I was drawn to this disc for one reason. Joseph Phibbs. Seeing that he wrote a new work enticed me into acquiring this release from Toccata Classics. In all honesty, I wouldn’t have been terribly interested in a CD of bass clarinet concertos. But I took a chance on it, because if anyone could make me enjoy a bass clarinet concerto, it would be Joseph Phibbs.
 
The front cover initially aroused curiosity. It lists the composers (presumably) in alphabetical order, rather than in the order their music is played on the program. And I wondered about the album’s “Music from Malmo” theme, as I noticed one of the concertos is played by Musica Vitae, which is based in Vaxjo, not Malmo. But reading in the (excellent) booklet that all 3 works were recorded in Malmo Live Concert Hall (road trip for Musica Vitae!), and the soloist is a member of the Malmo Symphony, it all begins to make more sense.
 
As to the music, the three composers represented here come from differing backgrounds - Phibbs, London; Dafgard, Sweden; and Gordon, USA/UK. So it’s no wonder their music sounds so uniquely individual.

Joseph Phibbs has been a favorite of mine ever since I heard his Clarinet Concerto on a 2019 Signum Classics recording of it. Then his 4 String Quartets made an even stronger impression - the 1st from 2014, the next three just last year, all recorded by the wonderful Piatti Quartet. I admit I was a little disappointed that he returned to the clarinet for this latest work (albeit the bass this time) rather than something completely different. (Oh how I’d love to hear a violin or piano concerto from him.) But never mind; anything from this wonderful composer is cause for celebration. And I was glad his concerto comes first on the program.
 
The opening movement starts with a lyrical Notturno marked largo, but appealingly kept moving along more like a Moderato. It is a bit pensive, even melancholy, before the main allegro takes flight. It is marked presto but doesn’t really sound all that fast (maybe because of the sheer weight of the bass clarinet). It is propelled by invigorating rhythmic patterns, with the orchestra the driving force. There are even occasional hints of jazz in some of the more energetic orchestral exclamations which had me smiling right away. In fact, the orchestra is such a dominating factor, I often forgot about the bass clarinet altogether! The colorful orchestration and rhythmic vitality continually captivate one’s interest - so much so, I actually wished this was a purely orchestral work, rather than a concerto, as the unique and wonderful sound of Joseph Phibbs is brilliantly on display.
 
The Scherzo is another presto, and this time sounds more like one. This instantly reminds me of a space/science-fiction film score - and that’s certainly a compliment coming from me! The bass clarinet is more importantly incorporated into the musical fabric here, with interesting interplay between soloist and various sections of the orchestra. It’s all very rhythmic, with lots of punctuated interjections from the orchestra, interspersed with a couple of brief, reflective interludes before it takes off again. Excellent!
 
And then the rather lengthy Larghetto, pensive and full of longing, provides the soloist the opportunity to display an impressive, sustained legato. But it was here I began to crave a different sonority after a while. The bass clarinet is simply not capable of producing the myriad variety of color and texture that, say, a cello inherently can - with variations in bowing and vibrato, not to mention double/triple stops, pizzicato, etc. The bass clarinet is just what it is and not much more. So it falls to the orchestration to provide the variety of color needed to keep the listener fully engaged. And Phibbs excels at this. There’s even a dramatic climatic passage from the orchestra in the middle of this movement further demonstrating this.
 
The final Allegro is fleet and vibrant, and the bass clarinet tries its best to be nimble enough to keep up. (I almost wished it were an octave higher on a standard clarinet). But the music sweeps one along until, about a minute in, everything comes to an abrupt halt and a lengthy cadenza ensues - which is surprisingly slow and brooding; nothing like the Allegro on either side of it. And soon thereafter, the piece just…ends. Again very abruptly, leaving me wanting more. (This movement lasts just over 3 minutes.)
 
As a concerto for a somewhat challenging instrument, Phibbs succeeds completely - not unlike similar works by American composer, Kenneth Fuchs, whose concertos for electric guitar (ahem) and bass trombone are memorable almost entirely for the orchestral contribution and orchestration rather than the soloistic writing. But I realize this commission was for a bass clarinet concerto, and that is what Mr. Phibbs has expertly provided, with all the creative ingenuity he possesses. I would imagine bass clarinet players everywhere will find this piece a gift from the gods; and probably a lot of clarinetists will be dusting off their basses to play it as well!
 
Let me interject here that the recorded sound is superb, as is the orchestral contribution from the Malmo Symphony Orchestra conducted by Joachim Gustafsson. These attributes contribute significantly to the success of this piece. (I will expound on this more at the end.)

Up next, Jorgen Dafgard adds a solo violin to his bass clarinet, but reduces the orchestra to just strings. So it has a distinctly different sound. The opening Freschezza is rhapsodic, rather than dramatic, with glamorous orchestration. (One can hardly believe this is just a string orchestra.) The violin certainly adds much needed variety of tone and color (not to mention, range), and immediately assumes a prominent role. Curiously, the bass clarinet just kind of broods along rather indistinctly underneath, almost as an afterthought - particularly in the (much too long) misterioso second movement. However, there is some very attractive and interesting interplay between the two soloists in the final Rustico, which is definitely the highlight of the piece. It is jovial and a little quirky, befitting the instrumentation. (Pairing a violin and bass clarinet is, in itself, a little quirky.) The Vitae chamber group is enormously characterful and pleasantly energetic from beginning to end. Their contribution makes a significant and memorable impression in this.
 
Now the final concerto by Geoffrey Gordon. Though he was born in the USA, he focuses his time and creative energy in the UK (for unspecified reasons). Interestingly, this concerto was a joint commission by the Philharmonia and Minnesota Orchestras, the Malmo Symphony and their bass clarinetist, Carl-Johan Stjernstrom. (One wonders how all that managed to come about.) After Dafgard’s distinctive double concerto, we immediately return to the somewhat gloomy primary voice of the bass clarinet as we begin Part I. But it doesn’t last long. Soon, the orchestra claims dominance over the proceedings with some very dramatic punctuations interrupting the soloist's melodic line, developing into something not unlike a suspense/thriller movie soundtrack. (And again, this is a compliment coming from me.) This composer skillfully incorporates the bass clarinet into his dark and very dynamic score, which predominantly features a massive orchestra in a massive way - replete with an absolutely awesome bass drum, cushioned on humongous pillows of air, captured with genuine size, weight and amplitude by the engineer. What a delectable sonic treat that is! (And surprisingly rare to hear with such stunning realism on a recording.)
 
Part II is much the same, a bit more dissonant and overtly brassy than before, but just as dark and dramatic. The bass clarinet assumes a more prominent role musically, becoming an authoritative and more interesting soloist. Some eerie string glissandi and rhythmic chugging create a marvelous atmosphere which adds to the suspense and intrigue, occasionally reminding me of Bartok’s Miraculous Mandarin. Part III is more intriguing still, and even more suspenseful, with lots of dark color from the orchestra and extremely wide range from the soloist (way up high for that instrument) - superbly played here.
 
By the time we get to IV, I admit I was longing for some variety of mood and temperament (not to mention tempo) after 20 minutes of this already. But it doesn’t come. Gordon continues with the brooding, suspenseful mood of the piece, though some interesting percussion parts sprinkled about add some tantalizing sonic touches. (I wish there was more of this.) And there are some imposing purely orchestral interludes as well. Again, this sounds much like movie music, making me wonder if Gordon has scored any films. He'd be excellent at it.
 
While I wouldn’t have expected to enjoy an entire album of music featuring the bass clarinet, I must say this is a complete success - for several reasons. First and foremost is the mastery of the composers. Never did any of this music sound contrived; nor did any of it sound like just another “on-demand” commission. This music comes from truly accomplished composers - creative, innovative and inspired. Best of all, each of the three works sounds distinctly different from one another, providing enough variety in the program to hold one's interest throughout. That 3 bass clarinet concertos can sound absolutely nothing alike is quite amazing, actually.
 
Second, the playing of Carl-Johan Stjernstrom is exceptional. Most impressive is the consistency of his sound from top to bottom - never strained (or screechy) up high and never honking down low. He truly is a world-class bass clarinet player. And the orchestral support he receives from conductor Joachim Gustafsson is simply superb. What an absolute pleasure (and real rarity) to hear an orchestra playing something completely out of their normal routine, encountering something so new (and so accomplished) that it inspires them to play with enthusiasm, commitment and engaging involvement. Their contribution alone makes this album worth hearing; it immerses the listener into the music in ways we rarely experience - especially in unusual concertos like these, especially on a recording. 
 
And finally, the recorded sound is absolutely stupendous. Chandos has more than met its match with this CD from Toccata Classics. In some ways, this is more natural and realistic than the typical bold, upfront Chandos house sound. In fact, for sheer accomplishment of recorded orchestral sound, this is one of the most impressive orchestral recordings I’ve heard in a long time. The orchestra (particularly the full Malmo Symphony) expands effortlessly into the acoustic with stunning amplitude and breathtaking dynamic power. All the while, the hall envelopes them in spaciousness, adorned in rich color and beauty of sound, utterly natural in its portrayal of a magnificent symphony orchestra in all its glory.* And to the engineer, Daniel Davidsen's inestimable credit, the soloist is never overwhelmed by it all - which is no mean feat, given its entire range is right there in the thick of the orchestra's midrange. 
 
As you might have guessed from the title of this review, I was afraid this was going to be too much of the same thing for an entire CD - over 81 minutes playing time! But that was not the case. There is so much variety on offer here, the program is rewarding musically, and a knockout sonically. This CD motivates me to explore more titles from Toccata Classics (and the Malmo Symphony - what a concert hall!). This is, quite simply, a fantastic recording.
 
*And it’s not even SACD! This is good old-fashioned CD - proving once again, when done right, the CD can still be a state-of-the-art recording format/playback medium - even more so today than ever before. I would proclaim this recording the equal of just about any SACD I've heard.

I was excited to see this new box set of the complete Haydn symphonies from Antal Dorati and the Philharmonia Hungarica. Not only is it claimed to be newly remastered, it includes a fascinating booklet detailing the history of the orchestra, the recording project, the conductor, the production etc. And, of course, the performances are legendary. This is widely regarded as the most thoroughly rewarding complete set of the Haydn symphonies ever recorded. And I wholeheartedly agree (with a smattering of exceptions here and there). From beginning to end, they are warm but incisive, smiling yet invigorating, full of joy, and beautifully recorded. Most of all, there is a consistency and freshness throughout, without even a hint of routine setting in.
 
The performances speak for themselves, so what I want to concentrate on is the much-anticipated 24-bit/192kHz remastering touted by this new production. I’ll say right up front, while the sound is indeed improved here - sometimes subtly, sometimes notably, and sometimes remarkably - it becomes incrementally better as it goes on, as the orchestra gradually increases in size progressing into the later symphonies. (Though this wasn't necessarily a consistent observation, as noted below, in some of the earlier symphonies.)
 
That being said, I wonder how much of the improvements actually come from being transferred from the original master tapes (which I highly doubt Decca used in previous CD reissues) as the 24/192 transfer method itself. In fact, the outer box of this production doesn’t actually use the word “remaster”, but “transfer”. So whether it's technically a true remastering per se, or merely a new transfer (at 24/192) from the original tapes is debatable, though there is a remastering engineer listed in the booklet. So make of that what you will. And really, it doesn’t matter. What does matter is what the end result sounds like. And I've made some observations on what I hear when comparing the old to the new.
 
First - and this is important - for comparisons, I used my 1991, 8-volume set (of 4-CDs each, in the hard-case boxes with the attractive blue trays) which utilized the ubiquitous “ADRM” remastering typical of Decca in the 80s and 90s. They took up A LOT of space, but were glorious at the time - though I always thought the remastering could have been better.1
 
To get an idea of what this new release offers sonically, I sampled several tracks, back-to-back, from a few random symphonies, then progressed to more extended sections of some of the later ones. I began with Symphony #76 (on CD 22), for no other reason than I like it, and listened to the 1991 CD first (henceforth referred to as the “original” or the “old”, for simplicity). I was amazed at how warm, airy and positively lovely it sounded. I immediately thought, uh-oh, the remastered version surely can’t better this. And in some ways it doesn’t. The newer one (the “new”) is transferred at a slightly higher level, so initially it seemed more dynamic. But that was a misperception. After adjusting the volume to match the other CD as closely as possible (only a notch or two on the volume knob), the difference is subtle. It is a tad clearer and more present, but loses just a touch of that lovely inner glow. So it’s a toss-up so far.
 
Jumping ahead next to #79, again for no particular reason, I hear something a bit different. There is just a touch of darkness to the original that I hadn’t noticed in #76, and it sounds a bit closed in; a bit confined. Hmmm. Going to the new, it is noticeably more open and airy, with silkier string sound, as if there are a few more violins than before. Again though, it’s fairly subtle, but becomes a bit more obvious now.
 
In #82, the original again displays a hint of congestion in the midrange and lower mids, but now also an edge to the violins which I hadn’t noticed in the earlier symphonies. The newer CD is definitely more open in the midrange, but with a bit of emphasis in the bass, though the timpani are better defined and more articulate. So that’s interesting. Most remarkably though, the edge on the violins is entirely absent. They are silky and airy - absolutely glorious.
 
Continuing with this same disc (CD 24), I was curious to hear Symphony #83, which is more dramatic musically and in a minor key, so I expected the differences to be even more pronounced. And they are. This time I started my listening with the newer one (as it was already in the disc player). The sound is open and airy, and the orchestra sounds slightly bigger-boned, but wonderfully transparent in texture and inner detail. So even though it sounds to be a slightly larger orchestra, the recorded sound is just as clean and clear. But there is still a touch of plumpness in the bass which was somewhat bothersome. But on the other end of the spectrum, these violins sing just as sweetly as you please, yet with crisp, precise articulation. Now going to the original CD, it is a bit warmer and more relaxed, and interestingly, the bass isn’t as prominent as on the remastered version. It is better incorporated into the orchestral fabric, due, I think, to the slightly fuller, warmer midrange. So that’s interesting. But overall, it is less incisive and just a touch weightier, and thus less propulsive. So even with the bass anomaly, I’ll take the newer over the older any day. And on #87, I thought the remastered violins sounded just a touch bright (but not edgy), but going to the original, they were thinner still.
 
Now jumping ahead to some of the more familiar/popular symphonies in the set, I began listening to longer sections, often complete tracks. Starting with the original (1991) CD, Symphony #96 ("Miracle") is just dumpy and cramped, hampering full enjoyment of the music. Here we have a fuller orchestra, and this is where the new transfer really comes into its own, with sound which is more open, more alive and more articulate. Listening to several complete tracks from the symphonies which follow, it became increasingly more difficult to listen to the originals for extended sessions, as the ear craved the extra clarity, transparency and engaging involvement the newer set provides. Each and every time, going back to the original, I was continually made aware of the recording itself, which sounded a bit muddy and confined. While the warmth and richness of sound were pleasurable, the music just sounded slower, and the irrepressible joy of Haydn was ever so slightly curtailed. Listening to the new remastered CDs drew me into the music in ways the originals simply could not.

Out of curiosity, I did a final round of spot checks on some of the earliest symphonies to determine consistency throughout the set. And this proved enlightening. In Symphony #44, just as in #76, the differences were very subtle, with the newer CD offering ever so slightly cleaner and silkier violins and a slightly fuller body of sound. And again, this was after a single notch adjustment of the volume to compensate for the slightly higher transfer level. Interestingly, #45 was somewhat more obvious, providing a fuller, smoother and silkier string section. Going back further to Disc 2, Symphony #6 ("Le Matin"; "morning") sounded distant and slightly misty on the older CD, and the cellos/basses were curiously quite muddled. I had to turn the volume up several notches to get any kind of immediacy from the orchestra, which was unusual. The newer one was an instant and obvious improvement - notably fresher and more involving, providing the orchestra a more lifelike presence.

However, on my last comparison, here is where things got interesting. Listening to Symphony #13 (CD 4), I found myself so drawn into the music, I sat back, relaxed, and just listened for a few minutes, taking in the wonderful musicmaking. I noted lovely, warm string sound within a lovely acoustic, and most notably, cellos cushioned on pillows of air in the most glorious way. I was ready to definitively proclaim the new remastering an unequivocal success and finish up this review accordingly. When much to my surprise, I suddenly realized I was actually listening to the older 1991 CD! I was certain I had loaded the newer one in the player; but I was mistaken. Dumbfounded, I switched it out for the newer one, and sure enough, some of that cushion of air was replaced with a slightly leaner body of sound to the cellos and a clearer acoustic. It still sounded wonderful, smooth and articulate, but not quite as alluring. Was it an improvement? Nah. It was just slightly different. So there's no denying that, at least on some tracks, the differences may not always be perceived as an improvement. And this little "senior moment", while a little embarrassing, proved exactly that.2 

I believe I've carefully, and as honestly as possible, described the differences one can expect to hear from the new set. Based on what I hear on my system, I can confidently state that the improvements are real - and audibly significant to those who care about such things. I will also say, that even in the symphonies where I heard the most pronounced differences, in the overall scheme of things, if you don’t have a high quality sound system which excels at revealing audiophile details like this, you may have to listen very hard to appreciate the improvements in sound. (And if you’re listening on your computer or earbuds, you probably won’t notice any difference at all.) In which case, you may wonder how one can possibly justify the cost of this, especially if you already own one of the previous issues. And I certainly understand. Indeed, they still sound quite wonderful - and as I discovered in at least a couple of instances, perhaps even "better", depending on your preferences. But overall, when compared with the newer transfers, the remastering generally provides sound which, in a nutshell, is clearer and more articulate, opens up the soundstage, and mitigates the edge on the violins (and the occasional thinness up high), allowing me to appreciate the performances even more than before, and become more fully immersed in the glories of Haydn. But it ultimately depends on your listening environment and personal preferences.
 
As to the production, it is first class all the way. Having all of Haydn’s Symphonies in updated sound and an attractive, relatively compact box is a luxury (although I don't particularly like the very tight cardboard sleeves the discs are imprisoned in). However, Decca includes extras here which I was not terribly interested in (the Oratorios and such), which of course increases the price commensurately. But I can confidently say, as a box set of the symphonies alone, it is worth it - not only for the convenience, but most certainly for the improved sound, no matter how it might be perceived on some playback equipment. For me, these remastered recordings overall are simply more rewarding and enjoyable than before - more involving, compelling and life-affirming.   
 
Postscript.
Typical - and totally predictable - availability is immediately an issue with this box set. And speaking of price, it has been all over the place. Amazon initially listed this as a preorder for $209. But once it became available and a “positive review” immediately appeared in their review section (and it is hardly a review; succinct and very generalized in its observations - more like assumptions - it reads rather like a marketing blurb), the item went out of stock immediately thereafter and the price has subsequently jumped up substantially. (It is listed anywhere from $250 to $350 (!) right now, available only from 3rd-party Marketplace sellers who are exploiting its lack of availability.) Meanwhile, Presto Classical (in the UK) offers it at just under $230 (and they’re currently showing it in stock), but their shipping cost to the U.S. is prohibitively expensive. (And to be fair, it is a fairly big, quite heavy box.) So that’s completely out of the question. So perseverance is the key.3 But do try to get it sooner rather than later; who knows how long Decca will keep it in print.

1 I have not heard the subsequent boxed sets issued in 2006 and 2009, which were, to the best of my recollection, just repackaged in cheaper, more manageable boxes, without any updated audio remastering.
2 I'm confident this is the only time that little mix up occurred. And in my defense, I had just been distracted by a call or text or something, and immediately caught myself before continuing on.
3 I managed to get mine from a European seller (through Amazon) who just happened to list it one day for $167 plus $3.99 shipping. I jumped on it instantly. So putting this review in context, my justification for its cost-effectiveness is based on what I paid for it, as opposed to its current price - though I doubt my opinion of it would change regardless.

I tried. I really did. But here’s the thing. Compositional merit aside, the recording itself is what really bothers me on this Pentatone CD.

Approaching something as bizarre as this, everything must work in its favor if one is to gain any kind of appreciation or understanding of it. Exceptionally accomplished execution of course, but even more, especially in this case, natural, realistic, alluring recorded sound is absolutely paramount. What Pentatone has contrived here doesn't exactly deliver that. 

Most problematic - it sounds like the group is recorded at a distance, rendering the many extended soft sections (where virtually nothing is happening) largely inaudible on the home stereo system. (Even the faint hum of the refrigerator in another room is distracting.) So one is almost forced to listen on headphones - which I don't like. If you’re going to record something like this, at least be practical about it and make it realistically listenable. And as I discovered, headphones actually exacerbate my primary issues with the recorded sound itself.

First and foremost, the silences are SO dead and empty, it doesn’t even sound like a real acoustic. What's missing is a sense of real musicians occupying real space. There’s nothing palpable to suggest believability. And as for the noise itself (which literally is all these works consist of - noise), even the sounds don’t sound real. Despite the somewhat distant perspective, paradoxically, the mics seem very close to the fingerboards, and there is an artificiality to what you hear that makes all of this sound like electronic-generated AI noise (or a synthesizer). Blowing, whooshing, sweeping, sliding, scratching, crunching, plunking, "circular" sawing, all kinds of grunting, groaning, howling, zipping, farting and whistle sounds, et al, ad nauseum. It's not that I necessarily have an objection to all these sounds per se, it's that they never end. And as recorded here, it all just sounds reproduced - not really realistic or believable. I can't imagine how the engineer fabricated this sonic anomaly - distant and up close at the same time. 
 
Perplexed, I don’t remember it being at all like this on the other recording of it I have - the 2014 Mode (WDR) recording played by JACK Quartet - though I haven’t listened to that CD in ages. So I decided to grab it off the shelf for comparison (and a quick refresher) and give it a listen - still on headphones. And here we have a completely different experience. Suddenly all this noise begins to make some sense. Well, no, it could never make sense. But there is at least the sense of realness to it - living, breathing human beings creating sound by whatever means necessary. And as such, it is actually somewhat fascinating, mesmerizing even, now that we actually believe these noises are actually made by real people with real instruments in a real space. And the mind is engaged and begins to imagine how they do it. As opposed to the artificiality heard on Pentatone, suggesting it’s just electronic. And the mind just goes numb.
 
But let’s be real. Even with the superiority of the JACK Quartet playing this*, it's still nonsense. (There aren't even actual notes in it!) And it still goes on WAAAY too long for what it is. I could possibly sit still through one of these string quartets. And maybe even come to appreciate it. But to try to endure 3 of them, totaling 70 minutes, is simply too much to bear. Let alone comprehend. And really, one shouldn't even try. Perhaps sometime I'll undertake an experiment to listen to just one a day for three consecutive days and see what happens. Maybe I’ll report back; or maybe I’ll just put it up on the shelf to collect dust. I can’t ever imagine listening to any of this again - and honestly, I wouldn't have listened to this new recording if it weren't for Quatuor Diotima, who were so fantastic playing Ligeti on an earlier recording.

I realize I've spent most of this review discussing the recorded sound. I suppose that's partly because I don't really know what to say about the works themselves; I certainly can't treat them as "music". And I'm sure many will get so caught up in (or put off by) all the noise, they won't even notice the recording.

Anyone unfamiliar with Lachenmann who might be thinking surely I'm exaggerating what is presented here (really? it's all noise? there really aren't any notes in it?), I'd refer you to an informative quote from the composer himself, reprinted in the booklet. In the opening paragraph, Quatuor Diotima recounts their 25-year relationship with the composer, where at some point early on he described his work to them as "a music in Noise Major, the ultimate avatar of musical deconstruction." Yup...that sounds about right. And my response would be, "But why?" Even more interesting (and frankly, somewhat troubling) is the group's statement that "this recording is the fruit of 25 years of shared work [with the composer], literally hundreds of hours of rehearsals and conversations." They really spent 25 years on this stuff?! While I admire their dedication, to my reasoning, if it takes that long to fully understand what the composer wants, then there's something wrong with what the composer wants. But that's just me.       
 
In the end, I'm afraid the fruits of their labor weren't fully realized on this Pentatone recording. It's not the playing by any means - these guys are phenomenal by any measure, and I would imagine their live performances are quite a different experience. But as heard on this CD, these "string quartets" by Helmut Lachenmann aren't “fascinating” like most everyone who’s written about them asserts. For when you understand that this isn't music, and you don't believe that it's even real, combined with the fact that absolutely nothing ever happens, and the realization that absolutely nothing is ever going to happen, well, it becomes just a novelty - mildly interesting (for a short period of time) and unimaginably boring (in the long run). While the other recording from the JACK Quartet provides a more intriguing experience, none of this can begin to match the groundbreaking innovation or creativity of Penderecki and Ligeti. And I’ll still take John Zorn's Cat O'Nine Tails and George Crumb’s Black Angels any day over any of this nonsense by Lachenmann.

Postscript. I am always open to exploring new music and music I am unfamiliar with. So I wondered if I'm being too narrow-minded about this "composer" (which I don't think I am). So I had my spouse sit down in front of the speakers, and without any preamble, I played a couple minutes of each of these Quartets and waited for a reaction. He has absolutely no inclination toward audiophile matters like the recorded acoustic and such that I obsess over; he just loves music. And his response to this was simple and direct: "reductio ad absurdum". You can probably figure that out, or you can google it for clarity. Either way, the answer is the same. And it pretty much sums it up for me as well. 
 
*and JACK Quartet really are superior in every way. They make a feast out of this kind of stuff; it’s just about all they ever play/record. They are the undisputed champions of noisemaking.

Several months ago, I wrote a piece on this blog complaining about the price of CDs these days. So how are things going these days? Well, things just seem to keep getting worse. In fact, in the past few months, not only are the prices of CDs going up even more, I’m now seeing more and more instances where new CDs aren’t even available at all. Presto Classical in the UK (where I buy most of my CDs from) continually shows “Out of Stock” notices on many newer releases I’ve been looking at from labels across the board, and the newest releases often suffer delay after delay, with release dates pushed back and back. All the while, prices remain astronomically, absurdly, ridiculously high. Why?
 
No seriously. Why?
 
Pricing aside, why are Presto’s “distributors” continuously “out of stock” on so many new releases? They're new! How can they already be out of stock on release day? The answer, of course, is that they never had them in stock to begin with. So the obvious question is - why do labels even announce a release date if they can't meet it? Wondering if I could get any kind of explanation from Presto, I emailed them asking why they can’t get product these days. They didn’t have an explanation and empathized with me, stating something like, 'yeah we wonder why too'. I further expressed, only half jokingly, that I’ve all but given up trying to buy new Classical CDs and maybe it’s time I find a new hobby. (Ha!) They didn’t exactly laugh along with me at that, but tactfully stated they understood my obvious frustration.1
 
And then there’s Amazon, which is just a joke. They can’t be taken seriously or relied on for anything in this realm. They just randomly list stuff cuz a label announced a release date at some point and who cares if it’s really available or not. Or maybe some seller in Japan or Germany can get it to you - for about $300 plus $30 shipping. (I’m exaggerating, but not by much.) I think they just like to tantalize us. I've even seen them occasionally list a title, which is otherwise completely unavailable, as an import from Amazon-Germany - at a price so high your head spins. As if anyone is that desperate to buy a Classical CD. Worst of all, Amazon's Marketplace sellers are becoming scarce - which is extremely troubling. I could almost always count on a 3rd party seller offering newer releases at reduced prices a few weeks after the official release date. And others would routinely offer used copies. But those sellers have all but disappeared in the past few months. Some of these CD titles are simply not available anywhere.
 
With everything we're seeing, someone somewhere has to have an explanation, or a reason for it, or some kind of understanding of what is happening in the world of Classical CD distribution and sales today. But I've not seen one yet. One observation I’ve made (and Presto, not in so many words, confirmed my suspicion) is that the problem seems to stem from one source - Naxos distribution (aka NGL - Naxos Global Logistics). I believe Naxos bit off way more than it could chew when it began gobbling up international distribution services for nearly every Classical label in the universe - including bigger ones like Chandos. And they simply can’t deliver. Thanks, Naxos. You went from being a wonderful, affordable Classical music label that everyone loved to screwing up an entire industry. (And they’re FAR from a “budget” label anymore.) And apparently there’s serious shipping issues on top of availability issues. So we can't win.2
​ 
There are even a couple of record labels, with whom I’ve established contact over the years, wanting to occasionally send me a review copy of a new title that might interest me (and likely can’t get anywhere else), and even they can’t ship them to me anymore. One rep says shipping rates are so ridiculously high they can’t ship anywhere outside of Germany, and another says customs is stopping their international shipments outside of Poland. Why?

I’m no expert on these things. I don’t really understand how it all works - how people get their stuff recorded (or who pays for it), or why a label decides to produce and market something with their logo (or who pays for that), or how it ultimately gets distributed to market. And frankly, I really don't care. I'm just an average guy wanting to buy CDs for my own personal pleasure.3 And it really is a passion for me - not just the listening, but the collecting part. I see a new release that I want and I order it and it comes in the mail. I listen with interest, and if it motivates me (positively or negatively), I review it. It really should be that simple.
 
But it isn't anymore. And I suppose when you get right down to it, I think what’s happening right now ultimately boils down to one thing. As one label representative, whom I trust, recently lamented in an email to me - “No one wants CDs anymore. No one cares about quality, or good sound. Everybody just wants to download it and listen on their earbuds.” I suppose if you’re listening to some rap crap, or some pop or country-western monotony, then your cellphone is perfect for that. Because who cares what it sounds like? But for Classical music - a symphony orchestra in full cry, or a string quartet at its most expressive? Come on. Are people really going to MP3 that on their computer or phone and actually accept it as good enough?
 
Yes. Yes, it seems that’s exactly what people are doing. Download and streaming versions are everywhere - often available before official release date and at reduced prices. And those few of us remaining that still care about quality and want to buy CDs are stuck having a hard time just trying to find physical product. And there are so few online sites that even sell CDs anymore, we have nowhere to turn. I have at least half a dozen titles in my watchlist that I’ve been wanting to get for the past 6 months, and they’re simply not available for purchase (often not even from the record label directly) - at least not at a price I’m willing to pay. 
​
So you might ask, why not branch out and get some other titles I wouldn't normally buy in the meantime? Well, it goes right back to price. Years ago, you'd find an intriguing title, offered at a relatively affordable (well, at least reasonable) price, and be enticed to "branch out" and get excited about exploring something different. But not today. There's no way one can afford to just randomly take chances on things unknown like we used to. That's just the reality of it. And it's disheartening, because that takes a lot of the fun out of this passion/hobby.

So I write all this mainly to let off some steam and get it off my chest. But also to point out to anyone who’s noticed why my reviews have fallen off in number lately. I simply can’t acquire what I want to listen to in a timely manner. But titles are beginning to trickle in. I have recently obtained a few CDs that have been on my list for several months (finally!) and my reviews are starting to flow again. But sadly, I'm still seeing the cycle continuing with some new releases this year. I was hoping the Classical recording industry would rise up out of the ashes of the holiday slump, but so far it's happening very slowly. If anything, it seems to be getting worse with each passing week. 

1 The folks at Presto are great. They certainly mean well and do everything they can to satisfy customers. None of this is their fault.
2 It's interesting I'm not seeing reviewers in Europe complaining about this. And I think the reason is easy to work out. Large-scale review sites and magazines like Gramophone either receive free promo copies directly from the labels in exchange for a review, or more likely these days, a link to the download version - which they find perfectly acceptable substitutes for review purposes. They have quick and easy access to them on demand and sound quality becomes a secondary consideration; they just want to get a review in print.
3 Nearly all of my reviews are of CDs I am interested in and have purchased with my own money. My blog is just me, and I rarely receive “promo” copies from record labels or artists. When I do, I disclose that fact in my review for context.

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 in the 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 recorded 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.2
 
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 were not 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 works for strings 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, but 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.
 
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.