Anyone who reads my blog knows I love the Piatti Quartet. It is interesting though, as is so often the case with many of today's string quartets, some of their personnel keeps changing (particularly the 2nd violin and viola) with each new recording.1 But, amazingly, their ensemble playing remains consistently excellent record after record. And that's what matters. And they’ve been extremely fortunate to receive consistently excellent recorded sound as well (though I do have a slight reservation with the sound here in the opening work.)
 
With this latest recording for Rubicon, 2 of their members are different from their previous recording for this label just two years ago (yup, the 2nd violin and viola). And even though the recording engineer and venue (St. Silas Church, London) are the same as before, the recorded sound is not quite as good - but just in the opening work, Vaughan Williams’ Phantasy for String Quintet, which begins the program. Though the a cappella viola solo at the beginning is gorgeous and richly textured, as the others join in and the volume and intensity of their playing increases, it becomes obvious there is something not quite right here. The acoustic sounds a bit tubby, with an empty-hall reverberation surrounding the musicians - most noticeable in the Scherzo and Burlesca, which sound a bit "busy".

But it's not serious. And once the ear adjusts, it's easy to become immersed in the music. And one quickly realizes VW’s Phantasy is a wonderful piece of music. It has all the hallmarks of this composer, who so much of the time just can’t seem to get away from sounding like himself - specifically his own Thomas Tallis Variations and Lark Ascending. And such is the case here. You hear continual reminders of those works throughout the slow movements of this piece - especially as an additional viola enriches the traditional string quartet, making it even more like that wash of string sound in the Tallis variations. And that’s OK. It’s lovely music. And it’s lovingly played here. But there are contrasting sections too, including a vivacious scherzo in 7/8 time and a jaunty Burlesca at the end, providing splendid variety.
 
Next we have two dreary vocal works (which I never welcome on a string quartet program) by Ina Boyle, with whom the Piatti Quartet seems to have a special affinity. (They played her string quartet on the earlier album.) So I skipped over them without hesitation, and hoped the sound would improve in Herbert Howells’ Fantasy which comes next. And I’m so pleased to hear that it does! The group sounds to be ever so slightly closer to the microphones now, with just enough added presence and clarity to increase focus and realism, and more effectively control the acoustic. The piece begins in a gloomy mood though, and I feared the worst, as this extra closeness highlights a bit of coarseness to the texture of bow on string. But that is soon forgotten as one is drawn completely into the music. And what a gorgeous piece this is.
 
It's an expansive work, with many differing sections, laid out in a single movement. And it, too, often sounds a lot like the Vaughan Williams of Tallis and Lark. Each instrument is featured in extended solo passages, sometimes con sordino, allowing each member of this wonderful string quartet to shine. And the extra touch of immediacy and illumination from the recording allows the group's sound to expand effortlessly into the acoustic, with a vibrancy and emotional involvement which was slightly curtailed before. One is swept along as the music swells and picks up momentum, and Howells’ distinctive musical voice speaks out with ardor. This music sounds a bit like Vaughan Williams mingling with Delius, which is a very enjoyable combination indeed.
 
But it’s not done yet! Things really pick up about 8-1/2 minutes in, as an animated Allegretto breaks out, brimming with an irrepressible,  melodic joyfulness. Then just as suddenly, it comes to an abrupt halt, and we’re back to VW again to close out the piece. And at the end, I once again marvel at the marvelous playing of the Piatti Quartet. And am so relieved the recording quality is so excellent, just as it was on their previous recording for Rubicon.
 
After this, it will be hard for Malcolm Arnold’s Phantasy to measure up. (And it doesn’t quite.) But it starts out promisingly and I have high hopes. It has more light and shade variety in mood, texture and, especially, in scoring. With pizzicato sprinkled throughout the group at the beginning, its distinct quirkiness is intriguing, sounding quite modern indeed! Agitated rhythms and incisive articulation abound, with a constant restlessness underlying it. And with the acoustic now better defined, the atmosphere created is most alluring, befitting the music perfectly. And the Piatti Quartet really dazzles us with it.
 
This music is definitely by a young composer, written some 25 years later than the VW and Howells, who is obviously exploring modernism. While much of the piece is tonal (more or less), Arnold is beginning to experiment with atonality, and even hinting at avant-garde effects yet to come. And he does get a little weird with it a few minutes in, where he almost lets the dissonance get the better of him. But once he’s got that out of his system, he drives the music with rhythmic propulsion and vigor, reminding me of Bartok at his most energetic. Then Arnold surprises us with a lovely, positively tender passage near the end (replete with the most sweetly singing violin), before finishing it off with a fleeting burst of youthful zest in a quick little zippy flourish in the closing measures. The Piatti Quartet excels at this kind of characterization, and they vividly project the variety of moods, sounds and temperament to great effect, and succeed in making the piece even better than it might otherwise be.
 
This would have made a splendid concert closer. But for no apparent, musical reason, the Piattis append at the end a couple of slow, somber mini-encores - which I'm not sure was at all necessary. First, there is a lovely but sad little song by Augusta Holmes, in an arrangement for solo cello and string quartet, which dampens the mood immediately. It is followed by an extremely unpleasant bit of noise - a “work” by Michael Tippett which lasts exactly 33 seconds (!) presented here in its “world premiere recording” (LOL). Oh and they even bring in a flutist and a clarinetist for this! All 33 seconds of it. Which, of course, is simply absurd.3 But there it is. 
 
So while not all the music here is essential (ahem), the major string works are. And they are not that often recorded, making this disc even more enticing. (And I suppose some may even enjoy the vocal works, though I can't imagine it, and it's important to note, they take up nearly 20 minutes of the 60-minute total playing time.) Overall, the musicmaking here continues to inspire admiration for the Piatti Quartet - no matter what. And I can warmly recommend this album, especially to fans of the Piatti Quartet.
 
1 Though the roster is identical to the Nimbus Alliance recording of the Phibbs Quartets made just one year earlier (2024).
2 Notable for its wonderful performance of E.J. Moeran’s 2nd String Quartet and Vaughan Williams’ Household Music.
3 Could you imagine being the 2 woodwind players showing up for the recording session and having just one stave of music to play? At least it was easy to sightread and allowed for an early happy hour!

This 2-CD album presents the 4 complete string quartets of Polish composer and conductor Paul Kletzki. They are very substantial works - the first three of which were composed in Berlin between 1923 and 1931, while the 4th was composed as late as 1942, but left unpublished. It was apparently stuffed away (along with numerous other manuscripts) in a chest during WWII, which was unearthed in 1965, but left unopened until his death in 1973. The Bacewicz Quartet procured a new edit of this final quartet, prepared from the original manuscript, and performed it in 2023. This recording, along with that of the 3rd, are world premieres on CD.

I was aware of Paul Kletzki only as a conductor. Of Polish descent, Kletzki settled in Berlin for musical studies in 1921, and remained there until 1933. In 1949, he became a Swiss citizen and became notable as a conductor. Significant conducting positions included posts in Liverpool beginning in 1954, in Dallas from 1958-1961, and eventually replacing Ansermet at the Suisse Romande in 1967-1970. I was intrigued to explore him as a composer.1 
 
I was pleased to see these quartets presented in chronological/numbered order on the discs, just as they should. And expecting the 1st to be perhaps the slightest of the 4, I was surprised to see just how substantial (and lengthy) it is, lasting nearly 40 minutes. The opening movement alone is an imposing 12-minute Allegro sostenuto ed energico. The Bacewiczs establish a vigorous tempo, somewhat emphasizing the “energico” over the “sostenuto” - very wisely as it turns out, for they propel the music aloft, preventing it from feeling heavy or weighted down with itself.
 
I was immediately aware of the recorded sound, which is near ideal - immediate but not too forward, and in an intimate setting, as opposed to a large concert hall. Thus the acoustic seems perfect for this music. I had just been listening to the Pacifica Quartet’s new recording of the Korngold Quartets on Cedille Records, which is simply lovely - as silky smooth and richly blended as you’d ever want to hear - and the difference here is notable. The close perspective reveals a slightly coarse-textured sound to the Bacewicz Quartet in comparison, along with a transparent individuality to their overall blend. The ear quickly adjusts to the difference, and the music feels fleet, buoyant and energetic. All thoughts of recorded sound were soon forgotten as I became immersed in the musicmaking.
 
The Largo which follows is even more substantial, at well over 15 minutes. However, its variety of mood and temperament captivates the listener for its entirety, and this turned out to be the highlight of the work (indeed, of the entire program). The opening theme doesn’t sound at all largo, which to me is a good thing. The Bacewiczs keep it moving at an ideal tempo - forward-flowing but heartfelt; not at all heavy. Singing lines over a rich harmonic tapestry draw the listener in, and the music never feels particularly slow (and certainly never drags). It is helped in this regard by incorporating an agitated Allegro in its central section, lightening the mood with rays of optimism. Not quite a scherzo, it is nonetheless jaunty and buoyant, while enriched with enraptured singing lines. This passion increases as it develops before the return to the Largo, which now is impassioned further with an unmistakable hint of Tchaikovsky’s Pathetique. Even at 15+ minutes, I never felt this movement was overlong, with its variety of mood and tempos - especially as played with such expression and attractive variety of texture and color by the wonderful Bacewicz Quartet. This is quite simply excellent, well-crafted writing, beautifully played here.
 
The final Vivo begins almost at a whisper, before evolving into a playfulness which inhabits the Allegro comodo (“comfortable”) which follows. Soon the wispy Vivo takes over again, but with more vigor this time - all the while infused with ardor. The movement alternates between Allegro, Vivo and Presto sections, and this group seamlessly relates them together into a cohesive whole, demonstrating a meaningful understanding of the full measure and scope of the piece.
 
I enjoyed this so much I didn’t hesitate to jump right into the 2nd Quartet, written just 2 years later. And it is at once more harmonically expansive, even exploratory, while at the same time less passionate than the 1st, with somewhat more transparent scoring. However, these initial impressions proved short-lived.

The 1st Quartet's Allegro sostenuto is here replaced with an Allegro moderato. It begins simply, played here with minimal vibrato, allowing individual voices to predominate soloistically, delineated from the texture. It is less energetic than before, and less densely scored too, with nicely flowing momentum. But suddenly this all changes with a very dynamic, dramatic outburst at ff, and we know we’re in completely different territory with this later Quartet. The music’s harmonic soundscape becomes more “challenging” in its intensity, in stark contrast to the rather more traditional lyricism of the 1st. The second subject, though, relaxes and clarifies the dense textures, with a lonely melody over pizzicato cello, creating an almost stark desolation somewhat reminiscent of Shostakovich. This was a welcome relief from the drama and intensity thus far. This movement is in all practicality surely too long, lasting nearly 15 minutes, but there is enough variety in mood and playing styles to keep the listener reasonably engaged.
 
It would be difficult to say the same of the ensuing Adagio, however. It begins with more starkness reminiscent of Shostakovich, but soon intensifies at about the 4-minute mark, with an extended violin solo passage which becomes almost overwhelmingly intense. Fortunately, there is some relief about half-way through (about 7 minutes in), where a flurry of activity at a swifter tempo unexpectedly perks up the proceedings. But not for long, as the stark landscape returns again for yet another 5 minutes. (This movement too is very long, lasting over 13 minutes.) The Finale is athletic and somewhat lively - pleasantly so after the seriousness of the Adagio. There is a serene central section providing a wonderful contrast before the Allegro picks up again taking us to the end.
 
I was surprised at the difference between these first two Quartets, separated by only 2 years, finding the 2nd much more “difficult” musically, which overall felt like a long haul. I decided to take a break before moving on to the 3rd. It was written 6 years later (in 1931) and failed to achieve the popularity of the first two. This one is laid out in 4 movements, rather than 3, and I looked forward to a true Allegro opening movement - though tempered by a non tanto indicator (“not too much”). And there is an intriguing Allegro misterioso coming after it, followed by an Andante, and closing with an Allegro agitato. This sounds very promising (and likely much different from the other two), and I forged ahead - on another day.
 
And indeed, this 3rd Quartet is rather refreshing after the somewhat oppressive 2nd, and I find it curious it didn’t find favor at the time, when the 2nd apparently did. But that’s just me. The opening is instantly more “modern” - almost impressionistic in its harmonic freedom, while lyrical and agitated at the same time. The music seems to struggle to establish tonality before finally settling on a resolute D-minor and a more determined rhythmic pulse. The mood is restless and not nearly as intense as in the 2nd, with more light and shade variety to its airy transparency. There are more clearly discernible motifs at work, with contrapuntal writing which at times almost develops into fugal composition. And overall, there seems to be less struggle among the individual voices, adopting a more harmonious unity. I really enjoyed the rhythmic propulsion and the variety of mood, especially the bits of playful pizzicato later in the movement.
 
The 2nd movement is a wispy, whirlwind of activity, played con sordino, over an insistent pizzicato cello foundation. Before long, Kletzki gives the cello the spotlight with a wonderfully mysterious melody accompanied by pizzicato from the others. And soon, the music evolves into an ingenious, slow waltz of sorts, which is seductively charming. I smiled hearing this most unexpected development from a composer so determined to be serious most of the time.
 
And serious is exactly where Kletzki goes once again for the Andante, which here feels a little on the slow side for andante (more of an Adagio). Beginning with a mournful tune (which is quite expressive), it soon builds in intensity, becoming very melodramatic, and I’m afraid this is all going to go on too long. (And indeed it does; the movement lasts a full 12 minutes.) But a more lyrical central section brings it back from the brink, engaging the listener once again, before the final Allegro takes flight with a restless agitation not unlike that heard in the 1st movement. There is some lovely lyricism too from the violins, and moments of reflection midway, before the restless motifs take off again in dramatic fashion to the end.
 
Now to the unpublished final Quartet. Its 3 movements have no tempo or style indications, leaving much to interpretation from the performers. And right from the get-go, this is very difficult music. Kletzki has abandoned all attempts at Romanticism and tonality, perhaps influenced by the Second Viennese School of eschewing musical creativity in favor of formulaic methodology. I don't really hear that in this music, but I do hear a lot of what I didn't like about Weinberg’s 6th String Quartet on the Telegraph Quartet’s recent record for Azica: music which is unmelodious, unharmonious, and certainly uninviting.
 
In the 2nd movement however, we enter the soundworld of Bartok (whose final quartet was composed just 3 years earlier.) And the Bacewiczs imbue it with much more emotional expressiveness than in the opening movement, with rich vibrato and legato lines - though even here, much of it remains steadfastly atonal. It nonetheless becomes rather more pleasant - almost pleasing; tuneful even. While the finale is more lively (at least at first), with more variety in scoring, at last incorporating some pizzicato and spiccato to lighten the textures. Yet its lyrical elements remain obstinately unmusical. And Kletzki soon returns to the toneless indifference heard earlier, meandering aimlessly toward the end.
 
This work, even more so than the others in the cycle, is most certainly too long for its material - though it is significantly less lengthy than the other three, clocking in at just over 15 minutes in total. One wonders if Kletzki had enough reservations with it that he intentionally left it in sketch form, all but forgotten. Still, it’s interesting to hear it realized after all these years, and the Bacewicz Quartet is to be commended for bringing all this music back to life with playing which is thoroughly committed and convincing, given the material. This must have been a challenging and extremely demanding program to play and record just from the sheer stamina involved.2
 
Michal Bryla of Prelude Classics is also to be commended for the daring innovation and original programming. Moreover, the entire production is excellent. This 2-disc set comes in an attractive, very high-quality, three-part foldout enclosure, with actual CD trays glued inside which secure the discs for easy access, rather than the usual cardboard sleeves. It includes an impressive, informative booklet complete with detailed program notes (in Polish and an English translation), a note from the man who edited the manuscript, and amusing, candid pictures of the performers during the recording sessions. 

​If not all this music was to my liking, much of it was - especially the 1st and 3rd in the set. Overall this is an interesting and important release, certainly worth hearing.3
 
1 There is a 2010 recording of his Piano Concerto on Naxos, but for some reason I do not find it on my shelves.
2 The first disc containing the first 2 Quartets lasts an astonishing 75 minutes; while the 2nd CD of the 3rd and 4th plays for 65.
3 I was sent an advanced screening copy of this Prelude Classics title directly from the producer in Poland, as I had expressed an interest in it. Its official release date was scheduled for February 27, 2026.

Here’s another new title which has been nearly impossible to get my hands on. I can’t imagine why this one in particular has been continuously unavailable and/or ridiculously priced completely out of consideration. Maybe because it’s more innovative and interesting than usual, and there are no other recordings of this music available anywhere. Or maybe it’s because Chandos is distributed by Naxos, which seems to be unable to keep up these days. Whatever the reason, its release date was actually last October and I'm just now acquiring a copy of it.1 

And I'm so glad to finally have it! Mainly because I adore Robert Russell Bennett (the American composer - not to be confused with British composer Richard Rodney Bennett). Robert Russell Bennett (RRB) is, of course, the guy who orchestrated all those fabulous symphonic suites of Broadway musicals. His Porgy and Bess, A Symphonic Picture is a symphonic masterpiece in its own right, as are his orchestrations of Richard Rodgers’ music for the “Victory at Sea” series.2 He also wrote one of my very favorite original compositions for band: Suite of Old American Dances - fantastic music, brilliantly scored specifically for wind ensemble (though it’s quite difficult to play). Band music doesn’t get better than this.3
 
So I was eager to hear his original Violin Concerto. Astonishingly, this is the first recording of it since its previous only recording (mono) in 1956 with Bernard Herrmann conducting. And it is so fabulous, one wonders why it hasn’t been rediscovered before now.  
 
Not sure what to expect from the opening Allegro moderato, it is instantly appealing - sprightly, energetic, melodic, rhythmically syncopated and infectiously propulsive. Not at all what I would expect from a moderato! And I immediately notice the fantastic recorded sound too - full, spacious, boldly colorful and enormously dynamic. I wasn’t familiar with violinist Chloe Hanslip before, but I instantly recognize Andrew Litton on the podium, as I'm once again reminded what a great conductor he is. He isn’t just an accompanist - ever. He interjects himself into the musicmaking with commanding authority. And there is no denying the orchestral contribution is significant here. The syncopated rhythms skip along irresistibly, and the dramatic passage leading up to the 1st movement cadenza is very dynamic. Wow!
 
Not that they overshadow this violinist. Definitely not. Hanslip is a prominent force and literally owns this piece. She possesses a full, rich tone, and the recording engineer balances her perfectly with the orchestra - with just enough presence to project her sound out into the hall without spotlighting the violin in the slightest. Once again, when Chandos gets it right, they are unbeatable in this regard.4 The orchestra is assertive yet never overpowering. And it’s awesome to hear.
 
I was actually surprised when the 2nd movement began playing. That first movement is well over 11 minutes long, but I was so engaged in the music, it was over before I knew it. It never felt long, and not for an instant did my interest trail off. An Andante moderato follows it, and it too does not seem in the slightest moderato. Not that it’s particularly fast; it’s just not “moderate”. In fact, it’s actually a bit jazzy, with more than a hint of Ragtime that RRB was so fond of in his youth. And it swings so nicely here! It’s so tastefully done, understated in its delivery, it's almost comical - and oh so much fun. Litton is just marvelous here, getting this orchestra to play it so naturally and idiomatically that it never sounds contrived or mannered. (And one wonders - why, of all the orchestras in the world, was this recording made with the Singapore Symphony?)
 
There is a very short Vivace (barely a minute-and-a-half), leading very abruptly, almost like there was a big cut, to the final Allegro vivo, which is a tour de force - bustling with energy, driving the music to an exuberant close. I can imagine an audience jumping to its feet with enthusiasm at its conclusion.
 
At just 24 minutes in total, this was immensely enjoyable from beginning to end. And I didn’t want it to end. Fortunately, Hanslip and Litton have an encore for us next, in the form of RRB’s delightful Hexapoda for violin and piano, where Litton reminds us he's also an excellent pianist as well. It’s an amusing little party piece, written at the request of violinist Louis Kaufman (who premiered the Concerto), asking the composer for “something that would clothe American dance-hall material in the respectable garments of educated music”. And that’s exactly what it is! It’s even got amusing movement titles: Gut-Bucket Gus, Jane Shakes Her Hair, Betty and Harold Close their Eyes, Jim Jives and Till Dawn Sunday. All great fun and played with supreme professionalism. And that’s what makes it work. It’s fun - but serious fun.
 
Wishing there were more from Robert Russell Bennett, instead we have another rarity - the Violin Concerto by Vernon Duke, written in 1940 for none other than Jascha Heifetz. Duke was born Vladimir Alexandrovich Dukelsky in Ukraine, but later changed his name at the suggestion of his friend George Gershwin (who was also of Russian/Ukrainian descent.5) Duke studied at the Kyiv Conservatory and was friends with Prokofiev. He moved to America in 1929, where this concerto was composed some 10 years later. It’s not in the slightest “Amercian”-sounding like Bennett’s is. In fact, the presence of Prokofiev permeates all this music.
 
Interestingly, where Bennett’s opening Allegro is marked moderato but doesn’t sound like it, Duke’s is marked Allegro molto but sounds moderato! I’m not sure if it’s the tempo itself or the overall feel of it, but it doesn’t sound at all fast. Nor is it at all fun like Bennett’s. And it certainly has none of Bennett’s quirky rhythmic syncopation. It is instead much more determined, and determined to sound like a “serious” work. In short, it is distinctly unAmerican and not as carefree with its harmonic, rhythmic or melodic creativity. Rhythms are sturdy, steady and firmly “on the beat”, revealing his Ukrainian roots along with the influence of his friend Prokofiev. It's pleasant, just not as ear-catching as that heard earlier in the Bennett. This first movement contains a very long cadenza too, which, surprisingly, isn’t all that interesting. It sounds to be largely based on little more than arpeggios and broken chords rocking along. And it just goes on for a while, not really related to anything around it, before the orchestra finally rejoins the proceedings.
 
The 2nd movement Valse is not very waltz-like, at least not at first, with a curious pizzicato solo violin leading the way. But soon, the orchestral strings take over with a glorious sweeping tune, and Litton ensures everyone is waltzing the night away. This little movement, just under 5 minutes, is quite charming in its way. The 3rd and final movement is a Theme and Variations. And at last, the theme itself suddenly takes on a distinctly American flavor for the first time in the piece. It is followed by another cadenza of sorts from the soloist in the 1st Variation, which rather loses sight of the main theme (and the Americana flavor). Along the way, we hear violin noodling which could easily become scratchy in less capable hands, but never does with the exceptionally fine playing of Hanslip - who really does a wonderful job making the most of this music.
 
And so it goes, with some really nice lyricism in Var 2’s lamentoso, alternating with unmistakable references to Prokofiev, with spiky rhythms and abrupt phrase/harmonic resolutions suddenly falling back to the tonic. I even detected hints of his other friend, George Gershwin, in the 3rd Var, all the while tinged with Prokofiev. What an interesting combination that is! There is a beautiful, lyrical 5th Var, where the violinist responds to various woodwind solos in the orchestra (clarinet, English Horn, flute), while the final 6th Var is more rhythmic, containing another cadenza before coming to a rather unassuming close.
 
Each variation is short, 1-2 minutes apiece, with terrific variety which holds one’s interest throughout. I enjoyed this 12-minute set of variations a lot. And I actually ended up liking the Valse quite a bit too. But it must be admitted, it is the playing of this wonderful violinist, and the invigorating orchestral contribution from Litton which draw one in and make the piece perhaps better than it might otherwise be. It is a great performance of music which is not quite as instantly gratifying as Bennett’s is. Where Bennett's concerto is an instant crowd-pleaser, Duke's takes a little more time to get to know. Not to say that it is an acquired taste; nothing like that. But in the end, it really is quite enjoyable (especially a second time through), just in a decidedly different way than the companion on this program.
 
Both of these composers are seriously underrepresented on disc (other than arrangements and studio scores, etc.) and their concert music deserves to be better known. With this release, we are indebted to Chloe Hanslip’s commitment to bringing these concertos to new life, and I sincerely hope Chandos will be inspired to explore more of their music - especially that of Robert Russell Bennett. Wikipedia attributes to him a piano concerto, a couple of symphonies, lots of band music and substantial amounts of chamber music (sonatas, trios and quartets for various instruments). I think he deserves an entire series dedicated to his music, and it’s a pity Naxos abandoned a great opportunity to do so after just one marvelous recording back in 1999 of his symphonic music (the Lincoln Symphony and Sights and Sounds), with renowned film score conductor, William T. Stromberg, and the Moscow Symphony.  
 
This SACD is an absolute must now that you can find it (though, exasperatingly, it remains very expensive) - for the music, for the playing, and most definitely for the recorded sound. Chandos has done it again.

1 I buy all my own CDs; I rarely receive "promo" or "review" copies. And one day, just by chance, Amazon randomly had this one available recently, at a price that wasn't ridiculous (which is extremely rare), so I snapped it up before it disappeared again - or they raised the price again, which is exactly what they did almost immediately. 
2 We sure could use a new, modern recording of this music.
3 There is a superb recording of it on Chandos (2016), played by the Royal Northern College of Music Wind Orchestra, along with more of his original band music. A fantastic collection.
4 I am reminded of their recent recording of Walton’s Violin Concerto with the Sinfonia of London, which is another state-of-the-art concerto recording.
5 I didn’t know this before reading it here in the booklet. Even though Gershwin was born in Brooklyn, his original name was Jacob Gershovitz before he changed it. Hmmm…learn something new every day.

I’ve always loved Trio Wanderer and have most of their recordings for harmonia mundi on my shelves - including the hands-down, best collection of Beethoven Piano Trios ever committed to disc. However, doing a little research for this review, I’ve discovered, much to my utter disbelief, I am missing a couple from my collection (notably their Schubert and second set of Haydn). And after listening to this latest recording from them, which is absolutely wonderful, I will be immediately embarking on a quest to acquire those.
 
This newest recording was instantly enticing - not only because of Trio Wanderer, but its clever title, “Art Nouveau”, which prompted me to take a closer look. I was excited to see they include not only the Piano Trios of Debussy and Ravel (and Lalo), but also their Sonatas as well. And one day, just by chance, Amazon happened to have it at a reasonable price (which is an extremely rare occurrence), so I snapped it up instantly. And what a treasure it is.
 
As is my wont, I began listening to the music for smaller groupings (sonatas) and worked my way up to those for full trio. So I started with Debussy’s Sonata for Violin and Piano, which opens Disc 2. And from the very first note of the very first measure, I literally gasped at the gorgeous, voluptuous tone of this violinist. And also at the airy, textured sound afforded by the recording engineer. The G-string sound is jaw-dropping as it delicately fills the acoustic with rich body of tone, and then the highest register floats ethereally up into the rafters, shimmering with color and sensuality. Oh my goodness - what violin sound! And not just the sumptuous tone; it’s also the dynamic range, articulation and characterization of the music which make this violinist's playing so captivatingly beautiful. I’ve always liked Debussy’s Sonata, but I’ve never heard it played like this! I jotted “OMG” in my notes upon hearing him playing the opening phrase with such alluring variety of tone color and vibrato intensity. And I hadn’t even gotten to the main Allegro yet! So before I could go on, I decided to find out more about this violinist. So please indulge me.
 
The booklet is informative about the composers, but provides nothing about these musicians. (I suppose this group has recorded so much for harmonia mundi, the producer thought it redundant at this point.) Fortunately we have Google for that. Jean-Marc Phillips-Varjabedian (that’s a mouthful of a name for sure, and one not easily recalled) was born in 1965, studied as a child in Paris, then in Italy with none other than Accardo, and eventually a year at Juilliard with Dorothy Delay. He currently is violin professor at the Paris Conservatory. He has played with Trio Wanderer (as have all its members) since its inception in 1987.
 
Now getting back to Debussy, I’m struck by how vividly the music is characterized by both violin and piano alike, even though the recording balances the piano slightly farther backward than I would expect to hear in a live concert - definitely in an accompanying role. But the atmosphere created is alluring, and the violin is naturally presented - never spotlit. And throughout, it’s the sheer gorgeousness of the musicmaking that makes a lasting impression. In addition, the 1st movement vivo and final tres anime are as brilliantly characterized as you’ll ever hear, making this one of the most engaging and musically rewarding recordings of this piece I can ever remember hearing.
 
Debussy's Cello Sonata is not as rewarding musically - at least that’s what I was expecting from it. But I was wrong about that. The recording gives the piano a slightly more prominent role, most beneficially, and it is here where pianist Vincent Coq really comes to the fore. Interestingly, cellist Raphael Pidoux began musical studies as a pianist, switching to the cello at age 17 and eventually studying with Janos Starker (in the U.S.) in 1989, after Trio Wanderer had been formed. And the more I listened to this recording, the more enamored I became with his sound - the variety of texture and color, softly wispy at first, then rich and wooden down low, but never gruff or coarse. This is lovely cello sound - the opposite of imposing - perfect for Debussy. He and Coq play as one, as absolute equals, and they bring the piece brilliantly to life. Most striking is the vivid characterization - not only highlighting its tunefulness, but also the sheer virtuosity of it, making it sound far more exciting than I can ever remember. All through, I continue to be thoroughly immersed in the musicmaking, aided by some of the very best recorded sound I’ve yet encountered from harmonia mundi.
 
Anxious to hear the full trio playing together, first we have Ravel’s Sonata for Violin and Cello up next. It’s a peculiar little piece (though not that little, lasting a full 20 minutes) which I’ve never really warmed to. But once again, these awesome musicians manage to change my impression of it. Though the first movement Allegro is much as I remember, the tres vif which follows is played here with such flamboyant panache, I instantly perked up. I hadn’t remembered this at all! Where did all those interesting and seemingly unusual string effects, sounding almost avant-garde, come from? I would never have expected to hear such originality of sound from Ravel, especially in 1920! Nonetheless, these two get down with it, exploiting the inventive writing and, especially, the scoring, for maximum effect.1 One would never guess this is played by just two instruments; it sounds extremely difficult to play. 
 
The lent is a strange thing, again not something I’d expect from Ravel in the ‘20s, but the final vif is vigorous and sounds more like vintage Ravel, though spiked with rhythms and harmonies much like Stravinsky. I found it amusing, reading in the booklet, that Ravel himself stated he abandoned harmonic charm in this piece. Yup. That is certainly true!
 
After this, I decided to finish off Disc 2, which concludes with Ravel’s famous and beloved Piano Trio. And it is a soothing respite after the double Sonata. It is rather more symphonic in nature (as to be expected) and instantly demonstrates Trio Wanderer’s roots and deep experience playing together as a group. (In fact, they have recorded it before, way back in 1999, also for harmonia mundi, reissued in 2007 coupled with the Chausson Trio.) It is masterfully played here - dramatic one moment, sweetly singing the next; and easily switching gears from intimate and (deceptively) transparent at times to full-bodied, almost orchestral, boldness at others. This group is exceptional at clarifying, defining and portraying these differences. And throughout, it is this violinist’s gorgeous tone and sweetly singing lines which continue to draw me into the music. What a wonderful violinist Mr. (wait, let me look) Phillips-Varjabedian is.
 
And that’s not all. Still in the 1st movement, my oh my (!) do they ever whip up excitement as it progresses, in the lead-up to the central section. I was taken aback by the dynamic range and sheer vigor they generate, and the range of emotions expressed. And the starkness in the final two minutes - at an absolute pp (marked lointain, "far away"), then even more so at the ppp harmonics in the closing measures - is touching and eerie at the same time.2 Very, very impressive.  
 
And I love the tempo for the Assez vif, which sounds a notch quicker than usual and thrillingly virtuosic, lending it a gossamer, less deliberately grand feel, which is absolutely exhilarating. The Passacaille is moving and heartfelt, but dramatic too, which can become a bit intense at its most heated, passionate moments. But the finale lightens beautifully, though slightly less anime than I would have expected. But it fits in well with the overall scope these musicians envision for the piece.  
 
Moving now to Disc 1. While I’m anxious to hear Lalo’s Piano Trio #3, with which I am not familiar, I decide to jump ahead to Mel Bonis’ delightful miniatures first. Soir (“evening”) is a lovely thing, quietly relaxing with the violin and cello singing ever-so-sweetly over arpeggiated piano accompaniment (not unlike Saint-Saens’ The Swan, written some 20 years later!). Matin (“morning”) has the gentle energy of the dawn of a new day, like a flitting butterfly, with muted strings over a bustling piano. And here Ravel makes a very strong impression. This reminds me of Ondine from “Gaspard de la Nuit”, and a couple minutes later, his “Introduction and Allegro”. It’s fascinating how remarkably similar this music is to Ravel’s - all written around the same time.3 These little gems, lasting just 6-1/2 minutes combined, are a real delight, making me wish we could hear more of her relatively small body of music on record. If ever there was a neglected composer whose music needs a revival today, it is Melanie Bonis. The final track on the CD is her rhapsodic Barcarolle for solo piano, which is more distinctive, and beautifully played here.
 
Debussy, amazingly, wrote his Piano Trio in 1880 when he was just 18 years old. Trio Wanderer takes note of that, bringing an airy freshness to this music. The sweeping Andantino is free-flowing, almost as if improvised, and they keenly observe the moto allegro indication, playing it just a whisker faster than usual. Very nice. And their dynamic range is once again notable. This is more energetic and exciting than usual, fully realizing the youthfulness of its young composer. The Scherzo is whimsical and a bit playful, though perhaps a touch less charming and more stately than sometimes heard. While the Andante espressivo is expressive certainly, but rhapsodic too, anticipating the appassionato yet to come in the final movement. And this finale is a bit less grandiose than usual, with soaring lines reaching effortlessly heavenward. The group generates tremendous momentum toward the final peroration, bringing the piece to a satisfying close.
 
I found these performances of the two famous Piano Trios interesting. I think some groups search for parallels in these Trios by Debussy and Ravel, trying to relate them musically like kindred spirits. (The same goes for their String Quartets as well.) And they can often end up sounding more similar to each other than not - which, of course, makes them perfect disc-mates (and they are often coupled together on CD). But Trio Wanderer seems to take the opposite approach - embracing their distinct differences, relishing their individual soundworlds, highlighting the 35 years of musical development which has occurred between their composition dates. As a result, I enjoyed hearing them anew, each in a slightly different light.
 
And finally I go back to the beginning of Disc 1 for Lalo’s 3rd Piano Trio, written the same year as Debussy’s. This should be an interesting comparison! And oh my goodness, what a stark contrast it is. While Debussy’s is imbued with youthful, innovative creativity, Lalo’s was written by a mature composer, much later in life, who had no inclination (or even the slightest intention) of leaning toward Impressionism. Instead, his music remains firmly rooted in the rich, heavy Romanticism of the time, with Brahms bearing a very strong influence.
 
Indeed, this is bigger, heavier and much more dramatic than any other music on the program - featuring a big, powerful piano part.4 And Trio Wanderer embraces that and certainly doesn’t shy away from the appassionato indication for the opening movement, pouring it on with full power. And to be honest, this movement is a little imposing - and very long, at nearly 10 minutes, which really is a bit much.
 
The ensuing Presto is pretty heavy too, surprising for a presto, and the piano continues to be a domineering force. There’s no denying the energy of the playing, though I couldn't help but wonder if a slightly lighter touch would have been beneficial. (After all, it isn't marked con fuoco, simply "presto", but there is certainly a lot of fire in the bows here.) Fortunately, it is relatively short (under 5 minutes). Unfortunately, the same can't be said for the lent, which is somber and very long - over 9 minutes. It opens with an impassioned, moody tune for violin and cello in octaves, over gloomy chords in the piano, and we know we’re in for a long haul. But it’s not oppressive or depressing, and the tunefulness is not unwelcome. The final Allegro molto tries to lift one’s spirits, but it too is burdened with Brahms heaviness, with more big, heavy piano writing (which occasionally reminded me of Chopin). I think the tempo could have been a bit more molto too. It's not exactly sluggish, but certainly not fleet-footed either, and ends with grandiosity rather than any attempt at exuberance. Nonetheless, it is a reasonable length (about 6 minutes). 
 
I wasn't expecting this from Lalo and clearly didn't enjoy his 3rd Piano Trio as much as all the other music here. I’m so glad I didn’t start with this, and it really is a shame they placed it first on these CDs, for it is a little overwhelming and nothing like anything else on the program.5 If you like Brahms, you’ll probably like this Trio from Lalo. And taken on its own, perhaps on another day, I may very well have enjoyed it more than I did in the company of Debussy and Ravel.6 To me, it just seems a bit out of place with the rest of this program. 
 
Overall though, this set is invaluable and brings much pleasure. It is superbly played, superbly recorded and musically enlightening. The production is excellent too. It comes in a very nice 3-way foldout enclosure, with actual CD trays glued inside which secure the discs for easy access, rather than the usual cardboard sleeves which have become commonplace. It comes with a first-class booklet, complete with interesting pictures of the musicians - though as noted earlier, no information whatever about them. How odd.
 
But never mind that. This is a marvelous set which everyone should enjoy. It is the 3rd release just this year of outstanding chamber music which deserves a place on the Best of Year list, along with the Pacifica Quartet’s Korngold set (which is a real gem), and Ensemble Arabesques’ collection of wind music by Theodore Gouvy (which is a real find). 2026 is off to a fantastic start!
 
1 Nothing is exaggerated or “enhanced”. It’s all right there on the printed page just waiting to be revealed.
2 Attention to details such as these demonstrates the deep experience of a group of musicians who have been playing together for decades, and distinguishes them from many other groups. They don’t just play the notes because that’s what they see on the page, they consider why they’re written that way. For instance, why did Ravel write those mid-range notes there at the end as harmonics? Is it simply for color? Or just for amusement? Or did he want to create a real contrast in mood and atmosphere? Trio Wanderer brings real insight in the way they reveal these little details, which is part of what makes their performances so uniquely rewarding. 
3 It’s entirely possible Bonis was first with some of this music, and perhaps I have it backwards - maybe, just maybe, Ravel was influenced by Bonis!
4 And it seems like the engineer has given the group a little boost here as well. Compared to everything else on these CDs, they sound to have moved a little more forward in the acoustic, given a slightly more imposing presence than heard in the other works. 
5 I  really shouldn't complain; these works are presented (more or less) in chronological order by composition date, which is as it should be.
6 And I decided to do just that. I listened to just the Lalo a couple days later, but sadly came away with the exact same impressions. While I wasn't familiar with the piece, I kept thinking this group is trying a bit too hard to make it sound bigger and heavier than it needs to be. 

This CD was a challenge to get my hands on. It is currently available only as a download (or streaming), and though the CD has been listed on Presto for a few weeks, it has suffered continual delays and continues to be listed as “out of stock”. Finally through some perseverance, I obtained a copy in the mail directly from my wonderful, trusted contact at FARAO Classics. And I’m so glad we worked that out! This release is an absolute gem and definitely worth the effort, if not the frustration of simply trying to purchase it. 
 
I have thoroughly enjoyed the 4 previous recordings from Ensemble Arabesques, all of them notable for rare repertoire, superlative playing, and some of the very best recorded sound I’ve ever heard of a chamber ensemble. And this newest release is no different.
 
I was not familiar with any of this music (or even this composer, for that matter)1, and I decided to listen in the opposite order as presented on the CD - thus starting with the fewest numbers of players (Septet) and increasing as I went, rather than the other way around. (That just seemed to make sense to me.) Curiously, the booklet is unclear as to the actual instrumentation for each piece. In fact, the booklet doesn’t describe the individual pieces at all! - no program notes of any kind, not even composition dates or Opus numbers - merely providing a concise history of the composer. How odd, especially for music which is almost completely unknown and not otherwise available on CD. The personnel for the entire ensemble of 11 players is listed, but no attempt is made to clarify who plays on what piece. It was easy to determine just by listening that the double bass only appears in the Nonetto, and each subsequent piece reduces the number of players, one at a time, on inner voices (oboe and horn).
 
But in the end, it doesn’t really matter, for all this music is pleasant and charming, and the minor variations in instrumentation are insignificant (other than the bass in the Nonetto). And as already mentioned, the playing and recorded sound are as good as it gets.
 
Theodore Gouvy was born in Prussia, but his education took place in Paris. Thus he is considered a “French/German” composer, and has been described as kind of a “French Beethoven”. And I do hear perhaps some of that description in his music (which I will get to in a moment), but it's rather more "modern" and congenial than Beethoven. All of this music was written later in life, in rather close succession, within a span of about 10 years (1883-1893). The Septet comes squarely in the middle, though it appears last on the CD, and it was with it I began listening. And instantly - I mean from the very first notes of the opening Adagio - I hear the unmistakable, delectable, shimmering blend of Ensemble Arabesques. It is the very essence of lovely, enhanced by the glowing acoustics of the venue (Immanuel church in Wuppertal, north Germany). The sound is instantly recognizable as being this ensemble; it can be no other. And that is quite amazing! I'm instantly drawn into the music, and soon, the Adagio gives way to an Allegro, which is launched with a lively buoyancy somewhat reminiscent of Mendelssohn - brilliantly scored.2 And the recording positively sparkles on top of the inner glow from within.
 
And if I thought that was charming, the Scherzo is even more so - positively delightful and joyous - again brilliantly scored. This group excels at characterizing the various moods in the music - bubbling with playful effervescence at the beginning, then switching gears notably for the more pesante, somewhat Beethovian, pastorale central section. The Andante features an elegant clarinet solo, while the Finale is a jaunty, marching Allegro in minor key, with an infectious rhythmic tune (often as a duet) over bouncing octaves in the bassoon. Its very tunefulness is even a bit dramatic before eventually turning into the Major mode to end the piece.

And we’re off to a fantastic start.
 
The middle work on the CD, “Serenade Octet”, actually sounds very similar - so much so, it could almost be a continuation of the same piece. I had trouble identifying it though, as it isn’t listed on Wikipedia (which I had to resort to, since the booklet fails to mention it at all). Searching further, I did find on IMSLP a “Serenade in G Major” (for 8 wind instruments) from 1893, with no Opus number. This is likely what is played here, as I determined it is indeed in the key of G. It is very similar to the Septet in flavor and character (and scoring), though perhaps a touch more Beethovian still. The opening Pastorale is lyrical and tuneful, sunny and smiling, with a charm to it that almost hints at Dvorak (along with Beethoven). The same can be said of the Intermezzo which follows. But the Canzonetta is different, featuring a melancholy oboe in minor key. This section is more serious, yet attractively lyrical, with Beethoven bearing an even stronger influence. The final Rondo is more Dvorakian still, curiously remaining in the minor as it marches along in a kind of call to action, before finally emerging in the Major for a triumphant ending. If this piece is not quite as original as the Septet, it is pleasant enough - just not quite as distinctively memorable.
 
Finally going back to the beginning of the program for the 1883 Nonetto, we hear nearly the entire group - flute, oboe (just one), pairs of clarinets, horns and bassoons, and, most notably, a double bass. The opening "Introduction and Allegro" is by far the longest movement in any of these works (9-1/2 minutes) and the bass viol is instantly an obvious (and perhaps unwelcome, at least to these ears) addition to the ensemble. As the music progresses, a glorious horn solo emerges, clear as a bell (and gloriously played here), with a touch of Beethovian grandeur. Eventually it leads to the Allegro, which is bustling and vibrant - spirited without being frivolous - and is perhaps the most similar to Beethoven of any music heard on this program. And the double bass is as light-footed as it can possibly be played (mostly pizzicato), but remains a constant presence, adding just a touch of heaviness to the music.3
 
The Intermezzo Polonaise is a delightful, kind of slow, waltz with hints of Tchaikovsky (his lighter Orchestral Suites, for example). The bass is bowed here, but gracefully so, and it’s actually better integrated. And the flutist switches to piccolo in this section, adding a very welcome sparkle to the music. The Elegie, in striking contrast, is thoughtfully songful, and even more reminiscent of Tchaikovsky. It features oboe and clarinet solos over a rolling, arpeggiated bassoon foundation, punctuated by the ever-present double bass pizzs thumping along underneath. The Finale, then, is sprightly and vivacious, with lots of fast double-tonguing propelling the music - effortlessly articulated by these fine musicians. And the bass seems even less imposing during this nimble little movement. (Perhaps I’m just getting used to its presence at this point.) This is utterly delightful, and one marvels at the expert playing, as they bring to a close a thoroughly enjoyable piece which deserves to be better known. I actually wish they had concluded the program with this - but that’s just me.
 
Finally, in closing, I must once again mention the recorded sound, which is a crucial element in the overall enjoyment of this release. It is instantly recognizable as the characteristic house sound of FARAO Classics - clear, open and spacious, with the group shimmering, yet perfectly focused, within a lustrous, glowing acoustic. The sheer beauty of sound is a constant pleasure to listen to, and the realism of musicians in the room is stunning - as if the listener has been transported to the hall in which they play. All thoughts of the electronics involved evaporate, as one is thoroughly immersed in the musicmaking. This is how you record musicians in a reverberant acoustic. 
 
I hope the availability issues with this CD get resolved soon. For even if this music isn’t necessarily your cup of tea (though I think almost anyone would enjoy it), you should try to hear this recording from FARAO Classics - if for no other reason than to experience truly wonderful ensemble playing and truly fantastic recorded sound.4 It is the very epitome of a state-of-the-art recording of chamber music. This disc skyrockets to my 2026 "Best of Year" list - and it’s only February!
 
1 While waiting for a copy of this disc, I obtained the recent CPO box set of Gouvy's 6 Symphonies and got to know his music a little bit. They are enjoyable and enlightening works, several of which are quite excellent and musically rewarding
2 As near as I can tell: flute, 2 oboes, 2 clarinets, bassoon and horn.
3 This observation is not a reflection on the playing or the recording; it's inherent in the scoring itself. And I can't help but wonder why Gouvy would add a double bass to a small group of winds playing such charming music in the first place. I admit, however, listening to this recording again on another day, I was much less distracted by it. 
4 I can't imagine the download doing it full justice.  

I was thrilled to see this new recording from the Pacifica Quartet on Cedille Records - no extraneous "extras" like on their previous two "America-themed" releases (a clarinet on American Stories and a children's choir (groan) on American Voices). Here we have an entire album of pure, good old-fashioned string quartet music - the 3 glorious creations by Erich Wolfgang Korngold - made especially valuable as they had the inspired motivation to also include the same composer’s String Sextet and Piano Quintet on the 2nd disc.
 
The bad news is that this release, like American Voices, is only available in CD format directly from Cedille Records. (Or, you can stream it if that’s your thing; it’s not mine.) But the price was reasonable and, as I recall, shipping was included. It arrived quickly, in about 3 or 4 days, so it worked out fine.
 
I had gotten to know the Korngold Quartets primarily from the Doric String Quartet’s survey for Chandos (2010-12). And even more with the Tippett Quartet’s 2021 recording for Naxos. Still, it was admiration rather than true love. It wasn’t until I heard the Alma Quartet’s recordings on Challenge Classics a couple years ago that I began to truly love this music - especially as their reading of the Piano Quintet was exceptionally good. But sadly they did not record the String Sextet. It is cause for celebration then that the Pacifica includes them all, and their playing is arguably the best of the bunch. (More on this below.)
 
The Pacifica Quartet, based in Bloomington, Indiana, has been around a while. (I was going to say “forever”; 30 years really is a long time.) Formed in 1994, husband and wife team Simin Ganatra (1st violin) and Brandon Vamos (cello) have remained constant members throughout the decades. Amazingly, they have maintained the consistent, characteristic Pacifica Quartet sound - warm, expressive and beautifully blended - through various members on the inner voices which have come and gone along the way. The current 2nd violin (Austin Hartman) and violist (Mark Holloway) joined the group in 2017. And as good as the group has always been, they surely have reached peak perfection with the current roster.
 
And this album is, quite simply, glorious. I could end the review right here and conclude simply, "Anyone interested in Korngold chamber music absolutely must acquire this." But I suppose I should also add a few comments as to why I would suggest that. And even this can be summed up succinctly: music aside, the playing here is magnificent - expressive, characterful, dynamic, articulate and beautifully blended. As is the recorded sound, which is absolutely lovely - warm, colorful, detailed and positively glowing.
 
Beginning with the String Quartets, it would be difficult to guess this as any other composer than Korngold. Though it’s not always like his film music, or even his famous violin concerto, there is something about the quirky rhythmic energy, alternating with lyrical melodic lines, over a rich, expansive harmonic freedom which makes this music easily identifiable as being pure Korngold. Yet each Quartet is fascinatingly different from one another.
 
The 1st, written in 1924, is rather nervous and at times playful, but with aching lyrical lines - music which reminds me occasionally of the Richard Strauss of Till Eulenspiegel. Its very tunefulness and rhythmic propulsion also remind me of Korngold’s film-scores yet to come, and also of his violin concerto more than 20 years in the future! There is a rich harmonic tapestry to this music which sounds decidedly Austrian. It is gorgeously played here; this music suits the Pacifica’s rich blend and expressive musicality beautifully.
 
The 2nd Quartet of 1933 is lighter, coquettish even - airier and more transparent in its scoring, and somewhat simpler in harmonic density. It’s imbued with more variety of mood, with elements of tantalizing good humor frequently bubbling to the surface. It’s downright playful in the charming Intermezzo. Even more than before, this music instantaneously becomes unmistakably Korngold. And the finale is the very definition of charming. The vividly characterized and truly characterful playing of the Pacifica Quartet is absolutely dazzling. This music leaps to life in such a whimsical, delightful, engaging way, it becomes a true masterpiece - making one wonder why this isn’t a staple of the string quartet repertoire.
 
The 3rd Quartet, written in 1944 after Korngold moved to Hollywood, gets us ever closer to the sound of his famous Violin Concerto of 1945. And as it utilizes themes from some of his film music, that opening Allegro moderato begins to sound even more familiar than the earlier works. And the jaunty, jagged Scherzo is simply brilliant - and sounds to be terribly difficult to play, especially the 1st violin part. You should hear Ms. Ganatra play this with such effortless virtuosity. She truly is the heart and soul of the Pacifica Quartet, demonstrating phenomenal bravura.
 
It's a pity the 6-minute final movement wouldn’t fit on the first CD, which plays for 78 minutes without it.1 And with both the Piano Quintet and String Sextet contained on the 2nd disc, it plays for over 70 minutes as well. So the interruption is unavoidable. (Kind of like back in the days of LP when you had to get up and flip the record over in the middle of a piece.) But it doesn’t really matter all that much; this Allegro is a quirky thing, vaguely reminiscent of William Walton, which can kind of stand on its own anyway. It features writing for the entire group in multiple octaves pronouncing the main theme, followed by jagged ostinato motifs played in octave violins over agitated figures in the viola and cello, alternating with the same in reverse instrumentation. It ends with a virtuosic, rhythmic flourish (which sounds really difficult to play). Once heard, the insistent, rhythmic figures throughout this movement are impossible to forget. In fact, they tend to get stuck in your head for the rest of the day. (In a good way!) 
 
I must mention here that the recorded sound of the 3rd Quartet is not quite as gloriously silky and airy as heard in the first two; the group sounds just slightly darker and a touch confined. Curious why, I checked the booklet, which reveals the 3rd Quartet and the Piano Quintet were both recorded a year earlier with a different engineer. And it is in the Piano Quintet (which comes next on the CD) where the Alma Quartet’s recording on Challenge Classics edges ahead, due in large part to the recorded sound. Listening to pianist Severin von Eckardstein and the Alma Quartet, the music is notably fresher and more alive, with the piano afforded a bigger, more important prominence. And the piece seems to benefit from that. In comparison, the sound on Cedille is ever so slightly congested, with the piano recessed back within a slightly murky acoustic, relegated almost to an accompanying role.2 Nevertheless, it is played with accomplishment and much sensitivity here by pianist Orion Weiss. And to put it in perspective, this isn’t serious, and isn’t seriously detrimental to the enjoyment of the piece as played by the Pacifica Quartet. It’s just…different.
 
And it doesn't help that the CD places it immediately following the 3rd Quartet's invigorating finale, as it is a bigger, heavier, more serious work, written in Germany more than 10 years earlier. Germanic in nature (even the movement tiles are in German), the opening movement displays lots of grand, sweeping themes in the strings over chordal accompaniment in the piano, while the Adagio consists of an extensive, almost Wagnerian set of variations. The Finale, after an intense pronouncement of the main theme by unisono strings and a dramatic violin cadenza, becomes much more lighthearted, good-humored even, and is even more reminiscent of Walton with its spiky, almost awkward, complex rhythms driving the melodies forward.  
 
The recorded sound returns to gloriousness when we come to the String Sextet, which was recorded several months later with the same engineer as the first two Quartets. And I was absolutely ecstatic to see the group is joined for this recording by violist Milena Pajaro-van de Stadt, formerly of the Dover Quartet.3 (Eric Kim, former principal cello of the Cincinnati Symphony, is the 2nd cellist.) With this lineup, it’s no wonder it's absolutely fabulous.
 
The Sextet was composed while Korngold was still in his teens - nearly 10 years before his Piano Quintet. It is flavored with Brahms in the opening Moderato (even the Allegro is rhapsodic rather than overtly energetic), and Mahler in the Adagio. But the youthful Korngold begins to spread his wings in the charming, if somewhat clumsy, waltz-like Intermezzo (con grazia), and the Presto finale is one of his most exuberant creations, with an indication to be played “as fast as possible with fire and humor”. The Pacificas do just that, but never sound breathless, allowing time for the singing lines to soar over the scampering bustle. 
 
All in all, this set from the Pacifica Quartet is an absolute treasure. It is surely the most completely satisfying recording of this music ever committed to disc. And as I mentioned above, it’s better played than most. First and foremost, the Pacifica Quartet is more characterful and capricious than any other recording of it I’ve heard. They play with a wider dynamic range and crisper articulation than the Almas (for example), highlighting the temperamental contrasts in moods and variety of articulation and dynamic markings, bringing the music vividly to life. And they infuse the music with a glamorous, rhapsodic beauty which was somewhat curtailed with the Tippetts. The Doric Quartet was perhaps in the same ballpark (and they, too, recorded both the Piano Quintet and String Sextet along with the Quartets), though it's been years since I’ve listened to that set.

Finally, the recorded sound from Cedille is as lovely as it gets. It's sumptuous when it needs to be, but airy and transparent at the same time. Only the Piano Quintet brings slight reservations in this regard (as noted above), but it is inconsequential when considering this set as a whole, for the musicmaking is simply exquisite. And the entire production is first-class, including a very informative booklet with in-depth details about the composer, the music and the musicians.

As I stated earlier, this recording is a must for anyone who enjoys Korngold’s chamber music. But even more than that, it is a must for anyone who enjoys superb string quartet playing. The Pacifica Quartet has always been one of the best quartets around, but they have outdone themselves with this one.

1 The Dorics (Chandos) and Tippetts (Naxos) both manage to fit the entirety of all 3 Quartets on one CD, with total playing times of 80' and 77' respectively.
2 The booklet tells us the hall is the same in all these recordings, so I must ascribe this anomaly to ill-advised microphone placement for the piano.
3 Milena was an original founding member of the Dover Quartet, playing with them from 2008-2022, before moving on to “other things”. And, frankly, the group has never been the same. (I’m so grateful they finished recording their complete Beethoven cycle before she left.) After going through 2 or 3 successive violists, the group now seems in peril as their latest violist (Julianne Lee) left to rejoin the Boston Symphony, and shortly thereafter, 1st violinist Joel Link was named concertmaster of the Cleveland Orchestra. So it's uncertain where that leaves the 2 remaining members, Bryan Lee (2nd violin) and Camden Shaw (cello). We shall see.

After a rather ho-hum start to the year, there ended up being many, many wonderful new releases - many fully deserving a “Best of the Year” accolade. And even though there were lots of fair-to-middlin’ releases throughout the year, surprisingly few were truly awful. However, there were some - none more so than the most anticipated new recording of Walton’s First Symphony to appear in decades (from John Wilson). And it was a letdown of colossal proportions.
 
Fortunately, the glorious ones far outnumber the duds. And I was pleased some of the very best featured string quartets. New groups playing Ligeti and Bacewicz; fantastic new string quartet music from Fazil Say and English composer Joseph Phibbs; and an honorable mention of the complete music for string quartet by American John Zorn. (There's also a marvelous new recording from the Pacifica Quartet playing Korngold on a 2-CD set from Cedille, which I haven't had a chance to review yet.)
 
Meanwhile on the orchestral front, conductor JoAnn Falletta and her Buffalo Philharmonic lead the way with two outstanding new recordings. And as expected, Chandos garners two “best-ofs” again this year for some of the most spectacular recorded sound of a full symphony orchestra you'll hear (Bacewicz orchestral works and the first Walton release featuring the Violin Concerto).
 
I have cherry picked the best one-liners from my reviews to include here, but I encourage those interested to reread the entire original reviews of these marvelous releases, as I can’t do them justice in simple little snippets.
 
Best of the Year
Marmen Quartet plays Ligeti and Bartok - BIS
Now THIS is Ligeti! I haven’t been this excited about a new recording since Quatuor Diotima’s Ligeti (on Pentatone) 2 years ago.
 
Joseph Phibbs String Quartets - Piatti Quartet/RTF-Nimbus Alliance
It is rare to hear something completely new that is so completely satisfying. The Piatti Quartet’s playing of these String Quartets is beyond awesome; it’s out of this world.
 
Karski Quartet plays Bacewicz - Evil Penguin
When it all comes together, as it most certainly does here in the 4th Quartet (slightly less so in the coupled 1st Piano Quintet), you have one hell of a recording.
 
Fazil Say chamber music - Friedemann Eichhorn/Naxos
All in all, this is another splendid recording of original chamber music by Fazil Say. Though the coupling, his new (2nd) Violin Concerto, is decidedly inferior and uninteresting.

The French in Spain -  JoAnn Falletta/Buffalo Philharmonic/Naxos 
A spectacular orchestral recording from the fabulous JoAnn Falletta and her terrific Buffalo Philharmonic, featuring dazzling performances of Spanish-themed repertoire on Naxos. This is without doubt one of Falletta’s most exciting records ever. 
 
Korngold music for String Quartet - Pacifica Quartet/Cedille (review forthcoming)
 
Honorable Mention (Best)
Walton Violin Concerto - Charlie Lovell-Jones/Wilson/Chandos
This was so good, it made us think (hope) Wilson might actually do the 1st Symphony well. Sigh…
 
Bacewicz Orchestral Works Vol 2 - Oramo/BBC Symphony Orchestra/Chandos
Just as good as their 1st Volume. Marvelous music and impressive orchestral playing with superb recorded sound.

Contemporary Landscapes - JoAnn Falletta/Buffalo Philharmonic/BPO
All new music (4 world premieres) on the BPO’s own label, with absolutely sensational orchestral playing. Best of all is the recorded acoustic, surely one of the most luxurious orchestra halls in the world.
 
Tchaikovsky Suites 1 & 2 - Julien-Laferriere/Orchestre Consuelo/Mirare
An amazing improvement over this group's earlier Brahms recording. This is thoroughly rewarding Tchaikovsky - passionate, heartfelt and exciting. 
 
John Zorn complete music for string quartet - JACK Quartet/Tzadik
An incredible string quartet playing some unimaginably difficult music.
 
**********************************************************************************************************************************
 
The WORST of the year gives us a little bit of everything that can be bad about the Classical recording industry. We have: a) terrible music that shouldn’t have been recorded (Marsalis in Detroit and Thomas Ades at the Halle; plus a couple others I explored in my third “Meh” survey); b) inept recorded sound that shouldn’t have been released on CD (Tchaikovsky 6 in Liverpool; and a Dvorak Cello Concerto from the most unusual and utterly ridiculous of sources - the San Francisco Ballet); and c) abysmal performances that should never have seen the light of day (Bartok Piano Concertos from Capriccio).
 
And then there’s Chandos, which usually scores big, but when they flop, they flop big! They earn the award for the #1 absolute worst recording of the year, with their star conductor and his razzle-dazzle studio orchestra sightreading their way through Walton’s 1st Symphony. And that’s not all! Chandos also manages to achieve two honorable mentions for mediocrity in Russian repertoire - featuring, you guessed it, John Wilson (again) in Rachmaninoff; along with another one of their very own homeboys, Alpesh Chauhan in Tchaikovsky - both very British, very non-Russian conductors, neither of which, frankly, should ever be allowed anywhere near a Russian score. But Chandos just can’t help themselves. They let Wilson do whatever he wants. I get that; he sells a ton of CDs. But in the case of Chauhan, one wonders why? Who even is he? Why does Chandos keep recording his run-of-the-mill Tchaikovsky?
 
Worst of the Year
Walton Symphony #1 - Wilson/Sinfonia of London/Chandos.
Wilson has made some bad recordings before, but this one takes the cake. Wilson has zero conception of the piece, zero interpretative vision, and his orchestra breezes through it without giving it a second thought. This is as underpowered a reading as you could ever imagine, and not even Chandos' recorded sound could salvage it. From my review: “Even by basic, professional orchestral standards, this orchestra fails to deliver.” The Chandos producers must have realized this as well, and curiously give the coupled Cello Concerto top billing on the cover. How odd.
 
Marsalis Blues Symphony - Bignamini/Detroit/Pentatone.
Why Bignamini chose this for his debut recording with the Detroit Symphony is mystifying. It shows neither conductor or orchestra at anything close to being a world class outfit. And it isn’t even musically satisfying. From my review: “That this blues thing goes on for over an hour is absurd. It’s amusing for about the first 5 minutes before becoming tedious, repetitive and interminably boring.”
 
Thomas Ades at the Halle
I covered this one in my recent “Meh Part 3" survey. Nonsensical music which never does anything and utterly boring orchestral playing which never sparks any interest pretty much sums it up.
 
Bartok Piano Concertos - Barto/Eschenbach/Capriccio
Tedious monotony. ​Bartok piano concertos in Berlin played by a body-builder pianist from Florida. Why Capriccio brought this to market is unconscionable. But they did - music be damned. And they even had to spread it out onto 2 CDs. Absolute absurdity.
 
Tchaikovsky Symphony #6 - Hindoyan/Liverpool/Onyx
Disingenuous at best, deceitful at worst, this release from Onyx combines an older, poorly recorded live reading of a lackluster, uninvolving Tchaikovsky 6th with a wonderful new session recording of his Souvenir de Florence. Onyx repeated this formula in their latest Liverpool release, Iberia, and I simply don’t understand why. This orchestra deserves better. 
 
Dvorak Cello Concerto - John Henry Crawford/Orchid Classics
Why would this promising young cellist hook up with this conductor (Martin West) and an ill-suited ballet orchestra (in San Francisco) to record a concerto in a cramped film studio (Skywalker soundstage) with amateur engineering? That Orchid Classics would have anything to do with this is bewildering. 
 
Rosza/Bartok Violin Concertos - Simovic/LSO
Once again I’m amused by British reviews of Simovic’s dull violin concertos when they write inexplicable, irresponsible comments like: “He plays with great panache” and “There is real fire in his bow.” NO he DOESN’T and NO there ISN’T! What are they even listening to? It’s the very absence of panache and fire in his bow that makes this about as boring a concert as you’d ever try to stay awake through. That these come from live performances is unbelievable.
 
Honorable Mention (Worst)
Tchaikovsky Orchestral Works - Chauhan/BBC Scottish SO/Chandos
As mentioned above, this is little more than refined orchestral sightreading prowess on full display. (And to be fair, this orchestra sightreads extremely well.) Chauhan has no real vision or concept of this music, churning out perfunctory (though well-played) read-throughs with little insight. And for unknown reasons, Chandos continues to show up with their microphones. (And again, to be fair, the recorded sound is, for the most part, superb.) 
 
Rachmaninoff Symphony #1/Symphonic Dances - Wilson/Sinfonia of London/Chandos
If not quite the colossal failure as his Walton 1, Wilson's Rach 1 comes pretty close. (And his Symphonic Dances is the worst of all.) I came away thinking this sounds more British than Russian, and in Rachmaninoff, that isn’t good. Nor is the recorded sound. Decidedly mediocre by Chandos standards.

What was Onyx thinking, releasing this right on the heels of JoAnn Falletta’s electrifying Naxos recording of this same theme and repertoire? It would be difficult for any recording to measure up with that still fresh in our minds. And to make matters worse, Hindoyan replaces Ibert’s Escales from Falletta’s program with the most unimaginative, uninteresting, tiresome and completely unnecessary choices possible: Ravel’s Bolero and Pavane. YAWN. That’s what everybody needs, right - yet another Bolero. Even Hindoyan seems fairly disinterested as he rushes through it in well under 15 minutes.1 
 
So why this release? Surely the folks at Onyx are aware of what's going on - who's doing what; what's being marketed by other labels, etc. So why aren't they producing something innovative - like continuing their Music from the Americas series they started with Hindoyan last year with the wonderful Venezuela! release? That would be something we could use and would actually be interested in. But we got this instead.
 
I shouldn't have bought this disc. Plain and simple. After all, I had just listened to the Buffalo Philharmonic playing the hell out of this music. And after Hindoyan’s gloomy, "live" Tchaikovsky 6th on Onyx’s previous release, I should have known better. For just as on that Tchaikovsky CD, Onyx has again underhandedly snuck in some older, live concert stuff with new session recordings on this new release as well. This seems to be the new modus operandi there at Onyx. Apparently they think no one will notice. Or care. Well I noticed. And I care. And I hesitate to buy any more CDs from these guys.2
 
So what kind of mish-mash did Onyx concoct this time? We get some Ravel from live concerts in 2022, and Chabrier and Debussy from session recordings in 2024. And in the title piece, Iberia, Hindoyan plays just the central portion of Debussy’s Images for Orchestra rather than the whole thing. Why? Why can’t we have all three Images? The other 2 would have been infinitely more interesting and musically rewarding than yet another loathsome, redundant Bolero that absolutely no one wants or needs. But, alas, Iberia is all of Debussy's masterpiece we get.3 
 
But Hindoyan starts the concert with the ubiquitous, bubbly Espana by Chabrier. Again, another unimaginative choice, as if just an afterthought to liven up the program with something trivial to fill out the disc. And Hindoyan dutifully plays it just that way. It sounds to be a quick read-through, sightread for the microphones without requiring much effort. Musically, it sounds like he’s trying to make it charming, when what it really needs is some vitality. At least the recorded sound is good, replete with a nicely sparkling piccolo and splendid immediacy from the charismatic trombones. Curiously though, I thought the strings sounded a bit meager in places, which is surprising for this orchestra.
 
The musicmaking perks up noticeably in Iberia, where instantly in the first movement (“through the streets and along the paths”), Hindoyan is much more engaging and displays some delightful characterization in the music. In fact he sounds almost as spontaneous and lively as Falletta. And that’s saying something! And the recording is glamorous - vivid, colorful and atmospheric. Though again I notice the violins sound a bit thin and undernourished, especially up high, which is quite a change from what we normally hear from Hindoyan's strings. What happened to their full-bodied richness of sound? It sounds like they are fewer in number than usual. But the horns show some real character and enthusiasm beginning around Fig 19 (about halfway through) all through to the end, especially in the final measures, with all those little grace notes ringing out proudly. Very nice.
 
Parfums de la nuit is just a bit matter-of-fact, but the playing is sensitive and colorful, featuring exquisite oboe solos. And I like that Hindoyan takes just a bit more time here and there than Falletta does, giving the strings a chance to caress a phrase with real elegance. And in Fete, he’s not quite as rushed as Falletta, which actually results in the strings’ strumming sounding a bit more authentic, if a little less exuberant. Though curiously, even here, they still sound a bit scant in number. And while Hindoyan starts with plenty of gusto, he doesn’t quite keep it going with the same vigor as it progresses, failing to muster the festive energy or sheer excitement in the final measures that Falletta does so spectacularly. And the trombones, which were so characterful earlier in Espana, are oddly timid and reserved here at the end. Yeah I know their octave glissandos are hard (if not impossible) to execute exactly as written, but rushing through it and burying them in the mix isn’t the solution.
 
Speaking of trombones, I just had to jump ahead and listen to Alborada del gracioso next to see if the Liverpool trombones could match their counterparts in Buffalo in yet another glissando there at the end. But before I got there, I heard an impressive bass drum whack near the beginning - which was good. But it became immediately obvious the recorded sound overall is noticeably more distant and less focused than before, revealing this to be one of those earlier (2022) "live" recordings. And Hindoyan is not nearly as spirited or gracioso as Falletta. Nor does he generate nearly the same exhilarating momentum in the final peroration. As for his trombones there at the end - they’re virile enough I guess, especially the 3rd, but not nearly as macho as the Buffalo bones, which are much more effective. Trombones aside, this reading could have used a good deal more verve.
 
And following this boisterous climax with the dead pavane is absolutely absurd. And I use that description literally - this princess sounds about as lifeless as you can get, especially coming here in the program. And seriously, why is it even included here in a Spanish-themed program? I turned it off after barely a minute, and was absolutely loath to listen to a single second of Bolero. So I didn't.
 
I almost forgot to go back to Rapsodie espagnole that I skipped over. But I'm glad I did; it’s actually pretty good. However, in the opening Prelude and later in “Habanera”, it’s hard to match the luscious, colorful, atmospheric acoustic Naxos captures in Buffalo. The Onyx microphones in Liverpool are just a little too close to be optimal, minimizing some of its allure. And even though Hindoyan gives his strings time to luxuriate in the most rapturous passages, they continue to sound a bit thin and not as sumptuous as we have come to expect from them. That this characteristic persists all through this CD is just so very odd.
 
“Malaguena” progresses rather uneventfully, and is fairly representative of what I hear throughout the entire piece - the playing is excellent without being truly distinguished, as is Hindoyan’s involvement with it. He takes a little more time here and there than Falletta does, but is not as musically immersive or vivacious - especially in “Feria”, where Falletta's exhilaration takes one’s breath away. Hindoyan, in comparison, is more reserved and gentlemanly than truly festive. It's well-played, but sounds a bit careful.
 
So to summarize: Espana, Alborada and Rapsodie are good, reliable readings - if ultimately routine compared to the best. Iberia is definitely the standout of the program, musically and sonically, and other than the curiously restrained ending, it really is very good. But on the whole, Hindoyan is no match for Falletta in this music.4 Nor is the programming as imaginative or rewarding. Thinking back about what I've heard on this recording, trying to identify something - anything - truly distinguished or remarkable about it, I simply can't. The Royal Liverpool Philharmonic plays proficiently, reminiscent of their Petrenko days, and I would have welcomed more spontaneity and unbuttoned enthusiasm throughout from them. And I can't help but wonder - is Hindoyan losing his spark already? What has happened to the youthful vitality and dynamism we would expect from him? 

And finally - Onyx really needs to stop with the commingling of old concert material (of dubious sound quality) with new studio recordings from this orchestra, and get back to producing all-new, high-quality recordings of innovative programs people might actually want to hear. A second volume in their Americas series would be a great place to start.

1 Ravel himself stated this piece should last 17 minutes. Just listen to Riccardo Muti's 1982 Philadelphia recording on EMI to hear how it really should go. 
2 As it turns out, the live recordings here sound better than that dismal Tchaikovsky 6 on the earlier release (though still not as good as the studio sessions), so maybe their lack of transparency regarding the source material is not quite as serious as I suspected.
3 To be fair, that's all Falletta gives us in her collection too.
4 That Naxos disc is truly one of her most spectacular and exciting recordings. I've rarely heard her sound so uninhibited on record.

If you think you know what Wilson is going to sound like in Walton’s 1st Symphony, you’re probably right. Though I was hoping against hope he would surprise us and come up with something momentous. Or at least worthwhile. But such is not the case. As fine as this orchestra is at sightreading, this piece needs much more than clinical expertise. And if that seems like a rather cold, harsh description of what this is, well, that’s exactly what it sounds like.
 
But it’s not all bad. The Overture is vivacious and very entertaining. And as I would discover later, the Cello Concerto is quite wonderful. But let’s be real - no one is buying this release for those. So don’t put away your old 1966 Previn RCA CD yet (especially the 2007 24/96 remastering on BMG Japan). It still reigns absolutely supreme. And to be fair, over the ensuing six decades since Previn made that landmark recording, only Slatkin (1988/Virgin/LPO) came even close to matching it.1 A major contributing factor to this, aside from the excellence of the conductors of course, is that Previn had the LSO in its prime at his fingertips, and Slatkin chose the LPO to record the work, rather than his usual St. Louis Symphony. These established, highly experienced London orchestras have this music in their very bones and are second to none in this repertoire. Wilson, on the other hand, uses his hand-picked studio band, who he assembles for studio sessions whenever he gets the random urge to record something. And as good as they are as individual musicians, there’s a problem playing something as difficult as Walton’s 1st Symphony as an ensemble when they aren’t used to playing together.
 
Before we get into that, first I must praise Chandos producer Brian Pidgeon for finally (finally!) figuring out what an overture is. He places the Scapino overture first on the program - where it belongs. And follows it with the concerto - exactly where it belongs. That makes for a perfect first half of the concert; and the disc closes with the symphony, just as it would be programmed in a real concert. Excellent!
 
And Scapino sets the tone of the entire concert. Wilson treats it as a virtuoso showpiece for orchestra. And that’s what this orchestra does best, so why not? It works great in Scapino, though not so much in the symphony (but I’m getting ahead of myself). It’s fast, effervescent, energetic, dynamic, and very exciting. Wilson reveals loads of detail, bringing out every little moving part whether important or not. And he relaxes beautifully in the central section, giving the solo strings a chance to infuse a bit of operatic voluptuousness to their melodic lines (though their vibrato is a bit over the top for this). Best of all, the recorded sound is excellent - replete with full-bodied strings, biting brass, and splendid dynamics.2
 
Anxious to get to the symphony after the scintillating overture, I skipped the cello concerto for now, which to be honest, has never been one of my favorites. I’ll come back to it later.
 
Listening to the symphony, it didn’t take long before I began to hear some strange things going on with balances and dynamics, which were so unexpected, I had to grab my score before I even got to the first climax to see what in the world Wilson was doing. For instance, right from the very beginning, the nervous, rhythmic figures in the 2nd violins are virtually inaudible - completely drowned out by the horns. And where are the accents? They’re sort-of there, but don’t have nearly the crisp articulation or bite that they should. Admittedly, the violins are marked ppp, but so are the horns! So why are their unimportant sustained tones so loud? And then a few bars later, when the 1st violins take up the propulsive staccato 8th-note jumping octaves, they too are ill-defined and fail to propel the music. Conversely, a few bars later, at Fig 6, the horns now are practically inaudible just when they are needed most - at their first fortissimo, with accents, up on high Bbs. Why? I believe there is some not-so-subtle knob-twiddling going on in the control room - which, in a modern recording, is completely unnecessary. This can’t possibly be Wilson’s doing.
 
However, once the record engineer settles down and gets less fidgety with his fingers on the controls, the music begins to unfold more uniformly, and Wilson gets down to business. He reveals some really nice details - such as the cellos at Fig 7, which are marked f and marcato, while the violin busywork is pp. And that’s a differentiation worth noting. And while all those hairpins are not very effectively executed by the strings, the trombones sure hammer them home with plenty of bite and power. Excellent! (If only they would do this more often.) Unfortunately, the first climax at Fig 14 is pretty tame - the strings sound thin and far from ff. And there’s absolutely no tension whatever going into the little mysterious rallentando at Fig 17, and the tuba and 3rd trombone are far from ff leading to the climax. So already, Wilson is failing to build the necessary tension, allowing his orchestra to get lackadaisical with dynamics and articulation.
 
As the movement progresses, (and I really have to stop being quite so detailed in describing it), I hear some lovely sound from the strings - airy and spacious. But the music itself becomes a little matter-of-fact, bland even, as Wilson makes his way through these sections getting to something he likes more. The rhythmic figures in the 2nds and violas are all but lost in the mix, causing the forward flow to lose momentum (along with tension).3 And when arriving at the next climactic point, at Fig 31, it’s not at all climactic - it’s too rushed! Argh. It’s so exasperating to hear Wilson drive headlong through this, rendering it inconsequential. And any hope that he’ll ever generate the necessary tension evaporates. And yet again, at Fig 32, there is no “arrival” (where did the trombones go in this passage marked fffz?!), and the entire brass section wimps out leading to the enormous climax at Fig 33. Are they tired already?
 
The next section relaxes beautifully, and the violins are gorgeous playing their ecstatic ff tune at Fig 34. Now this is better! I know Wilson has it in him to make music like this; why doesn’t he inject this much emotion elsewhere? But, alas, just as I’m getting into it, the ensuing crescendo fails to materialize. And at Fig 40, where oh where are the horns? (Maybe off somewhere with the trombones?) Walton marks them fff and accented - what more indication do they need to play with some power?
 
And this continued lack of dynamic strength from the entire orchestra seriously affects the final few minutes of this movement. Nowhere more devastatingly than the timpani at the very end - which sound so far away from the rest of the orchestra, they might as well be in a different room. Walton marks them fff and accented - and again, what more does he have to do to get their attention? Instead, they are weak, and the dash to the end lacks drive and muscle - thus ruining this most dramatic of climaxes, which should be overwhelming in its unstoppable culmination of everything which has come before it.  
 
Even by basic, professional orchestral standards, this orchestra fails to deliver the powerful, engaging, musical involvement required for this movement. They really do sound like they’re just sightreading this and Wilson is apparently fine with that. (“Ah…it’s good enough.”) I swore under my breath at Wilson for this. (I actually wrote something even worse in my notes.) It’s completely unacceptable.  
 
Moving on to the Scherzo, which should be less demanding of them, it darts off in a flash, but is surely too gossamer. And I immediately question - where are all the accents? Walton goes to great pains marking them everywhere. And that’s for a reason. But Wilson merely skates over the surface in his haste. Malizia? Not even a hint of it. It’s flirtatious, jovial even, as Wilson races off in a flurry of frivolous virtuosity.4 It’s lightweight, and the many sffz and accents are glossed over. The suddenness of dynamic contrasts are smooth rather than jagged, rendering the music innocuous rather than malicious. Worst of all, the gnashing clashes in tonality, beginning just after Fig 60, are much too affable; the brass don't play with enough snarl or bite. (Again, no malice.) And later, just after Fig 67, the hugely dramatic ff (and accented) descending quarter-note exclamations (E-C-E, bum-bum-bum) are polite and timid, and go by without importance. Wilson, as is his wont, sounds like he’s in a great big hurry to get it over with. And in the final measures, even here the brass sound mild-mannered - though you can just make out the horns' quick little gliss there at the end, which I liked.
 
Once again, this sounds like well-trained musicians sightreading their way through this. And, amazingly, they do manage to keep up and get in all the notes in all the right places. But at this speed, they simply don’t have time to take note of all the many dynamic and articulation markings. And Wilson seems content with that. (“Just go with it.”)
 
I was so exasperated at this point, I was hesitant to subject myself to the Andante. But seeing that Wilson breezes through it nearly 2 minutes faster than Previn (!), I thought I could persevere. Plus there is a flute solo from Adam Walker at the beginning to look forward to. And, as expected, he plays it beautifully. But that only lasted so long before Wilson goes on autopilot, and the music sounds matter-of-fact and simply too fast - not quite rushed, but not endearing either. This tempo might have been ok if there was some mystery to it. Or even the slightest bit of affection. But there isn’t. Just as malice was missing in the Presto, emotional involvement is missing here. There’s not much to the climax at Fig 92, and at the Maestoso (Fig 96), where’s the intensity? Or the passion? Wilson just hurries through it in his usual, detached way.
 
And off we go in the finale. This can be difficult to pull off even for the best conductors and ensembles, and Wilson shoots himself in the foot right off the bat in the introduction. Maestoso? Hardly. Wilson is in such a huge hurry to get through this and on to the Allegro, the ff accented sixteenth notes in the strings go by like mush - not even very well executed. It sounds like Wilson wants them all on downbows, but they barely manage a spiccato at this speed, with not enough weight or body of tone to them. And they end up sounding almost comical - ridiculously so. And with the “maestoso” played this fast, Wilson has nowhere left to go but to take off like a jet in the Allegro brioso just to make a distinction between the two. And as in the Scherzo before, there simply is no time for these players to observe all the many dynamics and articulation markings. Thus accents and, especially, sforzandos, go by with little notice. And it’s much too lightweight to be anywhere near ff when called for.
 
There is a fine climax though (Fig 122-123), and the vivacissimo section after that is very well done - mercurial, and even a bit whimsical. But then the even bigger fff climax at Fig 137 is distinctly underwhelming, and the maestoso which follows is, again, ruthlessly rushed. The strings redeem themselves in the next section though (Fig 139), where they bring it with gusto; followed by a touching, plaintive trumpet solo - a bit reminiscent of “Taps”, despite it sounding a little too fast. And as the big finale approaches (just after Fig 141), the tempo most certainly is too fast, and the music bubbles forth joyously rather than triumphantly. And I can’t imagine that’s how Walton intended it to sound. Oh, and one final nitpick - in the last measure, why is the final dotted 8th longer than the preceding two? I see no justification for it in the score, and it sounds contrived, ineffectual and a little pretentious doing it this way.5
 
As a whole, I would describe Wilson’s way with this symphony as capricious, whimsical and somewhat frivolous. And none of that is what we want from Walton’s monumental 1st Symphony. We need drama first and foremost. And we absolutely must have tension. And above all - POWER! But Wilson will have none of it. Or maybe - just maybe - his on-demand troupe of musicians simply can’t deliver it. Whatever the reason, I admit I’m surprised this was such a colossal letdown.  
 
As to the Cello Concerto, do I even need to go into this? I mean, no matter how good it might be, it wouldn’t begin to compensate for the symphony...right? Well, I may have been wrong about that. 

Instantly in the opening Moderato, I hear all the intrigue, drama and dynamic impact which were lacking in the symphony. The sense of anticipation created here is positively palpable. I was transfixed, unable to move from in front of the speakers. And even in the more virtuosic Allegro appassionato which follows, there is an intensity and, yes, passion, which caught me off guard and kept me thoroughly enthralled. The extended finale then, which is as long as the previous two movements combined, displays a wide variety of moods, color and atmosphere - music in which Wilson (and the Chandos recording team) excels. And he is very engaging here. In fact, I was taken aback by the orchestral pronouncement just before the cadenza, which is more powerful, exciting and invigorating than anything Wilson produced in the symphony, prompting an impulsive WOW! from me.
 
To be sure, Wilson’s contribution in this piece is significant. However, it would be for naught if the soloist wasn’t exceptional. And he most certainly is. Jonathan Aasgaard’s playing is full of emotion and expressiveness, and he accommodates the virtuosic passages with aplomb. His cadenza near the end is impressive, leading to a deeply felt final Adagio. Most of all, though, his very presence in the recording session seems to have been pure inspiration for John Wilson. This concerto, as recorded here, is a moving, almost transcendent experience which I wasn’t expecting. Suffice it to say, I enjoyed the piece more than I ever have before. And just as with the Violin Concerto in the previous installment, Wilson and his soloist made me truly love this concerto for the very first time. Jonathan Aasgaard is a wonderful and inspiring soloist, and Wilson is a fine accompanist. And I begin to understand why Chandos gives the concerto top billing on the front cover. And maybe, just maybe, this disc might be worth it after all.
 
I would expect the final installment in the series will give us the Viola Concerto (which I now really look forward to), and the 2nd Symphony (which Wilson might actually do a little better in). We can hope for the best.
 
1 Some make mention of Litton’s 1993 Decca recording with the Bournemouth Symphony as being another worthy successor. Though I have that CD on my shelf, I don’t remember it being in the same exalted class. I may have to revisit it.
2 This was recorded in January 2024, around the same time as Wilson’s previously released Walton disc. Curiously, the cello concerto and the symphony were recorded much earlier - before that first volume was released - in 2022/23. How very odd. 
3 Just occasionally, the acoustic, as luxurious as it is, sounds just a bit over-reverberant to be beneficial in this regard. 
4 And it’s not even all that fast; Previn is over 20 seconds quicker in this movement.
5 I do realize Wilson is not alone in doing this. But that still doesn’t make it right. Or effective.

Where to begin.

Several fantastic, musically inspiring releases have graced my listening room over the past couple of months, and it has been a pleasure hearing and writing about them here on my blog. But among those, there have also been a plethora of decidedly uninspired releases along the way. So uninspiring in fact, I haven’t been motivated to write anything about them - good or bad. So here’s a little snapshot of some of the things I’ve been listening to, which have generated so little interest, I never got around to reviewing them.
 
After several recordings of music by the endlessly fascinating and awe-inspiring creativity of Grazyna Bacewicz, I’ll start this survey with 2 other female composers I’ve encountered recently whose music is not nearly as impressive. The first is easy to dispense with fairly quickly - orchestral works by British composer Eleanor Alberga (who was born in Jamaica), on a label I really like, resonus. I didn't really care much for any of this music. The title piece “Strata” is actually her recent (2022) attempt at a symphony (#1), which sounds much more like a planetary suite than a symphony. It's colorfully orchestrated and very programmatic, with movement titles such as "firmament", "core", "mantel", etc. Throughout the piece, I hear some really good ideas which are initially interesting and spark the imagination, but are soon all but abandoned as she goes off in weird directions which fail to sustain one's interest. The short 4th movement ("crust") raises eyebrows though, with the incorporation of shouted vocalizations from the orchestral musicians, which seem contrived and intentionally gimmicky - and completely out of place in this mostly atmospheric music, especially in a work she's calling a symphony. Moreover, at well over 36 minutes, the piece as a whole is certainly too long for its material. As is the half-hour-long symphonic suite "Mythologies" from much earlier in her career (2000), which ends the program in much the same way.

It's curious how little her sound and style have changed (and/or developed) over the span of 22 years. And, frankly, it simply doesn't capture the listener's interest for very long and remains largely forgettable. The orchestral playing throughout is thoroughly committed and the recorded sound is excellent. 
 
Another female British composer, Anna Clyne, has been gaining momentum lately with several YouTube concert videos of her current hit, “The Midnight Hour”. I like the piece and have a good recording of it with Sakari Oramo conducting the BBC Symphony Orchestra on a 2020 collection of Clyne’s music on Avie entitled Mythologies. Marin Alsop also conducts one work on that CD (“Masquerade”), which I also enjoyed. So I thought it fitting to explore this composer further on a recent Naxos release of her music with Alsop conducting the Baltimore Symphony.
 
First, I found this release a little odd - starting with the cover. I’ll admit right up front I’m not a fan of Marin Alsop and have never understood her popular acclaim.1 And with that in mind, I was amused by her pretentious headshot pic on the front, and wondered, what's wrong with her ear? Weird. More important is the source material Naxos assembled for this compilation. These recordings date from 2017, 2018 and 2021 - all but the first track coming from “live” performances in Baltimore. One wonders why they are just now seeing the light of day on CD. Whatever the reason, I found much of this music to be slightly amateurish, sounding exactly like what it is - written on-demand to fulfill a commission - as opposed to truly inspired creations directly from the heart and soul.
 
Though the opening work, "Within Her Arms", was not a commission - and is in fact a heartfelt memoriam composed after her mother passed away in 2008. The booklet tells us it has become her most performed work. It’s tender and very intimate, written for 15 string soloists. Unfortunately, it just feels too long. There simply isn’t enough thematic content or variety of mood or tone to hold one’s interest for the entirety of its 13-½ minutes. Maybe if this were half as long, it might have been much more captivating. But it goes on and on, tugging at our heartstrings, without ever really going (or getting) anywhere. As lovely as it is (and it’s sensitively played here, replete with silky string sound), it just never quite develops into something truly memorable.
 
Abstractions for Orchestra, commissioned by the Baltimore Symphony in 2016, is based on paintings from the Baltimore Museum of Art, and exhibits much more variety in its 5 sections. But here, the on-demand, paint-by-numbers element begins to reveal itself. I hear a certain formulaic methodology in its composition - from restlessly fluctuating broken chords and queasy string glissandos in the 2nd section; to scales up and down in the 4th; followed by arpeggios all around in the 5th. These creative devices are all dressed up with lots of busywork from every section of the orchestra, adorned with brilliant orchestration. This, along with vivid recorded sound, almost succeeds in distracting us from its lack of real creative substance. And as such, it’s pleasant enough - rather like listening to an unremarkable film score.  

This intrinsic temperament continues similarly in her 2020 Color Field, where colors are the inspiration rather than paintings. "Yellow" begins much like Abstractions does, and never really develops a distinctive voice. "Red" is energetic, resorting back to the use of scales up and down and everywhere, rather than actual thematic material, over a primitive, rudimentary rhythmic pulse propelled with bongos - sounding very much like an action/adventure movie soundtrack. "Orange" is more like "Yellow", but with Minimalist roots and appealing hints of James Newton Howard's score for the movie Signs - which I actually enjoyed the most of anything on the entire program. This music is all pleasantries, if not all true inspiration.

Oh, and in between is "Restless Oceans", which bombards us with crude, primitive shouts from the orchestra members not unlike what we heard in that one section of Alberga's "symphony". But to be fair, Alberga incorporates it judiciously, whereas Clyne utilizes it profusely - which, if anything, sounds even more contrived and gimmicky.2

I was surprised I didn't enjoy this music more than I did, and wondered if it was the conducting or the music itself which caused me to feel this way about it. In the end, I came to the conclusion it's probably both. In any event, this program is easy to listen to while dusting or cooking dinner. Many may find it enjoyable while relaxing with a glass of wine. But with a total playing time of only 52 minutes, there was plenty of room on the CD for something more - perhaps Clyne's popular, aforementioned "The Midnight Hour", which might have added something a bit more substantive to the program.

More uninteresting and uninspiring music comes from yet another British composer, Thomas Ades, who conducts a program from the Halle. In fact, it’s so bland, it doesn’t even seem to have any dynamics. I kept turning up the volume just to hear if they were still playing something. And nothing much ever seems to happen musically - particularly in the first two works on the program. "Shanty", written for 15 string players, is executed with endless glissandi slippin' and slidin' from note to note, up and down and all around - which actually was making me queasy long before it was done. (It goes on like this for nearly 8 minutes. Good god.) "Dawn" is more melodic, with melancholy string harmonics and a plaintive flute tune over an incessant, plucking harp foundation. 
 
I was particularly intrigued, however, with the 3rd piece on the program, "Man With Limp Wrist", by British composer William Marsey (b. 1989). Hmm...is there a gay element to this?3 Looking at the individual movement titles would suggest there might be: “Bar Boy”, “The Texter”, “The After-Party”, “Three Friends”, etc. But disappointingly, the program note merely tells us that it’s actually inspired by a painting of the same name, of a somewhat folksy, homely, naked man (a reproduction of which is printed in the booklet.) Musically, it all sounds rather reserved and gentlemanly (though the opening is strangely eerie) - generating only the slightest hint of gaiety for our coquettish bar boy, who seems to be dancing a little Scottish jig for some reason. And there's not even much liveliness as it continues. Even the after-party sounds like everyone is pretty pooped (and more than a little tipsy) after a night out, and the texter sounds sad about something. The three friends share a minute (literally) reminiscing about the evening, before the main title section takes us to the end. So perhaps I jumped to the wrong conclusion on this. Or perhaps not. Maybe he's just shy. Regardless, this charming little suite is pleasant and amusing without being especially memorable. Nonetheless, it was the highlight of the entire program - such as it is.

Later in the program, we eventually hear a real fortissimo in the "Bell Canon" movement of Cartoon Sun by Oliver Leith (b. 1990). This ff comes unexpectedly out of nowhere and is not at all pleasant, but Ades does finally manage to draw some dynamics from the orchestra.4 The piece is laid out in three similar-sounding movements, but other than that one climax, it, too, just meanders along without ever really doing anything or getting anywhere. In this regard, Leith's music tends to sound much like Ades', and fails to generate much interest in what's left of the program. As I was nodding off, what little I heard of Ades' more substantial "Aquifer", which comes last, sounded promising, so I may want to revisit that when I'm more alert. Throughout the disc, the playing is good and the recorded sound is fine - fairly innocuous, much like the music and musicmaking - all 68 minutes of it.
 
While I’m getting through some of these recordings, I might as well make a quick mention of one which initially caught my eye with the potential for a fresh, youthful, invigorating program - American Folklore - played by the Yale Symphony Orchestra on Nimbus Alliance. But such was not the case - at least in the familiar works which come first on this disc. While on the face of it, this disc may not initially seem to fit with the theme of this survey (“uninteresting British music”), seeing British conductor William Boughton on the podium makes it perfectly appropriate to be included here, as he leaves his mark profoundly on the musicmaking. I’ve always thought of him as a boring conductor. (Remember all those ho-hum Nimbus recordings in the 90s? Yawn.) And now at 77 years old, he sounds even more so, and sadly, that’s exactly how I hear these youngsters play for him - at least in the 2 familiar works, which were recorded at the very end of Boughton's 5-year tenure at Yale (2025). The playing is careful, refined and so thoroughly over-rehearsed, it loses a sense of spontaneity, let alone freshness. The orchestra plays fairly well, occasionally exposing their student origins. But how can they make Duke Ellington sound so unidiomatic and boring?5 And Copland so uneventful? And not just the playing, but the recorded sound too, which is rather bland and undynamic. And where oh where is the bass drum in Billy the Kid? It sounds like pounding on an empty cardboard box rather than a sf (as marked) on a big bass drum.
 
Musical involvement and recorded sound improve considerably as they continue the program with three contemporary works - two of which are premiere recordings, recorded at sessions 1-2 years earlier. "Rainbow Serpent" by Christopher Theofanidis is extremely nice, showcasing this orchestra's surprisingly excellent string section. I wish they would have played the entire piece from which it is extracted (Dreamtime Ancestors). After this, we have a "symphonic fantasy" by British composer Bernard Rands, which has some nice things in it, but goes on interminably for over 21 minutes (!). Unfortunately, I lost interest long before it was done, and wondered why it was included here in an American folklore-themed album. Finally, "Of Our New Day Begun" is a substantial piece by African-American composer Omar Thomas, written to honor the 9 souls who lost their lives during the domestic terrorist attack on the historic Mother Emanuel Church in Charleston in 2015. It is heartfelt and emotionally moving - though I could have done without the foot-stomping, clapping with tambourines, and vocals in the central section, and even the somewhat grandiose sections (also with the orchestra singing) which follow. But the music builds to a fine climax and the ending itself is extraordinarily touching. This is undoubtedly a very impressive piece of music, and the playing (and singing) of it by this young orchestra is quite simply glorious. If only they had skipped the Ellington and Copland (and the Rands, for that matter), which are distinctly meh in comparison, and played more new American music instead, this program overall might have been much more wonderful. 

Speaking of meh (and boring), Simon Rattle offers up yet another of his usual run-of-the-mill concerts on a recent (2022) LSO SACD. Bernstein's "Prelude, Fugue and Riffs" and Stravinsky's "Ebony Concerto" are heard here in routine readings hardly worth the effort. Proper British refinement and lack of enthusiasm smother any life these delightful works might otherwise display under better direction. Indeed, I suspect these players would instinctively produce more lively readings without Rattle up there. The coupling, Golijov's "Nazareno", in an arrangement by Gonzalo Grau for 2 pianos and orchestra - made at the request of the Labeque sisters, who play it here - is equally straight-laced and well-mannered. The recorded sound is smooth and lacks bite. Impossibly meh from beginning to end.
 
Finally Sir Arthur Bliss. I am very fond of some of his music and was interested to hear his ballet Miracle in the Gorbals on Chandos.6 It’s conducted by Michael Seal, who I thought was wonderful in the Chandos collection of orchestral music by the (now) late Adrian Sutton. This relatively neglected ballet is pleasant enough, but not nearly as appealing or memorable as his much more familiar Checkmate ballet - despite excellent playing and recorded sound here. The coupling, “Metamorphic Variations”, is not so pleasant. And curiously, the production goes to great pains proclaiming this to be the first recording of the complete score. The booklet goes into lengthy detail about the 2 little sections which were restored for this recording after having been excised from the original score by the composer. At first it all seems terribly interesting - exciting even - until one realizes these 2 sections are merely 2 short variations, making up barely 5 minutes of the 43-minute score. Seriously, it’s not that big of a deal. And as the entire piece is steadfastly uninteresting, the inclusion of these 2 variations is inconsequential and doesn’t add enough to make the piece any less forgettable. The playing and recorded sound are exemplary.
 
In closing, I don’t mean to specifically pick on the Brits in this survey. I suppose it’s just coincidence that all the material on these CDs just happens to be from British composers, conductors and/or labels, so it was logical to lump them all together. While most of them are worth hearing maybe just once, considering the price of CDs these days, I wouldn’t consider any of them essential purchases.
 
1 She was conductor of the Colorado Symphony from 1993-2005, while I was living in Denver. And we all witnessed a decline in that orchestra during her tenure - enduring concert after concert of bluster, empty bravado and glossy superficiality - and precious little musical substance or insight. And that’s exactly what I hear from her on record.
2 Is this a thing now - crude shouting from the orchestra? Asking for this kind of nonsense from professional orchestral musicians is, frankly, insulting.  
3 After all, Ades is openly gay. (I have no idea if Marsey is.)
4 I suspect they're playing merely on auto-pilot, sight-reading these scores.
5 And why only 4 movements from River Suite?  
6 I have on my shelf the 1999 Naxos recording of it, but have no memory of it.