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

Korngold's violin concerto is a strong influence on both composers, but even more so with Sutton, where nostalgic melodic lines and rich harmonies are punctuated with frequent, episodic outbursts of melodrama. In the first movement, Korngold is commingled with Vaughan Williams, but soon blossoms into the John Williams of E.T. in the rapturous climax leading up to the cadenza, and even more so in the sweeping violin melodies and wistful motifs in the flute which follow it. The second movement, then, is all Vaughan Williams - which really does sound like “The Lark Ascending”, but less despairing. Along the way, there are winsome interactions between the violin and various winds in the orchestra (notably piccolo and clarinet), which are positively lovely. The final movement is a bustling scherzando with an even stronger influence of Korngold, and even a surprise appearance from Max Bruch (!) in an interesting double-stopped passage near the end, before the piece comes to a triumphant conclusion.
 
The frequent hints of various composers makes for happy reminiscing, bringing a smile each time a different composer is evoked. The violin playing by Fenella Humphreys is accomplished and heartfelt, and the orchestral support is colorful, sophisticated and involving.
 
After this, I was pleased the remainder of the program gets even better. I found the purely orchestral works to be even more inspired, original and thought-provoking - with a more distinctively unique voice, uninhibited in its outpouring of creative expression.
 
“Short Story” is a somewhat traditional, British-sounding depiction of the airy countryside, reminiscent of Bennett’s “Summer Music”, complete with tunes galore, again often featuring the piccolo. And we know we are hearing something special. 

And that impression continues in “A Fistful of Fives” - cleverly titled, as the meter is in 5/4 and there are 5 thematic sections. The subtitle “with huge fire and energy” doesn’t necessarily fit; I hear it as dancing most delightfully, with animated, articulate passages alternating with lyrical wisps of melody throughout. The first section is delicate and gossamer, with incisive, articulated interjections from every section of the orchestra. The second subject takes over, played by a wind quintet, followed by yet another glorious melody on the strings. Muted trumpets soon announce an energetic, galloping rhythmic section, and another dance ensues. It’s effervescent and festive, and a bit of the “fire and energy” emerges with the trombone rips near the end, bringing it to a thrilling conclusion.
 
It must be noted here the expert leadership of conductor Michael Seal, who manages to make the persistent 5/4 meter totally danceable - lifted aloft, easy and effortless, never clunky or cumbersome. This work is a true masterpiece which, along with "Short Story", should be included in every major orchestra’s repertoire. Both are simply wonderful.
 
Jumping ahead to the concluding “Five Theatre Miniatures”, we have a marvelous suite of themes taken from previous stage works, repurposed here in orchestral arrangements which would make a splendid (if rather short) ballet. The opening excerpt from Sutton’s music for Murder on the Orient Express is energetic and brilliantly scored, with percussion aplenty and more trombone raspberries. This is music right out of a stirring album of “Epic Film Scores” and certainly gets the heart pumping. Next is an Intermezzo, where we are treated to another glorious John Williams-esque melody, full of poignancy and heartwarming tenderness.
 
A short, lively gigue is a welcome interlude, followed by “Polperro Beach”, with its restless, undulating pulses evoking waves, above which another glorious melody rises in the strings. True to its marking, tranquillo, this is serene and peaceful, but builds to a fine climax. The suite closes with another energetic gallop, recalling a familiar John Williams theme from Star Wars The Phantom Menace, bringing the concert to a dramatic and exciting conclusion.
 
Going back to the suite I skipped over, we hear Sutton’s more familiar music for the British theater production, War Horse (not to be confused with the John Williams score for the 2011 Spielberg movie of the same title.) This is a truncated version (6 selections lasting under 15 minutes) of his earlier 2016 concert work, “War Horse, the Story in Concert”. It is enjoyable and programmatic in a cinematic way which would actually make splendid movie music. It's the perfect length in this condensed suite.
 
While at first I was disappointed Chandos chose to release this as a standard stereo CD rather than the full multi-channel SACD treatment it deserves, I needn’t have worried. The recorded sound is resplendent and the presentation is luxurious. And the BBC Philharmonic once again demonstrates it is one of the very best, with playing which is elegant, dynamic, engaging and full of life. Conductor Michael Seal is very much at home in this repertoire, making the most of these scores. In fact, he often reminds me of John Wilson in that regard - who, incidentally, has made a few recordings for Chandos with this same orchestra (Coates, Copland).
 
It’s rare I can find nothing to grumble about in a new recording, but this is one of those pleasant exceptions. It is, without hesitation, one of my favorite CDs of the year - glorious music, glorious orchestral playing and glorious recorded sound. Orchestral recordings don’t get much better than this for sheer enjoyment and pleasure. I loved every minute of it.
 
Postscript: I learned after listening to this disc and writing this review that Adrian Sutton was recently diagnosed with incurable cancer and was actually undergoing chemo treatments during the composition of his violin concerto. I can’t even imagine the strength and determination it took to continue with it, especially as the end result is such a remarkably accomplished and uplifting achievement. What an extraordinary talent.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

​I loved Sami Junnonen’s earlier recording on the Resonus label of Mozart’s Flute Quartets with members of Chamber Domaine. So I was eager to hear him tackle some difficult contemporary flute repertoire. What a striking contrast from Mozart!
 
I started with the Jolivet, easing myself into some contemporary music. This really is a beguiling piece (even if you don’t typically care for this composer) and Junnonen is lovely in it. In the opening Andante cantabile (and later in the Largo), his playing is beautifully singing and expressive, yet not weighed down with overindulgent emotion. And his tone is resplendent - clear, vibrant and radiant (just as it was in Mozart). The Resonus recording is seductive, revealing some positively luscious string sound in the Scherzando.
 
Sparks fly in the final Allegro risoluto, with crisp, buoyant virtuosity. Yet Junnonen brings such musical and meaningful purpose, I found myself thoroughly immersed in it all. And again I noted the glorious recording - presenting the musicians set back within a spacious, almost ethereal acoustic, with a glowing warmth to the sound. This has never been my favorite Jolivet composition for flute, but Junnonen very nearly convinces me otherwise. I don’t ever remember being so completely engrossed with the piece as I was listening to this recording of it.
 
Listening next to the Ibert, which comes first on the CD, Junnonen brings real freshness to this staple of the flute repertoire. Hearing him play it makes it sound new again. However, from the very opening measures, I was struck by the backward balance of the strings, which are very hard to hear - especially the violins in their 16th-note passagework all through the movement. But we are again treated to Junnonen’s radiant sound, which is, as before, simply resplendent. His playing is spirited and lively, accompanied by characterful woodwind contributions and splendid brass interjections. 

​The Andante is lyrical and poetic, and Junnonen incorporates a hint of “whooey-ness” to his tone (but not too much), affording it a pensive simplicity which is most alluring. And here he displays the superb breath control I noted in his Mozart. He can play long, complete phrases in a single breath, which is quite simply, amazing.
 
The finale, then, takes off like a whirlwind - with enormous gusto from rollicking horns and crisply articulated triple-tonguing from the flute. This is surely the fastest I’ve ever heard this played - light and gossamer, yet at all times effortlessly under control. Never hectic or breathless, the scherzando element is fully conveyed with an effervescence which is simply irresistible at this tempo. Once heard, I don’t think I can ever accept it played any slower - although I may have to, as I suspect most flutists can’t play it this fast. (Most recordings of it clock in about 30+ seconds longer.) Junnonen plays the now expected higher staccato notes at the end (high C to an almost impossible F above it), bringing the piece to a thrilling conclusion. The performance is so good, I almost wish he had played this last on the program.
 
He instead concludes with another real showstopper, Rodrigo’s Concierto Pastoral. This has been one of my very favorite flute concertos ever since Galway’s sensational 1978 RCA recording of it with the inestimable Eduardo Mata conducting the Philharmonia Orchestra. After it was finally published, a few brave flutists have subsequently recorded it - but surprisingly not that many. It’s extremely difficult to play and I imagine many flutists are reluctant to tackle it. And, seriously, can anyone really compare to Galway in this, his signature piece, which he commissioned from the composer?
 
And therein lies my quandary. I love the piece as Galway plays it and rarely does it satisfy in quite the same way as played by anyone else. However, after studying the published score, it must be acknowledged that Galway does take a few liberties with it - particularly with some of the dynamics and articulation, and especially the tempo in the Adagio, which is much slower than the metronome indication. He certainly made the piece his own (and there’s no denying his ravishing voluptuousness in the Adagio). I therefore admire flutists who don’t set out just to imitate Galway, but rather go back to its roots and discover new insights from the score itself.
 
I will summarily say that I enjoyed Junnonen’s recording. And it is different from Galway’s - less vigorous and a bit more rustic. It’s more, well, pastoral. And that seems to be perfectly appropriate, given the title. This observation may actually be attributed more to the orchestral contribution and the recorded balance than the flute playing - which I will get into below.
 
The opening meteoric, moto perpetuo display takes off at an animated, yet sensible tempo. But I soon began to wish for more energy and incisive articulation from the Helsinki Chamber Orchestra - especially the strings. (Right from the introduction of the main theme at ms 46, for example, the propulsive, chugging 8th-notes played by divisi violas are all but inaudible, as are the articulated cellos beneath them.) Compared to Mata on RCA, James Kahane (no relation to Jeffrey) is decidedly civilized and refined, and his orchestra sounds a bit small and lacking vigor. But overall, this is less of a bustling scramble of notes than often heard, and there is an attractive sophistication to the shape and scope of the movement as a whole.
 
The Adagio is quicker (and cooler) than usual - though I can’t quibble about it; it’s actually very close to the composer’s metronome mark. (Yes, I got out my dusty metronome and checked.) However, there is none of Galway’s mega rich vibrato here. Junnonen affords it a more plaintive simpleness, allowing a somewhat freer, more flowing naturalness which I liked very much - although it provides less contrast with the central piu mosso section which follows. But as the dynamic marking increases in the Allegro moderato, I once again needed more articulation and involvement from the orchestral strings. And in the ff melodic passage just before the cadenza, the violins sound distinctly undernourished and thin, revealing a very limited number of players. 
 
The finale launches into a true Rondo - gossamer and fleet, full of verve and charm. It’s not exuberant like Galway and Mata, and I continue to miss vitality from the orchestra. (Even the trumpet and horn calls sound a bit timid.) But there is a delightful ease and joie de vivre in the flute playing which is most appealing. And I found myself humming and whistling its many tunes for days after listening to it. I can hardly offer more praise than that.
 
This piece is extraordinarily difficult, exploiting the entire range of the instrument - from the low B (below middle C) to a multitude of high C#s and Ds at the very top. And the passagework often goes on for long stretches with nowhere to take a breath. Nevertheless, Junnonen’s flute playing is exceptional by any standards. And, yes it actually does sound difficult to play in places, lending a frisson of excitement and sense of spontaneity to his playing. Though Junnonen’s lower range is not as strong as Galway’s burly presence down there (likely aided by a close microphone), it’s refreshing to hear such a natural perspective from a recording without a hint of spotlighting of the soloist - exactly as one would experience it in the concert hall. 

Despite reservations with the orchestra in the Rodrigo, this album is excellent - especially the Ibert, which really is dazzling.

CBS/Columbia/Epic in the 50s and 60s. I won’t even try to unravel that nest of labels and subsidiaries here, or the reasoning behind the complexity of such arrangements in the first place. But SONY owns them all nowadays and many of the recordings in this box set are appearing on CD for the very first time.
 
I have to say how much I admire and respect SONY for always giving credit where credit is due, clearly identifying the original record labels on their reissued material - from RCA to CBS, or specifically on this box, Epic and Columbia - right on the front and back covers in all capital letters. As opposed to Warner, which claims everything as their own - not acknowledging, or even mentioning anywhere in the documentation, the record labels (EMI, Virgin, etc.) which made and produced the recordings they endlessly reissue under their own logo.
 
I had only been vaguely familiar with Louis Lane before acquiring this box set. I have seen his name pop up occasionally on filler material for various SONY Essential Classics CDs of Ormandy, Szell and Bernstein compilations. I also remember a couple much later Telarc recordings with the Atlanta Symphony (Respighi and Copland). In my mind, I always thought of Lane as a somewhat uninteresting conductor - in a category along with others similarly regarded, such as Yoel Levi for example. They just never excited me. But after listening to this marvelous box set of Lane's early CBS (et al) recordings, I’m beginning to change my view of him - for these are quite good.
 
There are 14 CDs here, most of which are, as usual these days, presented as the original LPs were, thus with very short playing times - most under 40 minutes (sigh). There are just three exceptions with CDs filled to over 60 minutes.

I was expecting to be underwhelmed listening to this set, but that rarely was the case. I found the vast majority of these recordings musical, engaging and thoroughly enjoyable. Disc after disc we hear consistently involving, committed readings - extremely well played, with precision and an adherence to the letter and spirit of the scores a priority - which one would expect from Szell’s orchestra. But there is a surprising amount of warmth and expressiveness not always heard from Szell. Tempos are generally well-chosen throughout - sensible rather than exhilarating, but musically just right. Best of all, the repertoire is interesting, varied and enterprising. There are even a few real rarities that I hadn’t encountered before. And the recorded sound, which has been expertly remastered for this set, is remarkably good (with one notable exception, which I will get to.)
 
I’ll not go into great detail, as there is a lot of material here. But it’s important to note that Lane conducts three orchestras (sort of) in this collection: The Cleveland Pops Orchestra - which is The Cleveland Orchestra with the “pops” nomenclature added for contractual purposes (not unlike the Boston Pops vs Boston Symphony); a smaller ensemble, The Cleveland Sinfonietta - consisting of 20 first-chair and supporting players from the ranks of the Cleveland Orchestra; and finally, The Cleveland Orchestra itself.
 
CDs 1, 2 and 3 provide top quality “light classics” without veering too far into Arthur Fiedler territory. Lane wisely avoids some of the typical pops fare done with such elan by the Boston Pops. The Clevelanders are perhaps too sophisticated for that, but what they do play is lively, enthusiastic and enjoyable. On Disc 1, Copland’s Rodeo excerpts (only 3, despite the title “4 Dance Episodes”) and Bernstein’s Candide Overture have appeared before on Essential Classics collections (as noted above). What’s especially nice here is having Morton Gould’s American Suite and Piston’s The Incredible Flutist as well.
 
There is an innovative collection of fairly uncommon Latin selections on Disc 2 (after a Gershwin overture), which turned out to be one of the most enjoyable discs of the set. Delightful and thoroughly idiomatic, Lane is in his element in this music. Especially welcome are Gould’s Guaracha and Lecuona’s Andalucia suite, where in the first of two sections, the glorious texture and air around the Cleveland strings en masse is simply amazing - particularly for a 1959 vintage recording. And notable on Disc 3 are three rousing excerpts from Bernstein’s On The Town on an inexcusably short program (even for a 1960 LP), which plays for just 34 minutes.
 
Disc 4 is the odd man out, musically and sonically, with a collection of pieces featuring the flute - indifferently played here by principal flutist Maurice Sharp. He has a cool, thin tone, with little expressiveness and an extremely fast, narrow vibrato (if any; more often none at all), which doesn’t really suit this richly Romantic music. Why he - of all the principal players in this magnificent orchestra - is featured on an entire album is beyond comprehension. There is some lovely music here, spoiled not only by the lack of warmth in the flute playing, but by unnecessary spotlighting from the engineer. This is so conspicuous because the sound everywhere else is realistically balanced and remarkably natural. Even in Honegger’s Concerto da Camera, which features a solo English Horn and flute, both soloists are ridiculously spotlit, seemingly in an entirely different acoustic from the orchestra. Worse, the close-up scrutiny of this English horn renders it sounding rather like a saxophone. A real disappointment.
 
Tempos certainly pick up in a program of symphonic marches on Disc 5 - including a rousing Rakoczy March (Berlioz) played at quite a clip, and an absurdly fast March from Symphonic Metamorphosis (Hindemith), where the strings are all but buried in the mix in all their busywork which can’t possibly be played with any kind of clarity at this speed. (This was a real surprise coming from the normally very sensible Lane.) The highlight of this program is most certainly the single excerpt from Rimsky-Korsakov’s Le Coq d’or, which is so wonderfully done, one laments he didn’t record the entire suite - especially with such atmospheric recording (amazing for 1960).
 
Another standout is Disc 6, which presents some rarely heard arrangements of movie music by the fabulous Robert Russell Bennett - including wonderful suites from Gigi and Exodus - and the charming Acadian Songs and Dances from Virgil Thomson’s Louisiana Story.
 
A splendid Outdoor Overture (Copland) starts off the pick of the bunch on Disc 7 - "Music for Young America". The program includes 3 selections from Menotti’s Amahl and the Night Visitors, Wallingford Riegger’s Dance Rhythms and Arthur Shepherd’s wonderful The Old Chisholm Trail. There’s also a fantastic ballet suite from The Happy Hypocrite by Herbert Elwell. I was not familiar with much of this music and found it enormously rewarding and gratifying. It is cause for celebration to have it on CD at last. What a wonderful album this is - superbly recorded and still sounding terrific today.
 
Disc 8 combines 2 disparate albums, separated by 8 years (1961/1969). I wasn’t really in the mood for bleeding chunks of Tchaikovsky waltzes, but Lane has such a natural flair for the waltz, they are not only enjoyable, but positively infectious! Not at all bombastic (which is too often the case in Tchaikovsky), they are infused with charm and finesse, lilting so delightfully it’s nearly impossible to sit still while they play.
 
The mood abruptly changes for the second half with some relaxing Debussy and Satie, plus Ravel’s Introduction and Allegro in a version for string orchestra. I prefer this piece in its original scoring for string quartet, flute, clarinet and harp, but it's so delicately and tastefully played here in Lane’s hands, it is positively lovely - aided by sumptuous, atmospheric sound. Why these were placed here after the boisterous Tchaikovsky waltzes, rather than on the next disc, is baffling. But I can't complain.
 
Loveliness (and sumptuous recorded sound) pervades Disc 9, with VW, Delius and Warlock - along with Francaix’s irrepressible Serenade. The Debussy, Ravel and Satie from the previous disc would have been a much better fit here.
 
Meanwhile, the Rhapsody collection is civilized rather than stirring in its buttoned-down refinement. This is the one program in which I wished for more verve from this conductor, who exhibits the mild-mannered temperament I was actually expecting to encounter more often in the set. This disc is somewhat of a disappointment compared to the sheer involvement heard most everywhere else, where Lane is usually very impressive. But on this day, he sounds rather uninspired and halfhearted. 
 
After this, I wasn't in the mood for a Mozart Divertimento (#17 in D major) on the next disc - especially played by the full Cleveland string section rather than the original chamber version for 6 players. One wonders why this was chosen for a recording session - and not with the Sinfonietta, but the full Cleveland Orchestra! But just as in the waltzes earlier, I was pleasantly surprised at how absolutely delightful it is. Lane is masterful in keeping this music light, joyful, lilting, and above all, graceful. This is 43 minutes of sheer bliss. And concertmaster Rafael Druian is ever stylish and musical in his many soloistic passages.
 
Lane brings a vivacious spirit to the 1st symphonies of Mendelssohn and Schubert On Disc 12. The Mendelssohn has always been one of my favorites and Lane does it as well as anyone. The crisp articulation in the strings, the expressive singing lines in the winds, and the airy, silky recorded sound all combine for a winning performance. The appealing sweetness and alluring sheen to the strings are simply glorious.
 
Interestingly, this album includes an alternate Scherzo which Mendelssohn himself apparently substituted for the original Menuetto when he first conducted this symphony. It’s a repurposed version of the scherzo from his Octet, shortened to just over 3 minutes and recomposed in several places. Lane was the first to record this version in 1966 and it is supplemented at the end of the symphony (which includes the original 3rd movement as well). Fascinating. (Incidentally, this recording has appeared on CD before - on a 1997 Essential Classics "Take Two" release featuring Ormandy's Italian Symphony.)
 
I’ve never loved Schubert’s 1st as much as his others, but Lane almost makes me think otherwise. His lightness of touch, crisply articulated strings and joyous exuberance are most convincing.
 
Beethoven’s Creatures of Prometheus is certainly welcome, filling Disc 13 with nearly 63 minutes of this neglected score. It is characterful and stylish in Lane’s hands, revealing so much wonderful music which has perhaps been underestimated over time. The only caveat I’d mention is the hall acoustic here is a bit more reverberant than noted elsewhere in this collection - which doesn’t exactly benefit Beethoven. But it’s not serious, and the music-making is so engaging, one quickly forgets the acoustic.
 
And at last we come to the final disc, which is yet another one I wasn’t real interested in hearing. And this time, Lane doesn’t successfully change my mind - at least not in the ballet suite, The Wise Virgins. I’ve always thought Walton’s orchestrations of Bach chorales rather pointless; and I still do. I suppose they are appropriate in conjunction with an actual ballet performance, but as purely orchestral music - not so much. Oh how I wish Lane had recorded some real Walton! The coupling, Tommasini’s ballet The Good Humored Ladies, is much better - thanks to the source material (Scarlatti harpsichord sonatas) and the delightful freshness Lane infuses into the score. Expert playing and sound bring the music vividly to life.

I was pleasantly surprised at how rewarding this set is. I've gained many hours of enjoyment listening to it. I was impressed with the inspired musicianship of Louis Lane, and definitely with the superb playing of The Cleveland Orchestra. But even more, I was amazed at the warm, alluring recorded sound, which is quite remarkable for the period. During a time when RCA was at the cutting edge of utilizing minimal microphone techniques to create a more natural-sounding orchestra for their Living Stereo series (as was Mercury with their Living Presence recordings), CBS/Columbia was not far behind. And today, SONY has certainly perfected the art of remastering classic analog recordings. With the exception of Disc 4, these are quite simply glorious.

The Orquesta Sinfonica de Galicia is one of my favorite concert orchestras to watch on YouTube. They present full length concerts in excellent sound and high-quality videography - with expert, knowledgeable camera operators who zoom in on the appropriate musicians at the appropriate times, corresponding with what we’re hearing. Watching Dima Slobodeniouk build this orchestra through the years into an ensemble of real stature has been rewarding to witness. I have always credited his success for his no-nonsense presence on the podium - eschewing ostentatious mannerisms and extravagant flailing about, instead focusing on a very crisp baton which is easy to follow and allows the orchestra to be instantaneously responsive to his every gesture. He consistently draws precision from the orchestra, and elicits weight and real power when called for.
 
Dima Slobodeniouk (hereafter referred to, simply, as “Dima”) has recorded several albums for BIS (most often with his other orchestra, the Lahti Symphony), but I was excited to see this Stravinsky release is with the Galicia. And they acquit themselves brilliantly. They can stand proudly alongside any major-league orchestra which has recorded this music.
 
In fact, I had just recently listened to the new Chandos recording of these two (orchestral) Symphonies from Andrew Davis and the BBC Philharmonic. I thought Davis’ way with Stravinsky is typical of him - warm, refined and musical - enhanced by plush recorded sound from Chandos. But he's not the most exciting conductor. Whereas I thought Dima to be more faithful to the composer - incisive, dynamic, energetic and more identifiably Russian. 
 
Listening to the 2 recordings back-to-back over several days, this impression persisted in Symphony In Three Movements, but not necessarily for Symphony in C, where I thought the tables were turned. Intrigued by the two approaches and how they succeeded differently in the two works, what started as a review of the BIS has evolved into a closer look at both discs. Moreover, comparing the two is logical, as they have much in common. Both are recent releases from two of the most esteemed Classical labels, and both are offered on SACD. And that last bit is important; for in the end, I found the recorded sound to be as much a factor as the conductors themselves.
 
Right from the beginning of the opening movement of Symphony in Three Movements, I was taken aback by the incisive articulation from the Galicia strings - aided by the extraordinarily transparent BIS recording. Rarely have I heard such precision of execution and observance of the many accents and downbow markings - and especially the crisp marcato indications. The resultant bite and spikiness are most appropriate and wholly characteristic of Stravinsky. Textures are airy and transparent, revealing intriguing inner details which often go by unnoticed, and extraordinary clarity to the piano contribution. All combined, this reading exhibits the spirit and very essence of the piece.

Comparing this to Andrew Davis in the same (1st) movement, yes Davis is a bit warmer and seemingly less incisive. But is he really? Actually I think it’s the Chandos recorded sound which makes it seem that way. I cannot fault the articulation of the strings and there is plenty of bite to brass. But Chandos softens it just slightly, capturing more of the plush, reverberant acoustic. And the overall effect becomes a bit more “symphonic”. I was much more energized by Dima's Galicia orchestra, which is more sparkling, detailed and expressive.
 
Dima pulls ahead interpretively, too, in the remaining movements. The 2nd movement is positively delightful and full of charm; whereas Davis is a bit more earthbound and matter-of-fact. In addition, the transparent textures on BIS reveal more inner details as important contributions, allowing the music to positively dance. The atmospheric acoustic, too, is most alluring - shimmering with orchestral color.
 
The differences are even more pronounced in the finale, where Davis is slower and more ponderous. Dima more closely follows Stravinsky’s con moto indication and propels the music with energy and charisma, bringing the piece to a thrilling conclusion.
 
Symphony in C is similarly played by both orchestras, however the extra richness of the BBC Philharmonic pays dividends. And Chandos provides better recorded sound here than in the other symphony on the disc. The booklet reveals it was recorded 3 years earlier (in 2019) and we can hear more spaciousness to the acoustic. And Davis has real vision in this work, especially in the first movement, where in the climactic section (about 5 minutes in) he generates majesty and sweep as the violins soar in their upper registers with ardor and a glorious body of tone, surrounded by air. The scope of this movement is most impressive.
 
Meanwhile, Dima’s crisp, precise approach emphasizes expressiveness and characterization. Both readings are most enjoyable, but Davis brings that extra bit of grandeur which is wholly appropriate.
 
In the 3rd movement, Davis is more characterful and dynamic - helped by the excellence of the Chandos recording. However, he is unusually slow and plodding in the opening of the finale, before lightening the mood delightfully in the tempo giusto which follows. Dima is less grandiose at the beginning, and then takes off at a very fast clip, leaving his strings scrambling to keep up with him as the movement takes flight. But there’s no denying his enthusiasm.
 
The improved sound Chandos provides for Davis in Symphony in C elevates it to a higher level of musical involvement. Similarly, it must be emphasized how important the superb BIS sound is to the success of the recordings in Galicia. The orchestra is presented with immediacy and clarity in a well-defined, spacious acoustic - yet with more warmth, color and richness than is often heard from this label. This is simply wonderful recorded sound - one of the very best I’ve yet heard from BIS.
 
Choosing between these two releases is difficult and I wouldn’t want to be without either. Both are excellent, but in slightly different ways, as expected. Dima is fleet, incisive and expressive; Davis is warmer and more symphonic. That’s the quick and easy summary. However, couplings may be a deciding factor for some. Davis plays a somewhat tepid and under-characterized Divertimento from The Fairy’s Kiss. While Dima, perhaps more appropriately, plays a splendid Symphonies of Wind Instruments (in the original 1920 version), bringing similar incisiveness and expressiveness as heard in the rest of the program. And his winds exhibit a beautifully refined sound which is most appealing. I strongly prefer this over the Chandos coupling.
 
Dima Slobodeniouk has a real feel for Stravinsky. And with such an intimate, deeply developed relationship with the Galicia orchestra, they respond with involvement, vigor and commitment. It was a real pleasure hearing them play this music so expertly. This BIS release is quite simply outstanding.
 
Oh…there’s one more interesting aspect which these two releases have in common. Both are comprised of recordings separated by several years - 2019-2023 (BIS) and 2019-2022 (Chandos) - presumably necessitated by the Covid-19 pandemic. We should be ever grateful these dedicated, committed record labels did not abandon these projects. Both were well worth the wait.  

This may sound like a strange observation, but for me, one of the stars of this show, aside from the composer and the conductor, is the orchestra "leader" (or as non-British orchestras call them, the concertmaster).

Anyone who follows my blog will have undoubtedly read my extreme irritation with this orchestra's string section on their most recent album of music for strings - where their manic, frenzied vibrato was just ridiculous (especially in the Enescu). The "leader" on that album was Charlie Lovell-Jones, and I suspect he is largely responsible for the string sound heard there (though likely coaxed on by the conductor). I was thrilled to hear the orchestra's strings return to normalcy and good taste on this new album of music by Kenneth Fuchs (just as they had been on Volume One in the series). And noting this is a different "leader" seems to confirm my suspicions.

The leader for this recording session is John Mills, just as he was on the previous Fuchs album. And the strings are positively glamorous - shimmering, vibrant, silky and lush. Nowhere to be heard is the frantic, hysterical vibrato we heard from this group with Charles in charge on the Music for Strings album. One wonders why John Wilson allows it to occur with one but not the other. 

That being said, I found the orchestral playing on this new album to be absolutely sensational. Moreover, recording engineer Ralph Couzens has once again found the optimal positioning for his microphones (after the Daphnis and Chloe blunder). The orchestra has regained clarity and focus within a spacious acoustic, and dynamics expand effortlessly and powerfully into the hall. All I can say is - hooray for small miracles!

Now getting to the matter at hand, I was a little disappointed to discover there isn't a whole lot of new music on this second volume of orchestral music by Kenneth Fuchs. Of the four pieces recorded here, three are re-orchestrations of preexisting works and only one is newly composed. Fortunately, the reworked material is quite rewarding.

Eventide was originally written for English Horn and Orchestra, as recorded by JoAnn Falletta and the LSO for Naxos in 2003. It is played here by an alto saxophone instead. The bass trombone concerto was originally written for a wind band accompaniment, while the "Point of Tranquility" was an original concert band work. Both have been previously recorded in their original band versions but are transcribed for orchestra on this new recording. Only the opening work, Light Year, is completely new. 

I don't mean to sound disparaging. All of this music is quite wonderful (though not quite as wonderful as that on the first volume) and certainly benefits from the boundless color, dynamic range and atmosphere only an orchestra can produce. And with John Wilson on the podium (and John Mills leading the violins), and the very best recorded sound from Chandos - well it doesn't get much better than this.

I'll save the new work for last (and indeed I listened to it last), so let's start with the glorious saxophone playing of Timothy McAllister in Eventide. I wasn't expecting to enjoy this as much as I did. With a saxophone as soloist, the piece frequently reminded me of Henri Tomasi's magnificent Saxophone Concerto - one of his most accomplished works, and surely my very favorite piece ever written for saxophone and orchestra. McAllister plays with exquisite tone, not at all brassy or coarse. This is a sweet, buttery sound, infused with vibrancy and air (but not breathiness). And his vibrato simply shimmers with elegance, not unlike an English horn. However, there is an appealing bit of huskiness to it, along with delicacy. There’s also just the occasional hint of a jazz-influenced lip slur - but only rarely and just barely perceptible in its subtlety. In short, this is musicianship of exquisite eloquence - appropriate for the piece.
 
Well, except for that strange 6th Variation ("Bong like a church bell"), where the soloist plays with a weird guttural flutter tone for no apparent musical reason. I couldn't remember the English horn playing it this way on the Naxos recording, but a quick spot-check confirmed it did. And I suddenly remembered why I never liked this piece in the first place - it sounds absolutely horrific on the English Horn. McAllister seems to be doing his utmost to minimize it as much as possible on his sax (playing it as softly as possible - almost apologetically), but I simply don’t understand why it's there at all. Why disrupt such gorgeousness with this? Fortunately it doesn’t last long and mercifully does not recur. And it is immediately followed by the most luscious, shimmering strings you’ll ever hear on record in the next Variation. So all is good and my admiration for this version of the piece is restored. 
 
A bass trombone concerto is certainly not something I would normally be drawn to, but this is by Kenneth Fuchs so it just might be good! Not unlike his 2015 Glacier for electric guitar and orchestra, it’s the orchestral contribution which makes the piece interesting. It’s scored with all the color and resourcefulness an orchestra can generate, with the soloist almost an afterthought. The trombone part is not really all that interesting (maybe more so for trombone players) but manages to integrate itself into the orchestral fabric without being too conspicuous. James Buckle is obviously an excellent soloist, and I especially admired his lowest notes, which are played with exceptional focus, articulation and roundness of tone. The piece is laid out in 4 continuous sections lasting 14 minutes, which is more than long enough. 
 
The orchestration of Point of Tranquility brings about a complete transformation from its original band version. I don’t know if it was a lackluster U.S. Coast Guard Band, or an uninspired director, but I found the piece rather pointless (excuse the pun) on their 2018 Naxos recording of the original. In this orchestral version, it's just as colorful and atmospheric as other orchestral works by Fuchs. There are beautiful solo passages (the opening trumpet, as joined by some woodwinds, exhibits a luscious blend of sound), followed by big swashes of orchestral color, surrounded by arpeggiated filigree played by all manner of instruments - harps, bells, clarinets (and maybe 2nds and violas). But this isn’t the brilliant splashes of color like we heard in Cloud Slant on the earlier album. True to the title, this is even more relaxing, almost meditative, like soft waves washing onto the sand. And at the end, I concluded the music really did portray tranquility - in a way a military band couldn't possibly. 

The piece is a complete success in this orchestral revision. It's like going from black-and-white to color. Or even more pertinent - mono to stereo. Even though it isn’t newly composed, it sounds newly minted as played by John Wilson and this fabulous orchestra.
 
Finally, the all new work, Light Year (suite for orchestra) is unmistakably Fuchs, and can be by no one else. But it’s not quite as uniquely original as I was hoping. It’s very similar to both Tranquility and Cloud Slant. It seems to combine all the atmosphere of the former with all the color and vitality of the latter in its portrayal of the universe - from the nothingness of space in the opening section, to the brilliant splashes of light which ensue. The endless arpeggiated undulation, agitated and swirling strings, bubbling swashes of color, and sudden brassy outbursts are all instantly recognizable from Fuchs’ other works. Even the Scherzos are propelled primarily by bustling, scurrying string flurries. There are certainly lots of notes in this piece!

Don’t for a minute compare this with that familiar suite of planets; no, this is absolutely nothing like that. It’s more ethereal, more cosmic, and certainly more glittering. This music is more about atmosphere and imagination than compositional substance. In fact, I thought it perhaps went on a bit too long without developing real thematic material - or even a memorable tune (though the wistful melodic line on the violins, later echoed by the horn, in Lunar Valley is enchanting.) 

Not to say I didn’t enjoy every minute of it. I certainly did. But remembering my earlier observation about the importance of the leader of this orchestra, this piece demonstrates why. It’s an orchestral extravaganza - a display of extreme virtuosity and bravura requiring the ultimate in color, panache and finesse. It exhibits masterful orchestration, at which Fuchs is brilliant. As I noted in my review of his music on the first volume, Fuchs can make almost anything - or almost nothing - interesting just with his extraordinary orchestration. And that's what I admire most about it. This is orchestral playing of the very highest distinction - with positively ravishing string sound throughout, thanks to Mr. Mills.

After a second listen, I began to more fully appreciate everything this piece has to offer, and realize I may have underestimated its creative distinction. In fact, I consider this to be Fuchs' Concerto for Orchestra - more so than Cloud Slant, which the composer himself subtitled "concerto for orchestra". Light Year features dazzling displays from every section of the orchestra in succession - strings here, brass there, and percussion definitely in Hot Ice, where along with bravado trombone glissandos and bold brass interjections, I was reminded of rousing movie music (specifically John Williams and Star Wars). The finale launches us into the cosmos with a splendid orchestral spectacle before fading away into the farthest reaches of outer space - bringing the piece to a wondrous conclusion. 
 
And it most definitely should have come last on the program. But that’s just me.
 
In sum, I’m happy to hear the Sinfonia of London sounding glorious again. We can hope Mr. Wilson understands that we can hear the difference. I’m also happy that Chandos has once again achieved superlative recorded sound. We can hear the difference with this as well. And these things matter.

Finally, I look forward to more new music from Kenneth Fuchs, hopefully on a future installment with John Wilson - and with John Mills in charge of the strings.