Many wonderful moments on Stile Antico’s highly recommendable new Christmas release, A Wondrous Mystery, from Harmonia Mundi

Stile Antico www.stileantico.co.uk  continue their fine series of recordings for Harmonia Mundi http://store.harmoniamundi.com  with the release of a Christmas disc entitled A Wondrous Mystery, bringing works by Michael Praetorius, Clemens non Papa, Hieronymus Praetorius, Jacob Handl, Johannes Eccard and Hans Leo Hassler.

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HMU 807575

It is Clemens non Papa’s Missa Pastores quidnam vidistis that is the framework around which Stile Antico place the other works on this disc. However, they begin with Michael Praetorius’ (c.1571-1621) Ein Kind geborn in Bethlehem with the female voices of this fine choir bringing a lovely simplicity to the opening of this carol. The other voices slowly take over bringing a richness and warmth with glorious harmonies. This piece is often given a large scale treatment with brass but how much better this is as the music rises subtly in power for the coda.

Next the choir bring the Motet Pastores quidnam vidistis by Jacobus Clemens (Clement) non Papa (c.1510-c.1555). It seems that the ‘non Papa’ tag was added humorously to distinguish him from Pope Clement VII who died in 1534. These voices bring a beautifully unfolding performance with a lovely central section where the female voices gently lead before the whole choir join weaving some lovely textures. This is a real joy with choral singing of the highest order.

Michael Praetorius’ harmonisation of the traditional Es ist ein Ros entsprungen is interspersed by a canon by Melchior Vulpius (c.1570-1615). This is another carol that will be recognised by all, given a carefully nuanced performance with subtle little dynamic changes. Centrally a pure voiced solo soprano is soon joined by the other female voices in a most beautiful blending of voices before the whole choir leads to the coda.

Stile Antico then bring us the first part of Jacobus Clemens non Papa’s Missa Pastores quidnam vidistis. A slowly unfolding Kyrie is slowly allowed to flow forward, revealing all the lovely harmonies and textures. Again the female voices bring moments of pure voiced beauty before the whole choir add richer sonorities. Quite beautiful.

The lesser known Slovenian composer Jacob Handl (1550-1591) is represented by two works on this disc; firstly his Canite tuba where the male voices of the choir push forward in beautiful layers, showing their fine flexibility, astounding accuracy and lovely blend in the faster moving passages.  

From the tenor solo in the plainchant of Gloria of Clemens non Papa’s Missa Pastores quidnam vidistis to the final Amen this choir bring a beautifully nuanced, subtly controlled performance with lovely dynamics and tempi – and of course the most glorious harmonies and textures. There are some very fine quieter moments before the music gently builds again.

Although Hieronymus Praetorius (1560-1629) had a composer son, Jacob (1586-1651) he was no relation to Michael Praetorius. Male voices slowly announce the Magnificat quinti toni before female voices join, then the whole choir with basses adding a very fine richness and depth. This choir bring a fine rhythmic quality with some lovely tenor voices in the plainchant. At one point I was sure that there was a hint of In Dulci Jubilo. Either way this is a great choice for a Christmas recital. There is a spectacularly fine Amen.

There is a plainchant opening to the Credo of Clemens non Papa’s Missa Pastores quidnam vidistis before Stile Antico move quickly forward with a fine blend and flow with some wonderfully restrained passages beautifully underpinned by the basses. Later, around the word Crucifixus there is a lovely quiet, slow, gently controlled passage gorgeously sung.  

Jacob Handl’s Mirabile mysterium gives us the title of this disc, Wondrous Mystery. It reveals itself slowly as it unfolds with some beautiful harmonies, finely developed here. This is a really fine work.

Another perhaps unfamiliar name is that of German composer, Johannes Eccard (1553-1611) who eventually became Kapellmeister in Berlin. His Übers Gebirg Maria geht rises full of cheer with this choir bringing some very fine, uplifting moments.

Next comes another section of Clemens non Pap’s Missa Pastores quidnam vidistis, the Sanctus & Benedictus where the female voices lead before the whole choir weaves the most mellifluous choral textures, a gentle, flexible, forward flow, rising to moments of increased passion. There is a wonderfully developed, restrained Benedictus before the music picks up a brief rhythmic pulse just before the gentle coda.  

This choir bring a real thrust to Johannes Eccard’s Vom Himmel hoch whilst weaving some lovely textures and sonorities.

The German composer, Hans Leo Hassler (bap. 1564; d.1612) was Kapellmeister at the Saxon court chapel. His Hodie Christus natus est is a really joyful work with the individual voices of this choir really shining through. These singers bring a beautiful control through the many varied tempi and dynamics, building rich textures with a rousing Alleluia to end.

Stile Antico conclude their Christmas recital with the Agnus Dei of Clemens non Papa’s Missa Pastores quidnam vidistis. It gently unfolds, bringing a Christmas peace whilst rising to some wonderful moments beautifully revealed by this choir.

If one wishes to play the entire Clemens non Papa Mass without a break, then the tracks can easily be programmed. 

I cannot speak too highly of this fine choir or this new release. They are beautifully recorded at All Hallows Church, Gospel Oak, London, UK and there are excellent notes in the nicely illustrated booklet, together with full texts and translations.

A Wondrous Mystery from this Wondrous Choir. Buy, sit back and enjoy!

See also: 

http://theclassicalreviewer.blogspot.co.uk/2013/01/stile-antico-bring-real-sense-of.html

Following its 25th anniversary the acclaimed Meridian Arts Ensemble releases its 10th CD and a Live Concert DVD

Following its 25^th anniversary the Meridian Arts Ensemble www.meridianartsensemble.com has released its 10^th CD entitled Alchemy and a Live Concert DVD of their 1997 Deutsches Jazz Festival appearance and their 2004 Library of Congress concert.

8bells

The Meridian Arts Ensemble’s line up is Jon Nelson and Tim Leopold (trumpets), Daniel Grabois (horn), Benjamin Herrington (trombone) Raymond Stewart (tuba) and John Ferrari (percussion and conducting) with guest artists David Ballou (trumpet), Faustino Diaz Mendez (trumpet and trombone) and Adam Unsworth (horn)

Their new CD from 8bells records www.meridianartsensemble.com/cd.htm  features arrangements of music by a variety of composers including Byrd, Gesualdo, Lassus, Corelli, Bach and Giovanni Gabrieli.

They start by playing an arrangement by Adam Unsworth of the Gloria from William Byrd’s (1543-1623) Mass for Five Voices. A vibraphone provides an unexpected opening of the plainchant Gloria before a trumpet and other brass take the theme forward bringing some fine varying dynamics, sonorities and textures. The Meridian Arts Ensemble provides some wonderful sounds, subtly varying the textures in this effective and attractive arrangement. Carlo Gesualdo’s (c. 1561-1613) Occhi del mio cor vita is arranged here by Raymond Stewart and brings fine varied textures as the piece develops. The Ensemble provides some lovely subtle little details with much care and fine phrasing enabling this short piece to work so well for brass.

Giacomo Carissimi (1605-1674) Plorate filii Israel, in an arrangement by Daniel Grabois, moves forward with a dignified solemn pace, rising gently in more passionate moments. This is an exquisitely shaped performance with a lovely gentle rise and fall, these fine players bringing a lovely subtly shifting blend.

Orlande de Lassus’ (c. 1530/32-1594) Eco is a fine rhythmic, joyful piece that gets a real lift from these players with such fine accurate playing. David Ballou has arranged Arcangelo Corelli’s (1653-1713) Sonata Op.5 No.8 in E minor. Firstly we have the Prelude where muted instruments weave the gentle theme with these fine musicians creating a wonderful sound world. A wonderful arrangement and performance.

English conductor, composer and trumpeter, Elgar Howarth (b. 1935) has based his Pasce Tuos on a piece by Guillaume Dufay (c. 1397-1474). It opens with a series of held notes overlaid by a trumpet theme with subtly changing lower layers as the piece develops. These players create the most wonderful layers of sonority with such well controlled development as the music subtly blossoms. 

Giovanni Gabrieli’s (c. 1554/1556-1612) Sonata Pian’e Forte, probably written for a variety of wind instruments, naturally lends itself to brass. Here it is nicely paced with the Ensemble bringing a lovely mixture of textures and sonorities, slowly allowing the music to rise with varying dynamics all of which allow this music to be revealed in all its glory. The second movement Allemande of David Ballou’s arrangement of Corelli’s Sonata Op.5 No.8 in E minor follows where playful little phrases from each player dart around before the theme is soon revealed. A delightful piece.

Jon Nelson’s arrangement of J. S. Bach’s (1685-1750) Six Part Fugue from A Musical Offering has a delightful opening where each of the instruments of the Ensemble spring into life suddenly, adding a part of the fugue. They develop through some very fine passages, each instrument providing a part of the lovely texture in this gem of a performance. The vibraphone can be heard adding its colour and texture as well as rhythmically pointing up the fugue before building in strength to the coda. The Sarabande from Corelli’s Sonata Op.5 No.8 in Nelson’s arrangement has a gentle flow from muted instruments weaving a melancholy theme. Beautifully done.

A more serious side to Orlando de Lassus is provided by his Providebam Dominum of 1604 where wonderfully varied sonorities abound. These players bring light textures, then rich and glowing sonorities as well as a fine flow. The rich harmonisation rises through passages of tremendous strength and sonority. The final Gigue of Corelli’s Sonata Op.5 No.8 arranged by David Ballou brings a fast moving circle of brass in this ever evolving gigue, brilliantly played by the Meridian Arts Ensemble.

To end this disc Jon Nelson has arranged Bach’s arr. Nelson: Contrapunctus XV from The Art of Fugue. The tuba opens before other instruments slowly join to expand Bach’s wonderful invention, weaving around each other, subtly drawing out so much of Bach’s invention. They bring a tremendous tapestry of brass sounds with the xylophone joining to bring the coda.

This will prove to be an irresistible disc for brass devotees but I do hope that it finds a wider audience for there is such great musicianship on display here.  The recording is extremely well done, balancing clarity and richer sonorities. There are brief notes.

The Live Concert DVD that has been released by 8bells records opens with the Meridian Arts Ensemble’s 2004 Library of Congress concert where they gave a virtuosic performance of Stravinsky’s Fanfare for a New Theatre before playing Gesualdo’s Belta, poi che t’assenti finding many details and subtleties.

Moving to music from more recent times they followed with David Sanford’s Corpus, a six movement work where they brought a dazzling Antiphon and an Introit that picked up on the many jazz influences. It was lovely the way the various instrumental lines fan out with drums pointing up the rhythms in the third movement, Shot, rising to moments of intense driven momentum. Kreuz-Männer opens with fine antiphonal effects before the ensemble combine to drive ahead with jazz rhythms, picking up a terrific beat. De Profundis brought some lovely mellow muted brass sounds pointed up by percussion, through some lovely broad flowing passages before a rather curious, quiet coda. The final movement of this work, Sermon brought staccato phrases pointed up by drums and cymbals of John Ferrari’s drum kit with a number of short solos for trombone with percussion, later really whipping up a storm in the jazz style conclusion.

Elliot Sharp’s Beyond the Curve opened with a terrific, intricate staccato version of the theme from the the two trumpets before the Ensemble took the theme ahead. These two trumpeters brought superb playing, indeed the whole ensemble delivered some very fine playing as the piece worked its way forward. There were quiet moments as well as some extraordinary brass sounds before the music found its inexorable drive to the coda.

This concert was filmed in 4:3 format with some fine camera work of the various musicians. Picture quality is a little fuzzy but sound through my large speakers was very good.

Second up on this new DVD is the Ensemble’s 1997 appearance at the Deutsches Jazz Festival. Here the Meridian Arts Ensemble had a slightly different line up with trumpeter, Josef Burgstaller instead Brian McWhorter. They opened with Su Lian Tan’s Moo’s Shu Rap Wrap where they brought a terrific flare and freedom and some terrific sounds as well as great energy. Daniel Grabois’ Migration was less like a jazz piece with some very fine brass sounds, mellow, beautifully blended with a fine rhythmic pulse and some fine individual moments from these players in the quieter moments. Jon Nelson’s Dream of Miles brought a bluesy opening for muted trumpet and hushed ensemble. There were many fine, subtle brass sounds as the piece developed into a brighter more rhythmic style full of lively jazz rhythms before falling quiet at the end. Ben Herrington’s Randy Brecker’s Some Skunk Funk brought strange wailings in the opening as a theme tried to emerge, which it did, moving confidently and rhythmically ahead. This is a great piece where each player displayed his individual musicianship, moving through some pretty wild moments before a quiet, throw away ending. 

Again the picture quality is acceptable if a little lacking in definition but the sound through my large speakers was excellent. 

A highly recommendable release from ECM New Series of Heinz Holliger’s Machaut-Transkriptionen with the Hilliard Ensemble and violists, Geneviève Strosser, Jürg Dähler and Muriel Cantoreggi

Swiss oboist, conductor, and composer Heinz Holliger (b.1939) www.colbertartists.com/ArtistBio.asp?ID=heinz-holliger began his musical education at the conservatories of Bern and Basel. He studied composition with Sándor Veress and Pierre Boulez and was awarded first prize for oboe in the International Competition in Geneva in 1959. Many composers, including Olivier Messiaen, Luciano Berio, Elliott Carter, Frank Martin, Hans Werner Henze, Witold Lutosławski, Karlheinz Stockhausen, Krzysztof Penderecki, and Isang Yun, have written works for him.

As a conductor, Heinz Holliger has worked for many years with leading orchestras and ensembles worldwide including the Berlin Philharmonic, the Cleveland Orchestra, Amsterdam’s Concertgebouw Orchestra, the London Philharmonia Orchestra, the Vienna Symphony Orchestra, the Vienna Philharmonic Orchestra, the Bavarian Radio Symphony Orchestra, the SWR Symphony Orchestra of Baden-Baden/Freiburg and Stuttgart, the WDR Symphony Orchestra of Cologne, the Frankfurt Symphony Orchestra, the Zürich Tonhalle Orchestra, L’Orchestre de la Suisse Romande, the Chamber Orchestra of Lausanne, the Budapest Festival Orchestra, the National Orchestra of Lyon, and the Strasbourg Philharmonic, as well as his long standing collaboration with the Chamber Orchestra of Europe.

Holliger is in high demand as a composer with his opera on Robert Walser’s Schneewittchen at the Zürich Opera House receiving great international attention. Other major works are his Scardanelli-Zyklus, a 150-minute cycle for mixed forces and his Violin Concerto. On the occasion of Paul Sacher's 70th birthday, Holliger was one of twelve composer-friends of his who were asked by Russian cellist Mstislav Rostropovich to write compositions for cello solo.  

ECM Records www.ecmrecords.com have recently released a recording of Heinz Holliger’s Machaut-Transcriptions, performed by The Hilliard Ensemble www.hilliardensemble.demon.co.uk and the violists, Geneviève Strosser www.kajimotomusic.com/en/artists/k=85/ , Jürg Dähler http://artsconsulting-int.com/en/downloads/aSc-int_CV_JD_engl.pdf and Muriel Cantoreggi http://www.mh-freiburg.de/lehrende/person/details/cantoreggi

ECM NEW SERIES 2224
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As well as his Messe de Nostre Dame, the French composer and poet Guillaume de Machaut (c.1300-1377) composed many motets, ballades, rondeaux, virelais and lais. Over a ten year period beginning in 2001Heinz Holliger has written a cycle of pieces, scored for four voices and three violas, entitled Machaut-Transkriptionen, an imaginative re-investigation of the work of the Guillaume de Machaut. Note-for-note transcriptions of Machaut give way to Holliger’s increasingly creative refractions of the music.  Holliger has stated that his in-depth study of Machaud opened up new vistas for his compositional activity.

The Hilliard Ensemble find many little nuances in the opening note for note transcription in natural harmonics of Machaut’s Ballade IV Biaute qui toutes autre pere finding a strangely modern flavour as though stretching Machaut’s harmonic language.  

Violists Geneviève Strosser, Jürg Dähler and Muriel Cantoreggi bring natural harmonics in the opening of Ballade IV für drei Violen. For all its strange sounds there is a definable link to the harmonies of Machaut. It is quite incredible how these players weave the delicate harmonies demonstrating just how much Holliger has absorbed Machaut’s harmonic world.

The Hilliards return for the original setting by Machaut’s Ballade XXVI Donnez, Seigneur bringing a lovely gentle sway, with fine harmonisation and a high level of accuracy.

In Holliger’s transcription of Ballade XXVI für drei Violen for three violas the music slowly emerges, overlaying the original with harmonics, a true blending of ideas separated by over 600 years. The music has a mournful sound as the original appears to glimmer and reflect through the strange harmonies drawing the ear in an unexpectedly intense way.

The Hilliards bring Machaut’s original Double Hoquet (Hoquetus David) with its constantly shifting rhythms and harmonies, these fine singers providing a terrific flexibility, negotiating every little turn beautifully.

With Holliger’s transcription of Triple Hoquet (nach Hoquetus David) he dissects Machaut’s original to an extent that the particles seem to reform in an entirely new way. Holliger speaks of ‘quasi atomising’ the motivic units. Yet oddly one can still sense an affinity with Machaut without necessarily being able to define why. The music becomes increasingly more complex with pizzicato phrases, harmonics and edgy motifs. But equally as it progresses, there are some intensely fine dissonant harmonies before clearing towards the coda for a settled conclusion. This is a terrific performance from these three violists.  

The Hilliard Ensemble bring a quite spectacularly fine Lay VII für vier Stimmen (for four voices) where Machaut’s music is spread out into a wider or, in Holliger’s terms spacialisated array of harmonics. There are some fiendishly difficult parts to sing with these fine voices bringing some stunningly controlled singing. Here the 14^th c. refracts through a more advanced prism with some lovely subtle little dissonances, a quite wonderful transcription of Machaut’s original. Holliger weaves and blends the musical lines, finding some wonderful textures and sonorities and some quite lovely moments before arriving at a particularly mellifluous coda but concluding on a dissonance. The performance is a triumph.

In(ter)ventio a 3 für drei Violen brings the return of the three violists in this thematically related improvisation on Machaut’s Complainte (Tels rit au main qui au soir). Here there are constantly shifting harmonies and moments of complex agitation with spectacularly accomplished playing from these violists. Later there is a mysterious, slow, hushed section where the violas slowly rise and fall around each other in a quite mesmerising passage before slowly moving forward through harmonies that often shimmer to slowly sink into a hushed coda.

The Hilliard Ensemble come together with the violists Geneviève Strosser, Jürg Dähler and Muriel Cantoreggi for Complainte (aus: Remede de Fortune) und Epilog für vier Singstimmen und drei Violen. Here Machaut’s original Complainte is reworked as a four part canon over which a ¼ tone three part invention is laid, weaving strange harmonies out of which little motifs for strings and voices emerge. Often there are little dynamic surges for voices as the music moves through some wonderfully unusual harmonies and dissonance. The music falls to a hush before the voices take the music forward alone, rising to some very fine passages. A viola quietly joins using harmonics high in its register before the other violas join to spread out around the voices before sinking to a quiet coda.

This is a terrific achievement by all these performers.

These are strikingly impressive transcriptions, occasionally challenging but more often quite beautiful.

The performances could not be bettered. The recording is excellent and there are useful booklet notes by Andreas Krause and Heinz Hollliger. There are no texts provided.

I cannot recommend this disc too highly. There are so many wonderful moments throughout.

See also:

http://theclassicalreviewer.blogspot.co.uk/2015/01/cellist-oren-shevlin-joins-heinz.html

http://theclassicalreviewer.blogspot.co.uk/2014/08/terrific-new-performances-of-schumanns.html

http://theclassicalreviewer.blogspot.co.uk/2013/12/heinz-holliger-and-wdr.html

JoAnn Falletta and the London Symphony Orchestra’s new recording of Jack Gallagher’s Symphony No. 2 for Naxos should gain many new admirers of this composer’s music

American composer, Jack Gallagher (b.1947) www.jackgallaghermusic.com  studied composition with Elie Siegmeister, Robert Palmer and Burrill Phillips. He participated in seminars with Karel Husa, Thea Musgrave and Ned Rorem and masterclasses with Aaron Copland, George Crumb and William Bolcom. He holds doctoral and master’s degrees in composition from Cornell University and a bachelor’s degree cum laude from Hofstra University.

His works have been performed or recorded by the London Symphony Orchestra, the Virginia Symphony Orchestra, the Charleston Symphony Orchestra, the Cleveland Chamber Symphony Orchestra, the Polish Radio Symphony Orchestra of Krakow, the Kiev Philharmonic Orchestra and the U.S. Air Force Band of Flight.

His compositions include orchestral works, works for symphonic band, chamber works, vocal and choral works, instrumental and piano works.

His debut recording for Naxos www.naxos.com  of his Diversions Overture, Berceuse, Sinfonietta and Symphony in One Movement: Threnody with the London Symphony Orchestra conducted by JoAnn Falletta (8.559652) was highly praised.

Now from Naxos www.naxos.com comes World Premier Recordings of Gallagher’s Symphony No. 2, ‘Ascendant’ and Quiet Reflections, again performed by the London Symphony Orchestra http://lso.co.uk  conducted by JoAnn Falletta www.joannfalletta.com

8.559768

Jack Gallagher’s Symphony No. 2, ‘Ascendant’ was composed between 2010 and 2013. In four movements and lasting just over an hour it seeks, in the composer’s words, ‘…an expansiveness of discourse possible, perhaps, only to an extended work. Thematic connections link material among the movements.’

Whoops from brass open the lively Boldly, a bubbling orchestral theme with a fast forward motion. The music falls to a quieter yet equally forward moving section with many attractive individual instrumental contributions before gaining a subtly sprung rhythmic pulse. A second subject arrives, a gently nuanced melody woven through various sections of the orchestra.  Soon the pace picks up in the strings before swirling through the orchestra with percussion and brass adding colour as the music rises in dynamics. There are rising and falling string swirls and a harp arpeggio before quietening as the theme weaves a tapestry of instrumental detail. Surges of string theme occur before the music rises in dynamics through a terrific orchestral flourish.

I thought here that I detected a string sequence that recalls Benjamin Britten of the Sea Interludes. A quieter section follows, carefully pointed up by percussion before a repeated motif for brass that is taken forward by the orchestra. A rising brass motif appears over an increasingly dramatic orchestral layer leading through varying tempi, moments of exquisitely hushed orchestra with woodwind running through and of fast, quicksilver orchestral passages.  Later there is a slow theme for bass clarinet soon leading to an exquisite passage for various woodwind. A harp, percussion and scurrying strings lead on before rising with brass fanfares to a climax. There are moments of violent syncopated rhythms before the strings and brass lead on with a rising and falling string motif to the dynamic coda. 

A phrase for horns quietly leads to a rhythmic woodwind theme in the second movement, Playfully. This is a lovely light playful theme that has a flow and charm but also a depth. Soon lower strings take the theme forward and develop it, around which a myriad of instrumental details are heard. There are sudden sharp little woodwind and brass outbursts before the music rises through a very fine, longer breathed string melody. Drums add drama as the music increases in dynamics, horns sound over the orchestra as do other brass and swirling woodwind. A bass tuba followed by double basses lead on in a quieter passage that is taken by the strings, through dramatic passages pointed up by drums. A mellow string passage with rhythmic element is heard before a terrific forward propulsion leads to a lovely little passage for woodwind and the more subdued coda.

Horns quietly open Slowly before a gently undulating orchestral theme slowly moves forward with a quite beautiful orchestral texture and lovely shifting harmonies out of which the most lovely passages emerge. There is a beautiful tapestry of orchestral sound before the music subtly gains in flow with a real outpouring of orchestral beauty. There are some spectacularly fine woodwind arabesques with a plaintive oboe melody that weaves its way through the orchestral tapestry. Soon a flute takes the melody, then a clarinet all laid over a lovely string layer. Later the music suddenly becomes dramatic as drums help develop a swirling passage. The music suddenly quietens with strings and a harp phrase as woodwind take the music slowly back to its gentle nature, falling to a slow deep bassoon passage. Strings lead on with a wonderfully discordant theme around which the woodwind slowly swirl, through some most glorious orchestral textures as the music slowly increases in dynamics. Horns and a quieter orchestra bring the gentle coda.

The marking of the finale, Slowly - Energetically - Fast – Moderately - Fast seems to indicate a bringing together of preceding material. Quiet shimmering strings open, over which the brass soon quietly bring a theme that soon leads to a slow, shimmering, rich orchestral passage. The pace picks up in a fast moving passage before a drum heralds a quieter fast moving string theme around which an orchestral tapestry is woven. There are many individual instrumental passages including clarinet, flutes and percussion that appear briefly as the strings continue to maintain their forward flow. Later there is a slower, restrained, quieter section for woodwind over lower strings in music that is full of shifting harmonies. A hushed section for strings and harp arrives over which flute arabesques appear. Brass intone and  drums sound out as the pace quickens, moving through woodwind then brass passages before the strings move ahead. There is a rise in dynamics, through a rhythmically syncopated passage over which brass eventually sound out. Drums pound as the orchestra strides ahead with horns, swirling strings, woodwind and cymbals. The syncopated string theme re-appears over which brass and woodwind are heard before timpani thunder out and the riotous, energetic coda arrives.

This is a symphony of major proportions and content, one of the finest to come out of America for a long time. Gallagher has a strong sense of form as well as a real ear for instrumental colour.

Gallagher’s orchestral work, Quiet Reflections (formerly, A Quiet Musicke) was completed in 1996 and composed for the 80th anniversary season of the Wooster (Ohio) Symphony Orchestra under its Music Director, Jeffrey Lindberg. Following Gallagher’s previous work, Proteus Rising from the Sea, the  composer wished to write a work that ‘… aspires to inhabit an entirely different sound world… endeavours to evoke a sense of longing for past tranquillity, calm and serenity.’

Tubular bells chime as a horn brings a gentle melody. The strings take over, soon leading to a woodwind passage where an exquisite tapestry is woven. Richer string passages appear around which the woodwind flow through passages of fine introspection with an intensely American sound. There are little orchestral surges as a lovely woodwind passage weaves its way over the strings. Later a reflective rich string passage arrives before the music slows and achieves a lighter string texture. Bells toll again as a horn overlays the orchestra and rich strings lead with woodwind and tolling bell to the quite wonderful, hauntingly beautiful coda.  

This is a most lovely work. JoAnn Falletta draws first class performances from the London Symphony Orchestra who receive a very fine, detailed recording that reveals all of Gallagher’s fine orchestration.

There are excellent booklet notes from the composer. 

This excellent new disc should gain many new admirers of Jack Gallagher’s music. 

With a superb line up of soloists and a very fine accompanist Somm’s first volume in a complete recording of Parry’s English Lyrics looks set to be a major contribution to recorded English song

Sir Charles Hubert Hastings Parry (1848-1918) was a huge figure in British music around the end of the 19^th and the beginning of the 20^th centuries. In addition to his role as Director of the Royal College of Music and his popular choral works, Jerusalem, I Was Glad and Blest Pair of Sirens his output encompasses, a large number of other choral works, orchestral works including five symphonies, one completed piano concerto, church music, music for the theatre, chamber works, piano works, organ works, and an impressive number of songs.

A major part of his song output consists of twelve sets of the English Lyrics, written between 1874 and his death in 1918. Somm Recordings www.somm-recordings.com  have begun an undertaking to record all of Parry’s English Lyrics in three volumes.

Volume 1 of this new series has just been released featuring an impressive line-up with soprano, Susan Gritton www.askonasholt.co.uk/artists/singers/soprano/susan-gritton ; tenor, James Gilchrist www.jamesgilchrist.co.uk  and baritone, Roderick Williams www.ingpen.co.uk/artist/roderick-williams  with pianist Andrew West www.ram.ac.uk/about-us/staff/andrew-west

SOMMCD 257

Arranged to provide a varied recital this new disc opens with all four songs from Set 1 (1881-85) commencing with My true love hath my heart a setting of a poem by Sir Philip Sydney that brings a beautifully expressive Susan Gritton with some very fine accompaniment from Andrew West. Good Night, a setting of Shelley, is a particularly fine song with lovely rippling piano accompaniment and Gritton bringing some fine shaping and phrasing. There is a lovely flowing rise and fall as well as some particularly sweet toned phrases.

Sir Walter Scott provides the verses for Where shall the lover rest that has a beautifully paced piano opening with some lovely long phrases from Gritton. This is another particularly fine song with nothing routine about this soprano’s performance, rising to moments of fine passion with some beautifully pure upper notes. Susan Gritton maintains a strong sense of emotion in Willow Song, a Shakespeare setting, bringing a lovely fluency.

Set 2 (1874-85) of the English Lyrics, all Shakespeare settings, follows with a livelier O Mistress Mine with James Gilchrist providing a fine sense of urgency. There is a more leisurely piano introduction to Take, O take those lips away with Gilchrist bringing some fine textures as this song weaves its way with some beautifully controlled power. With No longer mourn for me this tenor keeps a fine forward movement as well as a strong emotional pull with really sensitive accompaniment from Andrew West. Gilchrist and West give a terrific rhythmic lift to Blow, blow, thou winter wind, full of expression. Some lovely piano rhythms occur in When icicles hang by the wall with Gilchrist beautifully shaping this song.

Three songs from Set 3 (1895) follow, firstlyTo Lucasta on going to the wars, a setting of verses by Richard Lovelace, with West providing a real breadth as Roderick Williams brings his rich tones, full of strength, passion and sensitive control. Williams brings a real feeling to his performance of To Althea, from Prison, another Lovelace setting, drawing as much depth as possible from this song. West provides such a well-balanced accompaniment with spot on precision. Williams delivers a terrific characterisation to the setting of John Suckling’s Why so pale and wan full of wit and wry humour.  

What fine control and sensitivity James Gilchrist brings to the fourth song from Set 4 (1885-96), Weep you no more a quite lovely setting of an anonymous text, exquisitely sung. Another song from Set 3 follows, Of all the torments, beautifully paced with a fine flow from Roderick Williams in this setting of William Walsh.

Susan Gritton returns for the fourth song from Set 5 (1876-1901), Lay a garland on my hearse a slow, sad setting from The Maid’s Tragedy by Beaumont and Fletcher, beautifully sung, rising in moments of passion and so well shaped. There is then a slow mournful Why art thou slow from Set 11 (1910-18) where Roderick Williams brings a fine gravity with subtle emphases to define the text.  

There are five songs from the six that comprise Set 7 (1888-1906) with On a time the amorous Silvy finding Roderick Williams bringing a terrific characterisation with so many little subtleties despite the levity of the song. A brilliant performance of this setting of anonymous text.

Both Andrew West and Roderick Williams catch the fleeting nature of the lovely song Follow a shadow on verses by Ben Johnson. Thomas Heywood is the source of the text for Ye little birds that sit and sing. It brings a lighter style with Williams finding every little nuance and providing such fine agility.

With O never say that I was false of heart, a setting of Shakespeare, Williams and West find much to enjoy, despite its rather Victorian emotional thrust. The lighter Robert Herrick setting, Julia is lifted by Williams’ and West’s vibrant and fluent phrasing.  

Susan Gritton returns for the sixth song from Set 10 (1909), One silent night of late, a more unusual setting of Herrick where this soprano brings fine phrasing and suitably youthful characterisation of the text. She receives a perfect accompaniment from West.

There are two songs from Set 12 (pub. 1920), firstly To blossoms where Andrew West brings a lovely pianistic flow and Susan Gritton some exquisitely shaped phases in this fine Robert Herrick setting. James Gilchrist returns for Rosaline, bringing a real passion with some beautifully refined phrasing drawing as much as possible from this setting of verses by Thomas Lodge before a particularly fine coda.

Next there is another song from Set 5, a Shakespeare setting, Crabbed age and youth where Susan Gritton delivers the most beautiful phrases, as does Andrew West. She later brings some very fine higher phrases and moments of sensitivity.

Under the greenwood tree is from Set 6 (pub. 1903) with Roderick Williams bringing a beautifully rich, strong performance of this Shakespeare setting, finding just the right way to handle such a text.

After these English Lyrics James Gilchrist sings Parry’s setting of Shakespeare’s Sonnet 32: If thou survive my well-contended day (1874) with James Gilchrist bringing a lovely flow with fine phrasing and beautifully subtle dynamics. Andrew West gives fine sensitive playing in this beautifully done song.

Gilchrist and West also bring us four of Parry’s settings of Shakespeare’s sonnets (1873-1882) that were translated into German by Friedrich Bodenstedt. He brings an urgency, a real ebb and flow to Sonnet 29: When in disgrace, a fine setting. Sonnet 87: Farewell, thou art too dear brings an equally strong performance with beautiful phrasing, sensitive to every nuance of text. West provides a lively rippling piano accompaniment to Sonnet 18: Shall I compare thee to a summer's day as James Gilchrist brings a real sense of passion and forward drive. Superbly sung. There is a lovely restraint to Sonnet 30: When to the sessions wonderfully shaped and sensitively characterised rising to moments of passion, making a terrific conclusion to this recital.

With a superb line up of soloists and such a very fine accompanist this series looks set to be a major contribution to recorded English song. They receive an excellent recording produced by Siva Oke at the Turner Sims Concert Hall, University of Southampton, UK and there are first class notes from Parry biographer, Jeremy Dibble as well as full English and German texts and English translation. 

This makes this an auspicious start to this series. 

The Byrd Ensemble proves to be an impressive choir with their new recording of Music of the Tudors for Scribe Records

The Byrd Ensemble www.byrdensemble.com is a Seattle-based vocal ensemble specializing in the performance of chamber vocal music. Since 2004, the ensemble has performed medieval, renaissance, baroque, and modern music on an international stage. They are Artist-in-Residence at St. Mark's Cathedral, Seattle, Washington State, USA.

The Byrd Ensemble’s artistic director, Markdavin Obenza is also Director and founder of Seattle-based chamber choir, Vox16. He is an active singer and has performed with the Tudor Choir and members of the Tallis Scholars. He is currently the Director of Choral Music at Trinity Parish Church, Seattle, Washington State.

They have made a number of recordings for Scribe Records www.scribemusic.com  covering the music of William Byrd, Arvo Pärt, Peter Hallock and English sacred choral music from the Peterhouse Partbooks www.srcf.ucam.org/petcc/w/The_Peterhouse_Partbooks .

Now from Scribe Records www.scribemusic.com comes a new recording by this choir of Music for the Tudors featuring music by John Sheppard, Thomas Tallis and Robert White.

SRCD7

The Byrd Ensemble brings some finely mellifluous vocal sonorities to John Sheppard’s (c. 1515-1559/60) Media Vita as the sopranos rise over the choir. They bring a fine flowing tempo with different sections of the choir flowing through the texture creating a wonderful musical tapestry. They provide a really fine control of tempo and dynamic changes, bringing many lovely touches. 

The opening of Thomas Tallis’ (c. 1505-1585) Videte Miraculum is beautifully woven as individual voices enter and combine. They bring an intimate, rather contemplative feel with a gentle tempo. There are some plaintively beautiful higher voices with this choir allowing each individual voice to shine and be heard. In the plainchant in Maec speciosum there are some really special textural moments, an exquisite blend of individual voices.

Female voices glide in at the opening of Thomas Tallis’ Salvator Mundi I before the rest of the choir join to weave a beautifully nuanced flow. This is as fine a performance as you could wish for.

Robert White’s (c. 1538-1574) Christe Qui Lux IV opens with a tenor slowly joined by the other male voices in the plainchant Christe Qui Lux es et dies before the choir brings the glorious textures of this piece. There is such well controlled balance of voices as they flow over each other to lovely effect. The beautifully recurring plainchant is repeated three times throughout before a final Amen.

The glory of Thomas Tallis is fully revealed as this choir bring In Manus Tuas with lovely pacing and fine glowing sonorities.  

The choir rise, wonderfully in Thomas Tallis’ Lamentations I slowly adding voices, creating a glorious blend. Again individual voices are allowed to rise and glow revealing the distinct character of each of these fine voices. They find a lovely tempo before a soprano sings a lovely Jerusalem, Jerusalem as the end is reached.  

The brief Salve Radix by an anonymous composer rises magnificently at the opening before taking a steady flow through its distinctive harmonies, finely revealed by this choir.

Thomas Tallis concludes this disc with his Gaude Gloriosa dei Mater where this choir provide a lovely weaving of vocal textures. Again it is the clarity of the individual vocal lines that is impressive. They rise up in certain passages quite gloriously and, centrally, there is a particularly fine Gaude Virgo Maria for female voices before a bass adds a fine layer. There are moments when the lower voices weave a lovely texture and, again later they suddenly rise up wonderfully before a sustained, beautifully done Amen. 

This is an impressive choir that brings many delights. They are well recorded in the Holy Rosary Church, Seattle, Washington State, USA. The booklet notes take the form of an interesting conversation between Markdavin Obenza, Joshua Haberman and Greg Skidmore. The CD booklet is beautifully produced. 

Spectacularly fine performances from the Swiss Piano Trio in their second volume of Beethoven Piano Trios for Audite

Surely one of the finest piano trios around today is the Swiss Piano Trio www.swisspianotrio.ch whose members are Angela Golubeva (violin), Sébastien Singer (cello) and Martin Lucas Staub (piano).

They have already made a number of major contributions to the CD catalogue with recordings for Audite of trios by Mendelssohn, Clara & Robert Schumann, Tchaikovsky and Franck. Earlier this year they released the first in their series of complete piano trios of Beethoven.

Now from Audite www.audite.de  comes Volume II in their Beethoven series that features the Piano Trio No.2 in G Major and the Piano Trio No. 5 in D Major ‘Ghost’.

CD and HD Download
97.693

This trio bring a beautifully shaped opening to the Adagio - Allegro vivace of Piano Trio No.2 in G Major, Op. 1 No.2 bringing just the right amount of dynamic stress on the forte and fortissimo chords. They provide a beautifully controlled rubato before rising into the allegro, full of brio and spirit, catching Beethoven’s youthful exuberance. These players bring playing of superb precision, wonderfully intuitive playing with some particularly fluent passages and incisive but beautifully toned string playing. They weave a long flowing line right through this movement bringing much characterful playing.

The Largo con espressione brings a lovely gentle piano opening, so thoughtfully shaped by Martin Lucas Staub before the strings enter to provide a gentle, flowing undulating melody, forming a lovely, intensely poetic vision. There is some exquisite hushed playing as they bring an often plaintive beauty to this movement with little surges of stronger emotion. Beautifully done.

There is a fine rhythmic pulse to the Scherzo. Allegro, again beautifully shaped with fine precision between these players and more of that lovely rubato. There is a real joy in their playing with a quite lovely trio section and a beautifully shaped flow throughout right to the gentle coda.  

The Finale. Presto shoots off with some absolutely superb, fast and brilliantly fluent playing. There are so many fine little string details revealed, some lovely hushed piano phrases as well as much spirit. 

This is a spectacularly fine performance.

There is a brilliantly incisive opening to the Allegro vivace e con brio of Piano Trio No. 5 in D Major, Op. 70 No.1 ‘Ghost’ before the music gains a flow, these players still finding all the stormy quality.  They bring some moments of restrained energy, a feeling that the music is always trying to burst.  There is playing of great power, fire and drive, capturing that Beethovenian spirit with remarkable accuracy between players. They reveal almost schizophrenic changes between quieter withdrawn moments and the more fiery passages.  There are some lovely hushed little string tones before rising to peaks of more joy. It is lovely the way they lift the music in the little climaxes before the most exquisite piano phrases lead to the coda.

The Largo assai ed espressivo brings lovely, long drawn hushed string phrases over which the piano brings its gentle motif before the strings take up the theme, the piano adding terrific bite and drama. There are passages of lovely, thoughtful, quiet reflection with a terrific dialogue between players. They build certain passages superbly as the music slowly and steadily increases in dynamics before a rather questioning coda.

This trio bring a crispness to the opening of the Presto with lovely little phrases before taking off, full of energy and power. As they alternate with passages of more repose they find perfectly Beethoven’s changeable moods, through the most fiery, brilliantly played passages bringing a real volatility. This is tremendously impressive playing, bringing some fine sonorities before the resolute coda.

This is another impressive performance.

This Beethoven series promises to be an exciting venture. The recording, made at the Kunsthalle Ziegelhutte, Appenzell, Switzerland, successfully used for this trio’s Mendelssohn disc, though having a slight resonance, is still very good.

There are excellent booklet notes.

See also:

http://theclassicalreviewer.blogspot.co.uk/2013/01/highly-recommended-audite-release-of.html