Wilhelmina Smith Plays Contemporary Solo Cello Works


Ondine

The selection of repertoire suggests that this release is targeted Stan audience which enjoys contemporary solo cello music.  No pairing with earlier established warhorses such as Brahms Cello Sonatas, and no electronics either.  Just a highly skilled musician and her incredible technique navigating these relatively recent examples of this genre from two acknowledged living masters, Esa-Pekka Salonen and Kaija Saariaho.  It is a daring and unusual program for cellist Wilhelmina Smith but it works as a dazzling display of her skills.

Salonen is, of course, one of the best known composer conductors working today.  This reviewer’s only other exposure to Salonen’s work thus far has been the gorgeous Cello Concerto reviewed here.  No question that this is a name worthy of your attention.

And if you enjoy new music you will be familiar with Kaija Saariaho (1952- ).  Since she first burst on the scene in the early 1980s she has produced one success after another in pretty much all genres.  Like Salonen she is Finnish by birth but has taken her rightful place as an internationally renowned composer.

The performances are virtuosic and deeply felt. The complex range of sounds evoked are rich and stunning.  Highly recommended”

American Neoromantics: Higdon, Barber, and Harlin


higdonrapture

Two contemporary world premieres paired with Samuel Barber’s masterful First Symphony make this disc a delicious sampling of neoromanticism in American music.

The standout here, and the main reason to buy this disc is the glorious Jennifer Higdon Harp Concerto (2017).  Higdon, the third woman to win a Pulitzer Prize (by my count) is clearly schooled in a wide variety of compositional techniques which she uses judiciously.  She is unabashedly a romantic but her sound is hardly retro.  She, like many well trained and talented composers, uses her many skills and techniques judiciously.  Nothing experimental here, just good writing for both orchestra and soloist.

Higdon’s concerto is cast in four movements and grabs the listener’s interest immediately.  Using her gift for writing melody and effective use of extended harmonies she crafts a truly great concerto for the instrument.  It is bright, playful, and engaging.  Her writing for the harp (and Kondonassis’ seemingly easy grasp of astounding virtuosity and lyricism) work well with the orchestral writing making a very satisfying listening experience.

The soloist, Yolanda Kondonassis, is a familiar name to fans of harp music.  Her many albums demonstrate a range of interests and skills that keep her name in the public eye/ear.  Her recording of the Ginastera concerto was reviewed previously on this blog here.  Listeners are advised to explore her web site for more exciting and listenable music.

The second piece, Samuel Barber‘s First Symphony Op. 9 (1936) is an acknowledged masterpiece of the mid-century American neoromantic tradition.  Barber’s music hearkened back to the romanticism of the late 19th century at a time that also saw the birth of a great deal of post-Schoenberg modernism.  Some of the similarities between Barber’s work and Higdon’s is doubtless the reason for the inclusion of this too little heard masterwork.  It is cast in one movement and makes wonderful use of a large orchestral palette.

This is followed by the second world premiere on the disc by one Patrick Harlin, a name unfamiliar to this reviewer but one with, apparently, a similar aesthetic and some serious skills as a composer/orchestrator.  Rapture (2016-7) certainly shares some of the sonic fingerprint of the previous two pieces and raises the specter of another talented composer emerging into the light of said American Rapture.

The Rochester Philharmonic Orchestra is clearly up to the task as is conductor, Ward Stare who is another rising star you’ll want to keep on your collector’s radar.  His grasp of conducting and insight into this music suggests he will continue to surprise and please audiences.

The recording on Cleveland based Azica records is well recorded and all the music supports repeated listenings where the attractive surface of the music gives way to more detail.  All in all a CD that fans of Jennifer Higdon, Yolanda Kondonassis, and American Romanticism will want to own.

 

Project W: The Chicago Sinfonietta Gloriously Features Women Composers (conductor too)


project w 365

Cedille CDR 90000 185

The attention paid to women composers remains much less than it should be but releases like this latest on Cedille features the Chicago Sinfonietta (Chicago’s second professional orchestra established in 1987 and sporting programs distinctly different from that of the Chicago Symphony) are incrementally correcting that error.  Here for your listening pleasure is a disc with five world premieres, all by female composers, and a world class orchestra conducted by a female conductor, Mei-Ann Chen.  (They also boast that on average the Sinfonietta is 47% women.  Is there an orchestra that can match that?).

florence-final

Florence Price 

With the exception of Florence Price (1887-1953) all are living composers on this release.  The others (who were commissioned by the Sinfonietta to write these pieces) include Clarice Assad (1978- ), Jessie Montgomery (1981- ), Reena Esmail (1983- ), and Jennifer Higdon (1962- ).  Montgomery and Esmail are new names to this reviewer.  Assad and Higdon are generally well known and very accomplished.  Higdon is the second woman to receive a Pulitzer Prize in music (the first was Ellen Taafe Zwilich) and Florence Price is enjoying something of a posthumous revival with recent recordings of several of her larger works and the recent discovery of some of her scores long thought lost.

This disc is pretty much representative of Cedille’s mission to record new music and a selection of older music featuring largely Chicago musicians.  This label has done great service in promoting the music of women and other minority groups and has exposed the record buying/listening public to musical gems that otherwise would languish in that minority wasteland of music which remains unperformed due to sociopolitical rather than aesthetic reasons.

m chen

Mei-Ann Chen

This is one of their finest releases.  It is a nice survey of 20/21st century women composers (just a small sampling but an intelligent one) from the early twentieth century to the present.  The works are given definitive readings by a fine ensemble and a clearly accomplished insightful conductor.

pfreeman

The late great Paul Freeman (from Chicago Symphony web site)

The disc opens with music which serves both the theme of presenting women composers and the desire to do honor to the Chicago Sinfonietta’s founding conductor, the late Dr. Paul Freeman.  His advocacy of the music of black composers began with the groundbreaking Columbia release (now Sony) of music by black composers and continued the series on Cedille (African Heritage Symphonic Series: CDR 90000 055, CDR 90000 061, CDR 90000 066 followed by the Coleridge Taylor-Perkinson disc CDR 90000 087).  The disc opens with a set of piano pieces by Ms. Price (Dances in the Canebreaks, 1952) which were orchestrated by no less than the dean of Black American composers, William Grant Still.  These three friendly, light hearted dances will remind listeners of the sort of fare that characterized the jazz inflected classical idioms of the time, a tradition which also gave birth to Rhapsody in Blue.

ClariceAssad_AP2_9091_web

Clarice Assad (from composer’s web site)

Next up is Sin Fronteras (2017) by the Brazilian-American composer Clarice Assad.  She comes from the well known musical family which includes her father, guitarist and composer Sergio Assad.  Her work has a tinge of Aaron Copland and works well as a follow up to the opening track.  She, like Still, seems to have an impressive command of the orchestra which she handles with tremendous skill in this overall light hearted piece.

jessie m

Jessie Montgomery (from the composer’s web site)

 

Jessie Montgomery (1981- ) is a new name to this reviewer but a look at her well organized web page reveals an astoundingly accomplished young musician.  Her Coincident Dreams (2017) follows in the American traditions of including folk music in her compositions.  Here her material includes non-American folk musics blended into a lucid listenable score that marks her as a musician worth watching.

As with Assad we hear a composer who is comfortable with the sprawling pallet of the modern orchestra where she manages to make the best use of her materials in an entertaining orchestral work.

esmail

Reena Esmail (from composer’s web site)

 

 

Reena Esmail (1983- ) is another name new to this reviewer.  She is the only artist here to have two works on this CD.  The first is a traditional Hindustani piece called Charukeshi Bandish in which she sings the vocal part.  Like many of the composers here she draws on her own cultural heritage and has managed to incorporate these traditions into her more (western) classically oriented works.  In fact she does so in the next track with #metoo (2017), a piece in which she expresses both solidarity and rage at the mistreatment of women worldwide.  Here’s some uncomfortable activism for the concert hall whose time is certainly due.

nytphotohigdon

Jennifer Higdon (NYT photo) 

The disc concludes with perhaps the best known living American woman composer, Jennifer Higdon.  In addition to being a recipient of the Pulitzer Prize in music, Higdon is a prolific composer whose work has been heard in concert and opera houses world wide.  Her post-romantic style has made her work popular in concert halls and the depth of her musical invention continues to amaze.  Her five movement “Dance Card” (2017) harkens back to the lighthearted dance music which opened this recording.  But it is tinged with a depth of emotion which reflects not only her personal vision but her solidarity with women world wide, people who would not need a special feature release but for their gender and racial differences which have marginalized them historically.  This release goes a long way to shifting that trend. It’s a gorgeous record.