Norgard Symphonies Nordic Masterworks

Pers Norgard: Symphonies Nos. 1 & 8
Vienna Philharmonic Orchestra
Sakari Oramo, conductor
Dacapo SACD

Sakari Oramo has paired Pers Nørgard's first symphony (1953) and his most recent symphony (2011) together, creating an interesting study in contrasts. To my ears, there's a certain Nordic quality to both works. Although the 8th is more dissonant and not as tonal in structure, neither work falls neatly into the post-romantic or atonal categories. Like Sibelius, Norgard has charted his own path and created his own musical language that draws somewhat from both camps.

Nørgard greatly admired Sibelius. He corresponded with the older composer, shared some scores with him, and dedicated his first quintet to Sibelius (with permission). The Symphony No. 1 suggests that Nørgard is indeed one of the heirs of Sibelius' ascetic.

The work has an icy coolness to it, mostly due to Nørgard's orchestration. His string writing, particularly, seems to favor the treble, giving it somewhat of an edge. The subtitle, "Sinfonia Austera," puts the listener on notice, and Nørgard indeed delivers an austere work that nonetheless is quite moving in parts (particularly the slow movement).

Nørgard's 8th Symphony is the work of a mature composer thoroughly in command of his materials. Like the first, it doesn't necessarily fit into the current compositional schools. Instead, Norgard constructs his own sonic world that sounds contemporary without being trendy. The glittering chromaticism and unusual instrumentation make it a work both in and out of its time. If you purchase the SACD of this release, be sure to play it through an SACD player -- the greater detail I heard made a significant difference in the impact this symphony had on me.

Pers Nørgard is well-regarded throughout Scandinavia. Perhaps this recording will help spread his reputation even further.

Gergiev and LSO shine with Szymanowski symphonies

Szymanowski: Symphonies Nos.1 & 2
London Symphony Orchestra
Valery Gergiev, conductor
SACD Recording
LSO

Symphony No. 1 was composed when Szymanowski was only 24, and he seemed to have considered it a youthful indiscretion. Yes, parts sound derivative of Richard Strauss' tone poems, and the structure isn't very tight in places.

But the symphony's a work with a lush, romantic sound and that's the work's strength. Gergiev understands that and presents the work with unbridled enthusiasm. These may be the exaggerated passions of youth, but they're genuine -- and in this recording, they're taken seriously.

In some ways, Szymanowski's second symphony No. 2 is proto-concerto, with solo violin playing off the orchestra. The influences of Richard Strauss and Max Reger are evident; the former in the first movement, the latter in the intricate second movement's fugue. Gergiev shapes the music to make these relationships more apparent.

Szymanowski at 27 was a much more confident composer than he was three years earlier, and Gregiev artfully articulates the structure of the music -- especially in the theme, variations, and fugue of the second movement.

I strongly recommend the SACD version if you have an SACD player. Although a live recording, the performances by the London Symphony Orchestra are immaculate. Subtle details of the sound of the instruments and the acoustics of the hall really make the music come alive. An excellent addition to LSO's self-released catalog.

Wolf-Ferrari Wind Concertinos: Light and Delightful

Wolf-Ferarri: Wind Concertos for Oboe, Cor Anglais, Bassoon
Andrea Tenaglia, oboe
William Moriconi, cor angalis
Giuseppe Ciabocchi, bassoon
Orcestra Sinfonic di Roman Franchesco La Vecchia, conductor
Naxos

Ermanno Wolf-Ferrari is best known for his operas, particularly his comic operas. The same vein of light-hearted music with appealing, lyrical melodies run through this collection of his wind concertinos. The three works -- Idillio-concertino in A for oboe; Concertino in A-flat for Cor angles and Suite-concertino in F for bassoon -- feature a solo wind instrument backed by a small string orchestra. And all three share have the feeling of airiness and transparency.

Wolf-Ferrari composed these works between 1932 and 1947, but there's no trace of German dodecophonic ideology here! Instead, Wolf-Ferrari music firmly rooted in neo-classical tradition without a whiff of 20th century angst or atonality.

The melodies given to the solo instruments are quite vocal in nature; not surprising, perhaps coming from an opera composer. The oboe, cor anglais, and bassoon are instruments that can use breath to articulate phrasing just like a singer. Like an opera singer, each instrument lingers lovingly over long notes, letting the sheer beauty of the sound carry the music. And for the particularly warm sound of the cor anglais and bassoon, those are welcome pauses, indeed.

Great music? Perhaps not. Great listening experience? Absolutely. This is accessible, good-natured music that can easily brighten one's day. I know it brightened mine.

Dussek Symphonies: Comfort Music

Dussek: Four Symphonies 
Helsinki Baroque Orchestra
Aapo Hakkinen, conductor
Naxos

Naxos' new release presents four smphonies of Franz Xaver Dussek, who was a close friend of Mozart. After hearing the works, that fact didn't surprise me. There's a distinct similarity in sound.

Dussek was one of several talented composers living and working in Bohemia in the 1760s-1770s,, and his music is very much of its time and place. Just like the early and middle symphonies of Haydn and Mozart, Dussek's are all in clearly delineated forms. And Dussek's melodies similarly drive steadily towards their cadence points, pause briefly, and start the process over again.

That's not to say these symphonies sound trite -- far from it. Dussek captures that same spirit of excitement one hears in Mozart's works of 1770's (when the symphonies on this release were written). Orchestration is light, and the music zips along, more concerned about elegant turns of phrase than expressing deep emotion. While Dussek follows the forms of the day, he does so with imagination. There's nothing cliche about these works, just a feeling of familiarity.

Three of the symphonies follow the three-movement fast-slow-fast structure of the early classical period. They're short, to the point, and entertaining. The last work on the disc, the Sinfonia in B-flat major (altner Bb3), is more substantial. It has four movements, and sounds more like Haydn than Mozart. The themes are a little more substantial, and more fully developed.

Aapo Hakkinen and the Helsinki Baroque Orchestra find just the right balance with this music. The ensemble is crisp, and plays with a lightness that keeps these works buoyant.

I found these symphonies thorough enjoyable. Comfort food isn't gourmet dining, but it makes you feel good when you eat it. Dussek isn't Mozart, but his music made me feel good when I heard it. So let's just call these symphonies comfort music -- and call this a positive review.

Holmboe Chamber Symphonies -- Miniature Gems

Vagn Holmboe: Chamber Symphonies
Lapland Chamber Orchestra 
John Storgards, conductor 
Dacapo SACD 

I wasn’t that familiar with Vagn Holmboe’s music before I received this collection of his chamber symphonies. But after listening to them for a while, I would definitely like to explore the repertoire of this Danish composer further.

Written in 1951, the first of Holmboe’s three chamber symphonies shows a composer in full command of his material. 1 somewhat spare and lean at the beginning, building inexorably as it moves towards its big climax at near the end of the work, before finishing quietly with a reappearance of material from the opening movement.

The second chamber symphony is subtitled “Elegy.” Overall it’s a quiet, atmospheric work. Holmboe makes effective use of mallet percussion instruments, especially the vibraphone, which brings a hint of unearthliness to the mix. Holmboe was a conservative composer, using a primarily tonal language, but the somber harmonies and downward-turning chromatic melodic motifs almost sound atonal.

Holbmoe’s third chamber symphony, “Frise” is actually an orchestration of a choral work of the same name. Both were written to commemorate the unveiling a new frieze at a school. Although technically an occasional work, it’s much more substantial than just a “grand opening” fanfare. Holmboe digs deep into the ensemble, bringing instruments to the fore in groups of two and three to spotlight a melody. It’s a kaleidoscope of instrumental timbres changing in slow motion. The work has six movements, which, with a playing time of about 20 minutes, gives it a somewhat episodic quality and sounding very different in character than the first two works on the disc.

John Storgards leads the Lapland Chamber Orchestra in a compelling reading of these works. The performances sound fresh and engaging – even more so when played on an SACD player.

Here the Cliffs: the Orchestral Music of Hilary Tann

Here the Cliffs: Orchestral Music of Hilary Tann
Slovak Radio Symphony Orchestra
Kirk Trevor, conductor
North South

Very lyrical, yet highly individual music -- that's my impression of the compositions on this new recording. Hilary Tann’s works remind me somewhat of Alan Hovhaness’. Not in terms of melody or harmony, but rather in organization. The pieces move along from point to point driven by their own internal logic. Sometimes the underlying form isn’t readily apparent, but that doesn’t matter –- somehow it all works.

From Afar has some large gestures in it, and the orchestral sound ebbs and flows like the sea. The Cliffs is a work for violin and orchestra, that's really a concerto, but more of a rhapsody. The solo violin remains in the forefront throughout most of the work, playing angular melodies that the orchestra then comments on.

A short and attractive work. The Feather to the Mountain sounds the most to my ears like Hovhaness. The wide-open theme (the feather, I suppose) is supported by long, static chords and big chordal clusters, both suggesting the massiveness of the mountain. It makes for an interesting study in contrasts.

 Integrating an alto saxophone into an orchestra can be a challenge. In The First Spinning Place, for alto sax and orchestra, Hann partially solves the problem by making the alto a solo instrument. But she also effectively brings it into the orchestra by coupling it with unusual instruments – such as a marimba. That provides a surprisingly effective blend. The fluidity of the solo line is perfectly suited to the alto sax, and I suspect this may soon enter the solo saxophonists’ repertoire (if it doesn’t, it should).

Max Lifchitz has done an amazing job with his North/South Recordings label. For years it has championed contemporary music that’s not quite avant-garde, but still innovative enough to deserve a hearing. This new recording of Hillary Tann’s orchestral music is another outstanding addition to the North/South catalog.

Krenek Complete Symphonies: Outstanding Overview

Krenek: Complete Symphonies
NDR Radiophilharmonie
Takao Ukgaya, Alun Francis, conductors
CPO

It took a while but CPO finally issued the last installment of their cycle Ernst Krenek symphonies. Krenek is best known for his Weill-like opera Johnny Spielt Auf, a product of the Weimar years. It’s not really a fair representation of Krenek’s style.

He was much more interested in the atonal compositions of Schoenberg and Webern, and that interest is reflected in his orchestral compositions. The first symphony (1921) is neo-romantic, reflecting the influence of his teacher, Franz Schreker. But even in this work, the harmonies have a slight edge to them, and it’s easy to hear where Krenek wants to go.

The second symphony (1922) is more aggressively atonal, but there are still lyrical post-romantic elements there that keep the work sounding a little more conservative than Weber. The third symphony (also written in 1922) has Krenek coming into his own as a composer, and even though it could be classified as atonal, there’s a compelling logic behind the work that makes it more than just an academic exercise. The harmonies, though dissonant, are expressive, and the symphony’s charged with energy.

The fourth and fifth symphonies have no elements of the early Krenek’s style. And yet, while they encompass the most modern aesthetic of the day, they have a surface organization and coherence that isn’t as readily apparent in other atonal composers of the 1950’s.

All in all, these five symphonies are an exciting body of work. Each composition has its own character. Although Krenek kept pace with the avant garde, each work is unmistakably in Krenek’s compositional voice, providing a continuity across the set.

An additional treat are the fillers – the Concerto Grosso No. 2 and Potpourri show a more relaxed and more lyrical side to the composer. Krenek chose to write atonal music, but these works show he had the skill to be melodic when he wanted to. A fine set that should do much to raise Krenek’s profile.

Non-dogmatic American music from do.gma

American Stringbook
do.gma Chamber Orchestra
Berthold Records

For their sophomore album, the do.gma chamber orchestra stretches their repertory wings a bit, and come up with an interesting and artistically strong release. American Stringbook features 20th Century chamber orchestra works that, if not quite standard repertoire, certainly should be.

It's one thing for Americans to try to persuade the classical world to pay attention to American composers -- for a European ensemble to take up the cause is refreshing, indeed.

In the liner notes, concertmaster and artistic director Mikhail Gurewitsch writes;

We  dedicate our new production to the rise and development of the American Classical movement. We focus not just on famous composers such as Samuel Barber, but also on the composition of less well-known master,s whom we wish to introduce to a wider audience.

Those lesser-know composers include Arthur Foote, David Diamond, and William Schuman.

The do.gma chamber orchestra performs these works with authority and conviction. Arthur Foote's late-romantic Suite in E is particularly effective -- perhaps because the ensemble seems to have an affinity for the style (their first release was all-Tchaikovsky).

The mid-century works of William Schuman (Symphony No. 5) and David Diamond (Rounds for String Orchestra) also fare well. Diamond's work is, as the name suggests, a series of rounds, and the ensemble brings out every nuance of the independent lines as they interweave.

Samuel Barber's Serenade for String Orchestra is beautifully performed. The orchestra lingers lovingly over the rich  harmonies and evocative melodic turns of the piece.

The least successful work on the album is, surprisingly, the most famous. Barber's Adagio for Strings gets a sedate reading here. For some reason, the upper registers of the strings sounded a little harsh, and the emotive qualities of the rising melodic lines seems to have been dialed back a bit too much.

Still, all in all, American Stringbook is an impressive release. The quality of the music chosen and the overall performance of the do.gma chamber orchestra make a powerful combination. American Stringbook is an excellent introduction to American classical music.

Riisager Symphonic Music: An Unsung Composer Gets a Hearing

Knudage Riisager 
The Symphonic Edition, Vol. 1 
Aarhus Symphony Orchestra
Bo Holten, conductor 
Dacapo 

I have to admit I had never heard of Knudage Riisager before I received this CD (let alone any of his music). But after listening to this outstanding recording, I want to hear more.

Riisager is now recognized as one of Denmark’s greatest composers, although during his lifetime his music was received indifferently, forcing him to support himself in other ways. Riisager studied in Paris in the early 1920’s and was deeply influenced by the cadre of composers there. In this first volume of Riisager’s symphonic works, it’s easy to hear those influences.

Riisager’s orchestral music is written in a lush, post-romantic style, but no matter how many instruments are playing, it always sounds clean and transparent. That Ravel-like elegance is often offset by wry, humorous gestures that one might find in early Stravinsky or Prokofiev. The end result is a music that shows its influences, but remains absolutely unique.

This first volume presents Riisager’s first symphony and four symphonic tone poems. The tone poems, “Danish Pictures 1-4” reference various aspects of Danish life and culture. Structurally, they remind me a little of Richard Strauss’ tone poems. Collectively, the four Danish Pictures show a lot of imagination, both in terms of melodic invention and orchestration.

 Riisager’s first symphony is pleasant work of somewhat modest ambitions, but it succeeds completely in its intent. The structure is well-defined, and the music just sort of ambles along from one major theme to another. And what themes! They’re all very attractive, practically inviting the listener to hum along. The Aarhus Symphony Orchestra plays these works with confidence and precision. Conductor Bo Holten is a composer as well, which may be why the works on this album coalesce so beautifully. The performers believe in this music, and that attitude is infectious.

I'll be revisiting this recording often.

Contemporary classics from Cincinnati

American Portraits
Cincinnati Symphony Orchestra  
Paavo Jarvi, conductor  
CSO Media

The Cincinnati Symphony Orchestra used to be one of the crown jewels of the Telarc label -- back in the day. Now they join an increasing number of orchestras who are self-releasing their material. And like their former label mates the Atlanta Symphony Orchestra, they're starting off with a strong release of interesting and compelling repertoire.

American Portraits showcases works by living (and relatively young) American composers. Several of these pieces received their premier with the CSO. All are well-crafted compositions that bear up to repeated listening.

Charles Coleman has two works on the album. "Streetscape" opens the program. It's reminiscent of Bernstein's "West Side Story" overture, but with a higher level of energy. "Deep Woods" is a very different piece. It opens in a frantic and disjointed manner that, ( to me anyway) conveys a feeling of unease and disorientation of being lost in the woods.

Jennifer Higdon's "Fanfare Ritmico" wasn't premiered by the CSO, but they turn in a rousing performance nevertheless. This is short, festive occasional work that, as the tile suggest, has a good beat. The fun continues with "Slalom" by Carter Pann. It starts out with a quick quote from Beethoven, then makes a light-hearted run through the orchestra at break-neck speed. Slalom, indeed!

"Halcyon Sun" is an amazing example of orchestral mastery. Jonathan Bailey Holland creates a work that shimmers as light through a prism. The last work, "Network," by Kevin Puts is a short, good-natured composition that ends the program on a high note. American Portraits is impeccably recorded. Even though these are live performances the sound has a good amount of detail, and the audience (with one exception) unusually quiet.

Paavo Jarvi conducts with authority and conviction, making the case for all of these works by leading the orchestra in lively and energetic performances.American Portraits makes the case that music in this country is not just alive, but full of life as well. Highly recommended.

You can hear selections from this CD on WTJU -- we'll be airing them over the next month or so. Keep listening!