Fatu Duo: Unusual and Beautiful Romantic Gems for Violin and Piano


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No, this is not your typical violin and piano recital disc.  At first hearing it conjured memories (seen on television) of Jascha Heifetz performing his unique selection of virtuosic and popular short works for violin and piano.  The spirit here is essentially the same but the choice of repertoire distinguishes this recording.  Its name “Treasures from home”.  Here they present a very personal selection of music from their Russian and Romanian backgrounds much as Heifetz chose his repertoire.

There are 13 tracks by 13 composers and I seriously doubt you will duplicate anything you may have currently in your collection.  This album is, in a way, an updating of one of those Heifetz recitals in spirit.  Here the focus is on music mostly from the ancestral lands of the performers which includes Russia, Romania, and related regions.  However it is important to view these choices as musical interests, not a nationalist statements.

Mention needs to be made of the intelligent choices made.  We get and Ave Maria but not Schubert’s or Bach/Gounod, we get one by Astor Piazzola.  The too seldom heard Meditation from Thais gets a gorgeous reading.  The Fritz Kreisler piece speaks to a violinist perhaps a half generation older than Heifetz whose tradition inspired Heifetz.  All in all a thoughtful but ultimately enjoyable selection.  This is virtually a calling card for some musicians who are worth watching.

My only complaint here is, perhaps, a minor one.  There are few notes and nothing on the background of any of the composers.  Rather than try to correct this I will simply provide a list of the compositions recorded.  They do stand well on their own as compositions but listeners like your reviewer here thirst for more.  Anyway here is the list:

Jo Knümann: Rumanisch

Bela Kovacs: Sholom Alekhem Rov Friedman

John Williams: Schindler’s List Theme

Isidore Burdin/F. Dobrinescu: Hora Primaverii

Grigoras Dinicu: Hora Martisorului

Jules Massenet: Meditation from Thais

Matthew Jackfert: Hootenanny

Grigoras Dinicu: Ciocarlia

Antonio Bazzini: The Dance of the Goblins

Astor Piazzola: Ave Maria

Fritz Kreisler: Miniature Viennese March

Myroslav Skoric: Melodya

Vittorio Monti: Csardas

Williams, Kreisler, Massenet, and Piazzola are familiar names to this writer.  The rest I shall leave to the curious listener to learn more.  The end result, though, is a thoroughly enjoyable recital played with love and  passion.  It would be a nice addition to any collection of violin and piano chamber music.

 

 

From the Simpsons to the Concert Hall,Classical Gems by Danny Elfman


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Danny Elfman (1953-) has had a varied and successful musical career working in diverse areas.  From his days as lead singer and songwriter for Oingo Boingo, he has cultivated his love of film music into a successful career having scored numerous films and television shows.

Now a great divide seems to exist between composers who score films and composers who compose for the concert hall.  Few have demonstrated the ability to be successful in both arenas.  Erich Wolfgang Korngold is a notable exception as is Aaron Copland.  Both men have succeeded rather famously in both film and classical concert hall music.  In fact John Williams, though known primarily as a film and television composer has written quite a bit for the concert hall as well.

Now here comes Danny Elfman, known best perhaps as the composer of the Simpsons them for the long running animated series.  He has gotten the bug to write for the concert hall and this recording presents two major works.  The first is his violin concerto “11/11)(2017) with soloist Sandy Cameron.  You can read the liner notes about the composer’s obsession with the number 11 or you can relax and enjoy a genuine violin concerto, not a reworking of themes as one might expect from a lesser composer.  The second is a nice addition to the chamber music repertoire, a piano quartet (2017).

The concerto is played by the wonderful Royal Scottish National Orchestra under the direction of the esteemed John Mauceri.  Sandy Cameron is the soloist who handles the concertos four movements flawlessly and does justice to Elfman’s work.  It’s really a beautiful piece.  Only time will tell the work’s eventual place in history but we can certainly enjoy it for what it is, a good and entertaining violin concerto.

The Piano Quartet is played by the Philharmonic Piano Quartet Berlin which consists of Andreas Buschatz, violin ; Matthew Hunter, viola; Knut Weber, cello; and Marcus Groh, piano.  This five movement work would happily grace any chamber music recital.  It is in turn pithy, melodic, humorous, and serious.

This is stronger music than this reviewer had imagined would come from this composer’s pen.  I can’t say, “If you like his film scores you’ll like his music” but there are, perhaps inevitably, snippets of his film music style which work actually quite well.

Heavenly Violin and Piano Music by Giya Kancheli


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For this reviewer, my relationship with the music of Giya Kancheli (1935- ) began with the symphonies (I think there’s seven now) with the character of some outrageous dynamic contrasts such that they spawned warning levels on the package containing the CD.  It was only after that, when ECM began to release the “holy minimalist” type works, that I first heard those.

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Frederic Bednarz

 

Now comes Canadian violinist Frederic Bednarz  who, along with pianist Natsuki Hiratsuka and bandoneon player Jonathan Goldman have recorded some incredibly lovely chamber music which has not been previously released or widely distributed.  

 

Well its hard to say why these have not been widely heard because they are just beautiful.  These are miniatures, all clock in at less than 4 minutes but all have a certain charm that relies neither on the dynamic range or the “holy minimalist” meme.  These are simply delightful neo-romantic pieces that could not fail to charm a recital audience.

Bednarz clearly knows and loves these little gems.  His playing is both sincere and, I think, definitive.  In this album he shows this lesser known aspect of the composer’s work.  Certainly there have been releases of Kancheli’s chamber orchestra pieces and a string quartet but this is the first recording this reviewer has heard of the violin and piano (and bandoneon) music.

Doubtless there are musical and musicological aspects to this music which escape the average listener (this one included) so no attempt will be made here to analyze these works.  Bednarz provides concise but useful liner notes in the gatefold cover to the CD.

Once again our neighbors to the north have scaled the metaphorical art barrier between our adjacent countries to bring this delightful music to light.  It is a welcome addition to the Kancheli discography and a delight in your CD player.  Whether as calm background or for intense listening this disc is a gem.

N.B. As of this writing the physical disc does not appear to be available from Amazon but it is available through the usual streaming services.  If you can get the physical disc it is worth it for the notes though.

 

 

Double, Double: Three Double Concertos


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Let me begin with a confession.  The Brahms Concerto for Violin, Cello and Orchestra is not my favorite Brahms concerto.  Think about it.  All his other concertos and certainly the symphonies get many live performances.  Not so with this double concerto.  Nonetheless it pretty much has served as THE model for this particular configuration of multiple soloist concerto.  That said we find ourselves confronted by this really delightful Sony release which effectively contains possibly the three finest examples of this genre (though it would be nice to include Lou Harrison’s double concerto).

The disc opens with a single movement concerto by the prolific German composer Wolfgang Rihm (1952- ).  This busy piece seems to be basically post-romantic in its harmonic language and more like a concerto grosso in terms of the more embedded solo materials.  It is a tour de force for both orchestra and soloists.  The classic three movement concerto format is abandoned in favor of one twenty minute allegro which contains a very large and interesting world of musical ideas.  Yes, there are some harsher sounding harmonies but this assertive music brings the listener along with its rush of ideas.

Next is the Brahms Concerto.  Now I am a Brahms fan and have tried to “get” this concerto for many years.  As beautiful as this performance is I still find the first movement way too long and ponderous.  The second movement is pleasant but not as memorable as I wish it were.  But if you make it through those two you are treated to a scherzo-like finale which is one of the finest things the composer wrote.

The disc concludes with another 21st century concerto.  This one is by the venerable John Harbison is an arresting and powerful piece.  Unlike the Rihm and even the Brahms Harbison relies upon a great deal of solo and duo material for the featured soloists with the orchestra participating when it is allowed.  This is a multiple movement piece with many moods.  It is a virtuosic venture for orchestra and soloists.

The performers in this recording, though not familiar names to this reviewer, are clearly world class performers who go fearlessly into new music and have mastered the old.  Jan Vogler is on cello and Mira Wang is on violin.  The orchestra is the Royal Scottish National Orchestra.  They are up to the seemingly considerable challenges under the guidance of Peter Oundjian.  And the recording is lucid and warm.

 

Jane Antonia Cornish, Post Modern Calm


At first listen I thought I might have put an Arvo Part album. The familiar calming sounds of what sounds like “holy minimalism” seemed to be coming at me. But who is this young British composer? Well, let me tell you, you need to pay attention to this one.

While the Arvo Part comparison is apt it only describes a small part of this composer’s range. She does seem to fit some sort of incarnation of “minimalist” by virtue of her use of repetition, silences, etc. At times her music leans sweetly toward the romantic but this is hardly light fare. The music evokes a sort of timelessness and calm but there are moments of tension and sadness as well.

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From the composer’s web site.

Jane Antonia Cornish (1975- ) is a British composer and, looking at her education and training she appears to come almost out of nowhere. Her music clearly draws on aspects of minimalism but her teachers are not the “usual suspects”. Like a lot of people from her generation she seems to draw on a rather comprehensive training in the ever expanding language of new music and uses what works for her. (Doubtless she is quite capable of writing thorny serial music should she find that useful to her expression.)  She currently lives and works in New York City.  Her web page can be found here.

Cornish is originally from London, England and she studied composition with Dr. Anthony Gilbert at the Royal Northern College of Music, and completed her master’s degree at the Royal College of Music. She is a recipient of the Edward Hecht Composition Prize, the RNCM Composition Prize and the Associated Board Prize for the Most Outstanding Scholar of the Year. Cornish was also made a Major Scholar of the RNCM.  She is also the recipient of a 2005 BAFTA award for her film and television work.

This emerging composer has been quite prolific.  The present album is her third and she has also done film scores.  Her style seems to be influenced by the post minimalist/holy minimalist school but with a touch of melancholy.  Of course it will be necessary to hear more of her work to get a good overall impression but that will be a labor of love.  This is really listenable.

This is chamber music, violin, cellos, piano but what a big and warm sound!  I liked this album immediately and subsequent listenings have failed to diminish my enthusiasm.  This is engaging and substantive music that has enough depth that allows the listener to get past the pretty surface to the complexities and subtleties that lie beneath the surface.

The musicians include: Sæunn Thorsteinsdóttir, Caitlin Sullivan, Claire Bryant, Hamilton Berry, cellos; Anna Elashvili, violin; Vicky Chow, piano.  All are fined dedicated musicians and they seem to be enjoying themselves here.  You would be doing yourself a favor to got to their respective web sites (linked from here) to see the breadth of these fine young musicians’ activities and interests.  

Thank you Innova for the wisdom of recording this composer’s works (Innova has also released her albums Continuum, and Silence).  And thank you for sharing your artistic talents Ms. Cornish.

 

Other Minds 24 Revives the Quartets of Ivan Wyschnegradsky in San Francisco


I admit to some trepidation as I proceeded to the beautiful War Memorial Opera House in downtown San Francisco.  While I had heard of this composer, Ivan Wyschnegradsky (1893-1979), it was only through one work which was contained on a disc with other microtonal works by John Cage and Harry Partch performed variously by Joshua Pierce, Dorothy Jonas, and Johnny Reinhard (among others).  And microtonal music can be tedious in some hands.

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This helpful sign in the elevator directed concert goers to the 4th floor recital room known as the Dianne and Tad Taube Atrium Theater

Adding to the sense of obscurity, the concert was in a small chamber music hall on the fourth floor.  Other events ran concurrently on this night.  The hall was nearly filled to its capacity of just under 300 people most of whom I would guess have never heard of this composer.  But they likely had heard of the Arditti Quartet and clearly put their trust in the amazing ear and mind of executive and artistic director Charles Amirkhanian to deliver a satisfying musical experience which he does most reliably.  This concert was no exception.

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The stage awaits the performers with that OM logo projected on the floor.

The Arditti Quartet was formed in 1974 and quickly became known as one of the finest interpreters of contemporary string quartet music.  Their repertoire is vast and they do not shy away from technical difficulty or other artistic challenges.  In fact they had recorded the Wyschnegradsky Quartets but, sadly, that recording is out of print.  Even more interesting is the fact that tonight’s performance constitutes U.S. premieres for all the works on this concert except for the Haas Quartet (included at the suggestion of Mr. Arditti to fill out the program).  Another astonishing fact shared by Amirkhanian is that this is the only time that the quartet has been asked to play this music in concert.  There are plans to release those recordings in the near future pending negotiations with record companies.

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Amirkhanian reminded the audience to silence those pesky cell phones.

Mention needs to be made of the talents of OM’s graphic designer (and stage manager among other duties), Mark Abramson.  His work on this and last year’s program booklets take things to a new level of excellence.  The program notes by Charles Amirkhanian, Randall Wong, and Blaine Todd are both lucid and comprehensive (a very necessary thing in dealing with new and obscure music).  And the photos of the composer and the performers along with some of the composer’s own art work make this another true collector’s item.  Previous programs were certainly well done but this is a step up.

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The Arditti Quartet

I chose to just listen and to read the notes later rather than get caught up in details.  Indeed that was a good choice.  Wyschnegradsky’s approach to the use of microtones seems more focused on the possibilities of extending melodic language than the harmonic and my understanding of complex harmony is admittedly limited anyway.  Of course the harmony is necessarily different than the western models of the 18th and 19th centuries but the music, at least in the hands of such talented interpreter’s such as the Arditti speaks rather directly to the listener.

The music was presented chronologically in order of the years these pieces were composed (String Quartet No.1, 1923-4, rev. 1953-4), (String Quartet No. 2, 1930-1), (String Quartet No. 3, 1945, rev. 1958-9), and (Composition for string quartet, 1960, rev. 1966-70) completed the first half of the program.  There was surprisingly little in the way of dissonance and the quartet played with a palpable intensity and concentration creating very convincing performances.

 

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Blaine Todd holds the OM bag (a Carol Law design) as Amirkhanian picks two raffle winners after intermission.

The second half began with Wyschnegradsky’s last composition, a String Trio (1978-9).  Incomplete at the time of his death the trio was revised completed by Claude Ballif.  Again what one hears is not what you might expect from microtonality.  The composer has realized a uniquely effective way to use microtones.  Hearing this survey makes the composer’s vision clear and places him in the company of such as Alois Hába (1893-1973), Harry Partch (1901-1974), and Ben Johnston (1926- ) to name a few.  

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The Arditti Quartet sans second violin Asot Sarkissjian on stage to play the Wyschnegradsky Trio

The revelation for this listener was hearing a good sampling of the composer’s vision and a creative way to use microtones unlike any other composer really.  And it became clear too why Charles chose to revive this unique voice in the musical world.  This is beautiful music.

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As mentioned earlier Mr. Arditti had remarked that the Wyschnegradsky Quartet and Trio music would not quite fill an evening and he suggested they play the Second String Quartet (of about 6 now I believe) by Austrian born composer Georg Friedrich Haas (1953- ).  It was the only work which was not a U.S. premiere.

Arditti’s ear for programming was finely as tuned as ever and this quartet provided a very satisfying finale to the evening filled with wonderful discoveries.  While this particular quartet uses some microtones the style is denser and more dissonant overall than the preceding music.  This is not to say that it was not entertaining, rather it is illustrative of the rich possibilities of microtonal composition.  The Arditti again shows itself to be at the forefront of the finest interpreters of the modern string quartet and clearly Haas is a name worth knowing as well.  Bravo!

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The musicians acknowledge the standing ovation and warm applause

Save the dates June 15 and 16 for the last two concerts in this year’s Other Minds 24 program.

Blue Violet Duo: American Souvenirs


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Blue Violet Records



This release actually makes a nice companion to the just recently reviewed Rachel Barton-Pine album. Both feature the classic chamber music combo of violin and piano and both bring life to American music that has languished for want of skilled and interested performers.  Let’s consider this release to be another selection in celebration of Women’s History Month.  Of course the only women here are the performers.  Alas no women made it into the mix this time.  But this is, after all, only their first release.
The Blue Violet Duo is just what is needed here.  These young artists make their recording debut with this fine selection of mid-twentieth to early twenty first century American music for violin and piano.  Included here are less familiar names such as Norman Dello Joio, Paul Schoenfeld, William Bolcom, and John Adams (if you know any names here you know this last one).  All are highly accomplished composers who work in basically a tonal language incorporating elements of blues and jazz.  Kate Carter plays violin and Louise Chan handles the keyboard in this interesting selection of lesser known but really entertaining and substantive music.  
The earliest work is the Variations and Capriccio (1948) by Norman Dello Joio (1913-2008). It sets the tone for this album of jazz influenced violin and piano music.  The two movements go through a variety of moods and demand a high level of virtuosity.
Next up is the wonderful Second Violin Sonata (1978) by William Bolcom (1938- ) who is known as much as a ragtime composer as well as classical.  His embrace of so called vernacular music is characteristic of much of his work. Carter and Chan appear to have a solid grasp of vernacular styles which they incorporate seamlessly as though they belonged (which, of course they do).John Adams (1947- ) is represented by his playful, Road Movies (1995). Adams’ take on pop and vernacular musical is somehow different and the listener will realize that one of the joys here is hearing the way in which these composers respond to their encounters with popular musics.  Adams also demands much of his musicians in terms of technical expertise but his music here always remains playful.
For the last selection Paul Schoenfeld (1947- ) was chosen and he is one that deserves more attention.  Like Adams he works as a classical composer who incorporates other styles into his work. Four Souvenirs (1990) makes a fitting finale to this collection.The real joy here is having such fine renditions of lesser known repertoire.  On hearing these pieces listeners will likely want to hear them again.  The hope is that these pieces will become more regularly performed.  The Blue Violet Duo has given this repertoire a boost in that direction.  Brava!