherzo in the central section, leading to an intriguing cadenza, which makes some challenging demands of the soloist. It is followed by a mesmerizing final section - with a very moving, wistful melody in the violin above a spellbinding atmosphere in the orchestra.  
 
The final Presto veers far away from Korngold’s Allegro assai vivace. This is a relatively short, propulsive moto perpetuo, displaying thrilling virtuosity from the soloist. I was impressed with Yang’s ability to play all the busy passagework without ever sounding “scratchy”. His tone remains at all times full-bodied and assured - fleet and effortless, yet articulate and muscular. And the orchestral contribution throughout is dynamic, impactful and sophisticated. The piece comes to a dramatic conclusion, almost too abruptly; it was over too soon and I wanted more. 
 
This is a fantastic piece which deserves to be performed everywhere. The playing of the soloist and orchestra on this recording affords it the strongest possible advocacy - aided by inspired conducting from (cellist) Carlos Izcaray and sumptuous recorded sound.
 
After the glorious, melodious, enraptured beauty of Bowers’ concerto, the coupling is an unfortunate (and perhaps ill-advised) choice. It doesn’t really show this young orchestra at its finest (despite excellent playing all ‘round) and instantly sounds rather formulaic and derivative. I’m not a big fan of Schoenberg in the first place, and certainly not of his Chamber Symphony #1 - especially in this unnecessary arrangement for full orchestra, which just tries so hard to sound like Richard Strauss. But even in this grandiose orchestration, there is much to admire in this reading, played with elan by this fine orchestra. 
 
The recording, especially in the concerto, is quite simply, lovely. I had just listened to a new CD-only release from Chandos, which I thought sounded very good despite having been denied the usual SACD treatment. But listening to this new Orchid CD immediately after it, I was instantly immersed in a higher level of realism and involvement - transported to an absolutely gorgeous acoustic which affords the orchestra a glowing, lustrous blend, cushioned on air, full of color and sparkle. And there are some potent bass drum strokes too - deep and pillowy, but never overpowering. The Schoenberg, recorded 2 years later in a different location, is not quite as lovely. The orchestra sounds a bit less spacious and plush, revealing a slightly more rugged character in the playing - which I suppose is appropriate for Schoenberg.
 
Finally, I must address the production itself. The total playing time of this CD is just 48 minutes. So even on the face of it I feel shortchanged. And when you factor in the less than desirable Schoenberg takes up 22 minutes of it, that leaves just 26 minutes of rewarding new music. However, taking into consideration the circumstances surrounding this recording, there likely wasn’t an opportunity to record more music once it became imminent the orchestra would be disbanded. So all must be forgiven - because Kris Bowers’ violin concerto is marvelous, as is the violin playing of Charles Yang, and it simply must be heard at all costs.