Two outstanding new CDs from Oxalys

I have enjoyed many CDs over the years from the Belgian chamber ensemble, Oxalys. On the Fuga Libera label, the Mozart and Ries Flute Quartets are simply glorious. And more recently on Passacaille, entire albums of marvelous chamber music by Jean Cras and Joseph Jongen are real finds.
 
Oxalys began producing their own recordings on the Passacaille label about 10 years ago, and along with new projects, reissued some of their previous out-of-print titles as well. Their two newest recordings reveal something of an evolution of the group - not only in overall sound, but also in expanding their instrumentation to explore a wider range of repertoire.
 
The 2021 CD “Nonetto” brought about a notable transformation in the group’s recorded sound, which is now slightly more forward and immediate than the more atmospheric glowing blend heard on previous recordings. There is a more detailed individuality afforded each member of the group - as if going from sitting down to standing up and playing in a more soloistic manner. Nino Rota’s Nonetto is an example of their somewhat more upfront and incisive sound. While there’s no denying the invigorating enthusiasm in the playing, I do miss a bit of warmth - especially when compared to Eric Le Sage’s wonderful collection of Rota's chamber music on Alpha Classics, which is slightly warmer and more colorful. Both recordings are excellent, though, and choosing one over the other as a primary recommendation would be impossible.
 
Hanns Eisler’s Nonet #2, which comes next on the Oxalys program, is then a touch more relaxed and atmospheric - wholly beneficial and appropriate for the work. This is highly descriptive music, composed during the time Eisler was writing film music. (His first Nonet was actually written as film music.) The playing is full of charm and character, made even more so by its tasteful inclusion of percussion (delightful xylophone interjections here and there bring smiles every time). This piece is wonderfully creative and appealing and would, in fact, make splendid ballet music. 
 
In the final Nonet (#2) by Martinu, Oxalys successfully combines the color of the Eisler with the energy of the Rota in a winning performance - though I have heard it played with just a bit more charm and wit than it is here. It is nevertheless enjoyable and brings the concert to a splendid close.
 
Their newest (2024) release, “The American Album”, begins with Copland’s Appalachian Spring ballet in its original version for 13 instruments. And it is one of the most convincing performances of it I can remember hearing. Indeed, for the first time, I began to appreciate it much more than the ever-popular orchestral version. Its intimacy and more transparent scoring evokes a completely different emotional reaction which I found most attractive. But again, this is a more direct and detailed interpretation of the piece than often heard, which perhaps could use just a touch more love. It is expressive certainly (and beautifully played), but not overly contemplative. However, it is afforded superb recorded sound which presents the group with presence and realism in a lovely, spacious acoustic. This performance is most appealing, if in a rather no-nonsense rendering. 
 
John Adams’ famous Shaker Loops is also played in its original setting for 3 violins, viola, 2 cellos and a bass - but in its alternate “through-composed” version rather than the “modular” one which invites the musicians to “independently intervene” during the performance. (I’m not sure exactly what that means and don’t think I’ve ever heard it played that way.) Oxalys plays it with extraordinary precision, and the recording is highly detailed, revealing every inner strand.

The first movement is incisively articulate with vigorous propulsion. The 2nd, in stark contrast, is surreal and unexpectedly mellifluous, as the players breathe exquisite tenderness into all those little glissandos. The 3rd movement starts similarly - lyrical, almost lovely, yet kept marvelously simple - before an underlying rhythmic insistence asserts itself. The music builds to an incredible, sustained climax (magnificently projected by the recording) - like an unstoppable locomotive approaching at full steam - before it finally releases the delirious intensity, dissipating into ethereal harmonics. The finale once again takes up the incessant rhythmic pulse - mesmerizing in its nervous restlessness - demonstrating minimalism at its absolute finest and most effective.

I've never been so thoroughly immersed into this piece as I was listening to this recording of it. The playing and recorded sound are electrifying - keeping the listener transfixed from beginning to end. 
 
The closing Meeelaan by Wynton Marsalis then is quite unusual - made even more so with its unusual scoring for bassoon and string quartet. The music itself is creative and certainly entertaining, but I wasn’t sure that a bassoon was the appropriate choice of soloist for music with movements titled “Blues”, “Tango” and “Bebop” - with a cadenza thrown in for good measure. (I read in the booklet this piece was originally a commission in 1961 for a bassoonist, which explains the instrumentation.) The playing is characterful and thoroughly idiomatic, but hearing the bassoon in these styles just wasn’t really convincing musically. The final Bebop, curiously, was the best, where somehow the bassoon and strings are great partners. The music is so good, I almost wish Marsalis would rescore it for a different instrumental soloist.
 
Both of these new albums offer adventurous programs - expertly played and recorded in clear, detailed, articulate sound. Moreover, the Passacaille productions are first-rate - including informative program notes, complete recording details, and imaginative, positively irresistible cover art. Highly recommended.