WILHELM PETERSON-BERGER (1867-1942): Symphony No. 4 (1st movement); Suite No. 1, fr "The Flowers of Frösö" ("Summer Song" "Congratulation")
Norrköping Sym Orch/Michail Jurowski, cond
Cpo CD-999.669 (www.naxosusa.com)
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An admitted culture-vulture, Peterson-Berger left bourgeois Sweden for study in Germany, but returned to Stockholm to be the music critic in the major local paper, from which position he told-it-like-he-saw-it - which basically meant that he didn't make too many friends. Not surprisingly, his own music was not always applauded, but mostly because it sometimes did not live up to his own lofty standards. But why not relax, everybody, and appreciate the fragrance of nature and the friendly portraits here of the Swedish folk. Both Symphony #4 and the orchestrated suite of "Flowers" delights for decided lack of pretention towards high culture. Not particularly profound, but totally enjoyable. Lovely recording, too.
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RALPH VAUGHAN WILLIAMS (1872-1958): Symphony #9 (1st movement)
London Philharmonic/Bernard Haitink, cond
EMI Classics CD-57086 (www.emiclassics.com)
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Like Peterson-Berger, Vaughan Williams was fascinated by the folk music of his homeland, but not to the detriment of the evolution of his own, powerful and profound voice. And he did not let old age slow him down. His last symphony (#9) was completed and premiered in his own last year, when he was 86, still a vibrant visionary. Rich and passionate in every measure, and fully rewarding. Coupled with the more classical #8. Supremely satisfying.
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BELA BARTOK (1881-1945): Piano Sonata (1924) (1st movement)
Jeffrey Jacob, piano
Centaur CD-2494 (www.centaurrecords.com)
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I love Bartok, and particularly this Sonata, which I discovered as a curious high-school-aged record collector years ago. The piece deserves better than it gets here, however. While Jacob's playing is sufficiently precise and engaged by the earthy folk-inspired rhythms and (quite advanced) harmonies, he seems to lack the stamina and gusto to really make the score sing. But I wanted to play a bit anyway, because it's a masterful composition by a genius composer.
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MAX REGER (1873-1916): Clarinet Quintet in A, Op. 146 (1st movement)
Wenzel Fuchs, cl; Philharmonia Quartet of Berlin
Naxos CD-8.554510 (www.naxosusa.com)
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This brooding, lyric, autumnal work was Reger's last completed composition before life gave out at age 43. It could be argued that he had done in those four-plus decades the equivalent of artistic work that a 'normal' composer would have required 86 years to do (which, interestingly, was the age to which Vaughan Williams, above, lived). I have a soft spot for Reger (because of his friendliness to the pipe organ), but particularly enjoy his chamber music - and specifically this piece which goes just a step beyond Brahms into unsettled territory. Yet even Reger's trademark wanderingly chromatic harmonies lead to the most blissful, thoughtful cadences. Well rendered by these otherwise unknown players.
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REGER: Sacred Songs ("Ehre sei Gott in der Höhe)
Klaus Mertens, bass-baritone; Martin Haselböck (1905 Sauer/Stadthalle Görlitz)
NCA CD-60101.215 (www.timcompany.com)
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Unpretentious, poetic, quietly passionate, these song settings reveal the essence of their various texts. This one is a prayer, earnest and heartfelt, for peace on earth - which the music delivers and celebrates.
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"Time Signals" (Recorder Music from the Netherlands)
CHRISTIAN HOLLANDER (1510-1569): Ave Maria
WILL EISMA (b. 1929): Malva (1994)
Loeki Stardust Quartet Amsterdam
NM Classics CD-92100 (www.qualiton.com)
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Recorders seem to provide a natural 'voice' to the transcribed Renaissance choral works here, though you may prefer to listen to only a few at a time. Superb as these players are, the chaste tone of the recorder ensemble does tend to wear over time. But the real fun comes with the few contemporary works, filled with unexpected jestures. Specialist listening, perhaps, but the best of its kind.
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"Osiris Trio & Guests" (Contemporary Dutch Chamber Music)
MAARTEN VAN NORDEN (b. 1955): "Bring in da Fonk" (1997)
Osiris Trio
NM Classics CD-92108 (www.qualiton.com)
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Not quite certain in which stylistic direction it's heading, this 'fonky' piece cross-dresses Beethoven and be-bop, to entertaining effect. The ensemble is typical of the Dutch - top-class. Curious, if not memorable repertoire - but you've got to listen to music of our time, friend, to be truly alive.
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J. S. BACH (1685-1750): Toccata in C, S. 564
Martin Haselböck, organ (Augustinerkirche, Vienna)
Novalis CD-150024 (www.qualiton.com)
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Haselböck is one of the finest organist/harpsichordists active today. Though he increasingly specializes in conducting (Mozart operas are a specialty, with period instruments; also exploring the grand church music of his 17th century Austrian countryman Kerll), he has not lost his beguiling way at the keyboards. This all-Bach album (both music and playing) sounds eternally fresh. Super.
NOTE: Haselböck plays in Minnesota - solo recital, and with the Saint Paul Chamber Orchestra - the week of May 14. Read more at Pipedreams Calendar.
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WILLIAM BOLCOM (b. 1938): Cabaret Songs ("Satisfaction", "Lady Luck", "Blue")
Joan Morris, ms; William Bolcom, piano
BOLCOM: "Let Evening Come"
Benita Valente, s; Michael Tree, vla; Cynthia Raim, piano
Centaur CD-2464 (www.centaurrecords.com)
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Pulitzer Prize-winner Bolcom is a man of man styles. The 'cabaret songs', on wry texts by Arnold Weinstein, offer down-to-earth commentary on topics various - while "Let Evening Come" uplifts us with touching gentleness. Its story: Valente wanted to commission a piece for herself and friend Tatyana Troyanos. Bolcom was overbooked, and time passed. Troyanos died, unexpectedly, and the commission seemed dead, too. But Valente wanted something as a memorial, so Bolcom created a spirit-duet, with the viola taking the place Troyanos would have filled. Of course, an entirely different music evolved, tinged by the sadness of departure - and the poems of Maya Angelou, Emily Dickinson, and Jane Kenyon (who was herself dying when she wrote the lines from which the whole work and its last song take their names), powerful enough on their own, glow with an ntense blend of sorrow and acceptance. The album is worth owning for "Let Evening Come" alone. This is what friendship is all about.
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LUIGI BOCCHERINI (1743-1805): Quintet in C, Op. 25, no. 4 (1st movement)
Europa Galante (period instruments)
Virgin Veritas VC-45421 (www.virginclassics.com)
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We ignore Boccherini at the risk of missing out on some exceptionally imaginative stuff. Writing for a Spanish prince who loved music and supported a resident string-quartet family, Boccherini was encouraged to challenge and entertain. The Quintets are his masterpieces, different from the quartets of Haydn and Beethoven (he WAS Italian, after all, working in Spain), but each movement offers a fresh approach to string writing. Fabio Biondi leads the ensemble with a marvelous sense of discovery - regal fare. Do not pass this by.
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