Graham Williams Reviews

GRANDISSIMA GRAVITA

GRANDISSIMA GRAVITA, Brecon Baroque, Rachel Podger/Challange Classics CCS SA 39217  Discerning collectors and lovers of the baroque violin in particular already know that every release from Rachel Podger and her accomplished colleagues in the period instrument group Brecon Baroque is always worth investigating. Podger’s combination of probing musical intelligence and joyous virtuosity makes each issue one to savour. This is especially true of her latest disc in which she performs sonatas by Vivaldi, Tartini, Veracini and Pisendel – four composers who were not only close contemporaries but are also linked by their indebtedness and admiration for the musical inventiveness and originality of Arcangelo Corelli. The disc opens with Vivaldi’s Sonata for violin and continuo in A major, Op.2 No. 2, one of the set of twelve sonatas written by the composer in 1709. This is a short but beguiling piece in which the contribution of members of Brecon Baroque – Daniele Caminiti (lute and guitar), Alison McGillivray (cello) and Marcin Świątkiewicz (harpsichord) – is as delightful and imaginative as that of the soloist. The “Grandissima Gravita” title for this disc is provided by the four minor key sonatas that follow.
Tartini’s Sonata in A minor Op.2 No.5 opens with a richly expressive ‘Andante Cantabile’ that allows the eloquence of Podger’s playing to hold the listener entranced throughout its eight minutes duration. The two well-contrasted sonatas by Veracini, in G minor and D minor respectively, are beautifully nuanced in the more reflective movements by these performers while there is plenty of rhythmic bounce in the more lively ones. The fourth sonata on this disc is by Johann Georg Pisendel the German violinist and composer who for many years led the Court Orchestra in Dresden. Pisendel was much admired by Vivaldi, Albinoni and Telemann all of whom dedicated violin concertos to him. The four-movement ‘Sonata for violin and harpsichord in C minor’ notable for the improvisatory nature of the opening ‘Adagio’ and the grave tranquillity of the ‘Affetuoso ‘ third movement, is given a typically engaging and fluent performance in which Podger is ably supported by Marcin Świątkiewicz and Alison McGillivray. Continue reading

Strauss & Mahler from Pentatone


  1. STRAUSS: ALSO SPRACH ZARATHUSTRA, MAHLER: TOTENFEIER, RSO Berlin, Vladimir Jurowski Pentatone PTC5186 597 SACD Those familiar with his work with the London Philharmonic Orchestra will know that Vladimir Jurowski is one of the most exciting and gifted conductors of his generation, so his new appointment as Chief Conductor and Artistic Director of the RSO Berlin is a cause for celebration. The possibility of a really outstanding performance and recording of Strauss’s ‘Also sprach Zarathustra’ in multi-channel sound from Pentatone was also an enticing prospect, but unfortunately my high expectations for this release were not met. The famous opening ‘Einleitung’ should be sonorous and immediately arresting, but here it makes little impact. The timpani sound boomy and cavernous while the Seifert organ – dubbed on from the St. Matthias Kirche, Berlin-Schöneberg – sounds unimpressive and decidedly lacking in weight in the lower frequencies. As the work proceeds Jurowski elicits some luscious string sounds from his fine orchestra and the fairly closely miked recording allows much detail in the orchestration to be heard. The fugal ‘Von der Wissenschaft’ section is especially clearly articulated by the double basses – not always the case, but again the lack of heft from the organ at the climax of this section is disappointing. ‘Das ‘Tanzlied’ benefits from the deft playing of concertmaster Rainer Walters and though at times Jurowski’s tempi seem a tad cautious, the build up to the final huge climax and the strokes of the midnight bell are impressively delivered. The concluding epilogue ‘Nachtwanderlied’ typifies Jurowski’s rather cerebral approach to this piece. ‘Also sprach Zarathustra’, though running continuously, has nine clearly defined sections, but Pentatone, in contrast to most of the available alternative versions on disc has unaccountably (and unhelpfully) allotted a single track to the whole work that lasts 32′ 53”. They did the same with their recent recording of Strauss’s ‘Ein Heldenleben’, another regrettable decision. Jurowski and his orchestra seem much more involved with their account of Mahler’s early symphonic poem ‘Totenfeier’ that the composer re-worked as the opening movement of his second symphony. Here the playing is fiercely committed and makes a good case for occasional outings of this example of Mahler’s first thoughts. “The Symphonic Prelude in C minor,” attributed here to Mahler is a student work from 1876 that sounds very like early Bruckner. There is no trace of the original score, but a preliminary sketch for it, apparently made by one of Mahler’s student friends, is preserved at the Austrian National Library. The task of orchestrating the Prelude was undertaken (at the request of Peter Ruzicka the artistic director of the Berlin Radio Symphony Orchestra) by Albrecht Gürsching, the Hamburg composer and musicologist and it was first performed in March1981 by this orchestra conducted by Lawrence Foster. Subsequent research, however, has thrown doubt as to whether this piece is actually by Mahler and Henri de La Grange, a leading authority on the composer, has wisely expressed the view that: “Until such time as new evidence comes to light, it seems extremely unwise to ascribe this piece to Mahler”. The current general consensus seems to be that if not by Bruckner himself it is probably by one of the Bruckner adherents among Mahler’s fellow students. This short brooding piece is, to be honest, pretty unremarkable, but Jurowski’s expansive performance does it more justice than that heard on Neeme Järvi’s 1992 account for Chandos. Pentatone’s DSD recording is to the usual high house standard and, while perhaps not their finest, does not disappoint.

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Brownridge’s Debussy & Other New Discs

DEBUSSY: PRÉLUDES BOOK 1 & BOOK 1; L’ISLE JOYEUSE, Angela Brownridge, piano/ Challenge Classics SACD CC72727  One of the greatest virtues of the SACD medium has been its notable faithfulness in reproducing the full range of the sound of the piano, often making early keyboard discs – particularly those in the predigital medium – sound (retrospectively) a touch on the constricted side. And if ever the complete spectrum of the piano was required by one composer’s music, it is in the masterpieces of Debussy. Recorded in truly authoritative performances by the talented Angela Brownridge, this disc represents the third release from the pianist on Challenge Classics. She presents here some of the cornerstones of Debussy’s creative output. Hailed as a major star in classical music, Brownridge has been compared with such pianists as the legendary Solomon, Rachmaninov, Cherkassky, and Bolet. This Debussy disc represents the apogee of her achievement.

SHOSTAKOVICH: THE GADFLY† Complete Original Score for the 1955 Film, Reconstructed by Mark Fitz-Gerald

THE COUNTERPLAN (excerpts) Bachchor Mainz • Deutsche Staatsphilharmonie Rheinland-Pfalz, Mark Fitz-Gerald/Naxos 8.573747 †WORLD PREMIÈRE RECORDING  Most Shostakovich admirers will be familiar with the suite from his film score The Gadfly, and like most film music by the composer – at least that which has been widely recorded – it’s music with an intriguing mix of styles but with an emphasis on lighter, more accessible compositional techniques. Finally, however, we have a chance to hear the entire score. Given the best possible advocacy by the Bachchor Mainz and the Deutsche Staatsphilharmonie Rheinland-Pfalz, under Mark Fitz-Gerald  Set in mid-nineteenth-century Italy during a turbulent period of pre-Unifi cation political unrest, The Gadfl y drew from Shostakovich one of his most popular film scores, heard hitherto on record only in the version arranged and re-orchestrated by Levon Atovmian. This recording presents the full, original score for the first time, as closely as possible to Shostakovich’s original conception. Reconstructed by Mark Fitz-Gerald from the original manuscript and the Russian film soundtrack, it calls for a large orchestra including church bells, an organ, two guitars and a mandolin, all excluded from the Atovmian suite. The excerpts from The Counterplan, which marked the fifteenth anniversary of the 1917 Revolution, include the infectious hit-tune The Song of the Counterplan.

ELGAR: FALSTAFF, ETC., Roderick Williams, BBC Philharmonic, Sir Andrew Davis/Chandos CHSA 5188 SACD  Given the amount of time that the surround sound medium has been with us, it’s hardly surprising that the bulk of the classic orchestral repertoire has found its way onto disc in this format, particularly the large-scale late 19th and early 20th century orchestral scores that clearly benefit so much from the extra dimensional sound. There have, however, been holdouts – strange omissions from the recorded repertoire — but they are gradually being filled. Take, for instance, Elgar’s masterpiece. Falstaff — which has now found its way onto disc and (one can say with some certainty) in a performance that does full justice to the composer’s orchestral mastery. Earlier readings by such conductors as Adrian Boult may have found a touch more nuance, but very few have the full-blooded swagger of this new reading. Sir Andrew Davis takes his multi-award-winning Elgar discography to the next level with this Falstaff, Elgar’s most accomplished and characteristic work, and several orchestral songs, with exemplary support from the BBC Philharmonic and Roderick Williams.

VAUGHAN WILLIAMS: A LONDON SYMPHONY & OTHER WORKS, BBC Symphony Orchestra, Martyn Brabbins/HYPERION CDA68190   If you’re confused by the variety of readings of Vaughan Williams’ ode to the metropolis, his great Second Symphony, in its various iterations, you are not alone. Many thought that the issue of which of the composer’s versions to listen to was solved with Richard Hickox’s groundbreaking interpretation of the piece which restored missing passages, but newer versions – such as this impressive performance – have muddied the waters further. Vaughan Williams’s London Symphony (the composer’s favourite of the nine) makes a rare appearance in its 1920 first publication. Three lesser-known works complete a highly desirable programme, while Martyn Brabbins and the BBC Symphony Orchestra understand how this music should be played like few others.

SCHUMANN:SYMPHONIES 1-4, San Francisco Symphony, Michael Tilson Thomas/SFS Media SACD  To say that the competition in recordings of the symphonies of Schumann is steep is to somewhat understate the case — recent performances have included the impressively detailed readings by Robin Ticciati. But it is hardly surprising that this set by Michael Tilson Thomas joins – at a stroke — the upper echelons of the pack. Recorded live at Davies Symphony Hall during the 2015-16 season, the album offers a nuanced approach that accentuates the lyrical and tender elements of the composer’s orchestral masterpieces. Released in a deluxe two-album hardbound SACD set, it includes an 88-page booklet with extended notes, photos, and an essay on performing Schumann by Michael Tilson Thomas. It is also available digitally for streaming and download in stereo, 5.1 surround, iTunes quality, and 24-bit/192kHz Studio Master.

BARTÓK: ORCHESTRAL WORKS, James Ehnes / Bergen Philharmonic Orchestra / Edward Gardner/Chandos CHSA 5189 SACD  The recordings of the conductor Edward Gardner are unquestionably among the jewels in the Chandos Records diadem, and his prolific series of discs for the label are showing a welcome emphasis on striking 20th-century scores — such as this very attractive Bartok coupling. If earlier readings of these astonishing pieces are not quite unseated (Solti, Fischer), there is no denying Gardner’s achievement – particularly in the SACD sound accorded the conductor’s full-blooded interpretation. Four years after a highly successful Bartók recording with the Melbourne Symphony Orchestra, Gardner here returns to the composer, with his Bergen Philharmonic Orchestra and James Ehnes, for outstanding accounts of four major orchestral works.

LAJTHA: CAPRICCIO, OP. 39 – SUITE DE BALLET, Pécs Symphony Orchestra, Nicolás Pasquet/NAXOS 8.573649  Slowly but surely, the Naxos label has been reissuing the impressive series of discs of Lajtha’s neglected music which were originally available on the Marco Polo label. Now, finally, the reissue programme is complete, with one of the most attractive entries in the series. László Lajtha is recognised, along with Bartók, Kodály and Dohnányi, as one of the great Hungarian composers of the first half of the 20th century. He established his reputation as his country’s foremost symphonist but also showed a strong affinity for the stage, writing his one-act ballet Capriccio in 1944. Despite the darkness of the times the ballet is filled with light and set in the period around 1700, the age of Watteau. Taking commedia dell’arte as his model, Lajtha’s characterisation brims with wit and elegance.

BRAUNFELS: CARNIVAL OVERTURE, OP. 22; TWO HÖLDERLIN SONGS, OP. 27; SCOTTISH FANTASY, OP. 47; PRELUDE AND FUGUE, OP. 36, Barbara Buntrock, Paul Armin Edelmann, Deutsche Staatsphilharmonie Rheinland-Pfalz, Gregor Bühl/Capriccio C5308  To many listeners, the name of the composer Walter Braunfels will be unfamiliar, but his colourful late romantic/modern scores fully deserve the excavation they have been receiving lately. If this disc does not offer the revelations that earlier recordings have accorded us, it is still an attractive (if slight) collection.

MAHLER SYMPHONY NO. 8, Utah Symphony Orchestra, Thierry Fischer, Music Director, Mormon Tabernacle Choir, Reference Recordings SACD FR 725  It will hardly come as a revelation to those who have been collecting earlier Reference Recordings discs of the great masterpieces of the orchestral repertoire that this new reading of Mahler’s monumental Eighth Symphony is so impressive. Apart from anything else, it takes rigorous, ambitious recording standards, such as those considered de rigueur by the company, to do justice to an all-encompassing, sprawling score such as this, and within a few bars – the opening peroration for organ, orchestra and chorus – it’s clear that both the musical and recording values are (as usual) firmly in place. The singing, too, is mostly nonpareil (counterintuitively, no trace of religiosity in the weighty Mormon Tabernacle Choir) and this is as impressive a reading of the Symphony of a Thousand as one is likely to find.

BRITISH VIOLIN CONCERTOS, Clare Howick, violin, BBC Scottish Symphony Orchestra, Grant Llewellyn/Naxos 8.573791  No undiscovered masterpieces here, but extremely professional music which features three major British concertos spanning 70 years. Kenneth Leighton’s Concerto is a work of tensile urgency, scored with great imagination, and the Concerto by Gordon Jacob contains at its heart a threnodic slow movement cast in long, moving paragraphs and accompanied by poetic effects. Written for (and premiered by) the soloist in this recording, Paul Patterson’s Violin Concerto No. 2 (‘Serenade’) is rich in high spirits; songlike, and exuberantly sparkling. Clare Howick performs these works with finesse, and is accompanied by the BBC Scottish Symphony Orchestra under Grant Llewellyn

PROKOFIEV: SYMPHONIES 2 & 3, State Academic Symphony Orchestra of Russia, Vladimir Jurowksi/PentaTone PTC 518 6624  In the kind of impactful sound that we have come to expect from the PentaTone label, these are dramatic and energetic performances of the two symphonies that followed Prokofiev’s calling card Classical Symphony. The reliable Vladimir Jurowksi gives highly persuasive readings which almost rival (while not surpassing) the recent surround sound takes on the symphonies by Mariss Janson, and there is no questioning that they are serious contenders in their own right.

BRASS HERALDS: BACH HANDEL TELEMANN, German Brass Berlin Classics030 1005 BC  For those listeners with a taste for the sound of burnished brass, this collection will be seventh heaven, with writing for brass instruments from three masters: Bach, Handel and Telemann, showcased in performances that are impeccably musical. Some may find the aural palette a touch restricted after a few tracks, but these two discs are not necessarily designed to be listened to in sequence; small samplings will give much pleasure.

BENNETT: ORCHESTRAL WORKS, VOL. 1, BBC Scottish Symphony Orchestra / John Wilson Chandos CHSA 5202

While the music here may not be to every taste (and it is certainly not as instantly ingratiating as the film music by the composer) this new series, devoted to the orchestral works of the late Sir Richard Rodney Bennett is of note. The BBC Scottish Symphony Orchestra and its Associate Guest Conductor, John Wilson are recording for the first time together on Chandos, and the disc features the knotty Third Symphony. If the virtuosic Marimba Concerto outstays its welcome, it is tackled here with verve by the percussionist Colin Currie.

SCHUMANN: PIANO SONATA NO. 1 IN F SHARP MINOR, ETC. Adam Golka, piano/FHR 62  These are performances of poetry and sensitivity, with the reading of the piano sonata rivalling some of the great discs of the past. Adam Golka is joined by the soprano Lauren Eberwein, an artist of subtle skill, on An Anna II, and a particularly delicate reading is given of all the music here, which is perhaps not as familiar as it should be.

DECCA’S PREMIERE RECORDING OF STRAVINSKY PIECE

DECCA HAS UNVEILED THE WORLD PREMIERE RECORDING OF STRAVINSKY’S NEWLY-DISCOVERED FUNERAL SONG:  RICCARDO CHAILLY’S DEBUT ALBUM WITH LUCERNE FESTIVAL ORCHESTRA. It will also include a new recording of The Rite of Spring. It will be released on 12 January 2018

 

Chandos Completes Vaughan Williams Cycle on SACD

Classical CD Choice Disc of the Month: VAUGHAN WILLIAMS: SINFONIA ANTARTICA, ETC., Soloists / Bergen Philharmonic / Sir Andrew Davis/Chandos CHSA 5186  There have been several complete cycles of years of Vaughan Williams’ remarkable nine symphonies (beginning with the celebrated Adrian Boult accounts), but one particularly distinguished cycle (the first complete sequence in in surround sound) seemed to be benighted — that inaugurated by Chandos with the late conductor Richard Hickox. Before his death, Hickox committed some powerfully persuasive readings, notably a definitive reading of the original version of the London Symphony, and a blistering account of the muscular Fourth, but his VW sequence was not be completed because of his early death. However, Chandos wisely commissioned Andrew Davis to commit the missing symphonies to disc, and a recent strong recording of the Ninth (coupled with the ballet Job) is now followed by a very persuasive Sinfonia Antartica. Intensely atmosphere, bleak and dramatic by turn, this reading has a breathtaking climax in the landscape movement, in which the breaking of an ice floe is conveyed by a thunderous organ passage. In the surround sound medium, it almost goes without saying that this has never been better done. This long-awaited concluding entry in Chandos’s historic series of Vaughan Williams’s Symphonies sports an exceptional cast and a rare combination of repertoire. While the indefatigable piano duo Louis Lortie and Hélène Mercier tackle the virtuosic Double Piano Concerto, the baritone Roderick Williams OBE offers breathtaking interpretations of the rarely heard, yet passionate Four Last Songs.

BRITTEN AND HINDEMITH: VIOLIN CONCERTOS, Arabella Steinbacher, Rundfunk-Sinfonieorchester Berlin and Vladimir Jurowski/PentaTone PTC 5186625 SACD  When so many couplings on classical music discs are devised almost by the numbers, one has to recognise real initiative – and that is precisely what happens with this very cherishable PentaTone disc coupling two 20th-century concerti that, we discover, perfectly complement each other in their combination of sinewy modern orchestral colouration and deep and profound feeling. All facets of both Britten and Hindemith’s concerti are explored in these readings which become nigh-definitive (without quite displacing earlier readings – differently coupled — in the SACD medium) Arabella Steinbacher excels in the lyrical, troubled and profound violin concertos of Britten and Hindemith; breathtaking virtuosity flows seamlessly with expansive lyrical passages and fiendish passagework. Britten’s haunting and mesmerising violin concerto is considered one of the 20th century’s finest. The three contrasting movements are replete with grand theatrical gestures, unabashed lyricism, and show-stopping pyrotechnics, the work closing with an austere passacaglia of other-worldly beauty and power.

MAHLER: SYMPHONY NUMBER EIGHT, Utah Symphony, Mormon Tabernacle Choir, Thierry Fischer Reference Recordings SACD FR725  Music lovers of an earlier generation will remember the impact that Georg Solti’s recording of the Mahler 8 made in its day: a dynamic performance in what was (for its day) state-of-the-art sound. And if ever a piece was designed to test the limits of recorded music in a domestic setting, it is this gargantuan symphony. Since Solti’s groundbreaking discs, there have been a variety of recordings of the Eighth — from the indifferent to the spectacular — but Thierry Fischer’s Utah recording will take some beating, not just its remarkable sensitivity to the composer’s intentions (every nuance and facet is found, from the more restrained colouristic passages to the great swells of orchestral excitement), captured in a recording which does full justice to the immense sound picture. The fact of that recording is so technically impressive will, of course, will come as no surprise to those used to the company Reference Recordings, which for some considerable time has been among the world’s best in setting down performances in the finest surround sound the medium is capable of. Generally speaking, the Mormon Tabernacle choir have a precision which matches Fischer’s breadth of vision.

STRAVINSKY: THE RITE OF SPRING LIGETI BERG, WEBERN London Symphony Orchestra LSO Live LSO 3028 Blu-ray and DVD  This writer’s conversations with the conductor Simon Rattle some decades ago once centred on Stravinsky’s Rite of Spring, which Rattle rightly regarded as a lodestone in any modern conductor’s repertoire. Even as a young man, Rattle was not daunted by the Mount Parnassus reputation of the piece, and has long been one of its most powerful advocates. But, not surprisingly this latest disc – finally, in the kind of SACD sound that does justice to his vision – becomes his finest reading yet of the piece. Rattle’s triumphant return to Britain and the London Symphony Orchestra continues to be marked with some remarkable new performances – in the case of this set one of the warhorses of then-modern repertoire with several pieces of hardly enjoying the attention that Stravinsky’s masterpiece has been accorded in the years. What is particularly welcome about this set is its highly attractive presentation of a Blu-ray audio and a DVD which give the perfect visual record of the concerts from which the pieces were drawn. And this particular aspect is an asset in the delightful performance of Ligeti’s eccentric piece for soprano and orchestra, Mysteries of the Macabre, in which soprano Barbara Hannigan struts onstage in a jailbait outfit with white cotton socks, blowing bubble gum; the erotic playfulness perfectly matches an approachable work. If The Rite of Spring is not among the most kinetic performances Rattle has given of the work, it is still remarkably impressive and captured in sound of great depth and impact.

DEBUSSY: JEUX, KHAMMA, LA BOÎTE À JOUJOUX, Singapore Symphony Orchestra, Lan Shui /BIS2162 SACD  A very welcome disc from the ever-reliable BIS label including three pieces by Debussy, which have not heretofore shared the same surround sound disc (although the late masterpiece Jeux has enjoyed an excellent SACD performance conducted by Michael Tilson Thomas in San Francisco). As in previous recordings of the music of Debussy, Lan Shui once again demonstrates that he has the full measure of the composer’s idiom – and the conductor might even be said to have finessed the pieces not orchestrated by the composer to make them sound impeccably Debussyian — a task aided considerably by the superb BIS sound. Debussy conceived three works as ballets, and they are gathered on this recording. All three were written between 1911–1913, during a period when the composer was under some financial pressure, and in the case of Khamma, Debussy himself admitted that ‘considerations of domestic finances’ contributed to him undertaking the commission for this ‘danced legend’. Having finished the piano score, Debussy asked Charles Koechlin to complete the orchestration under his supervision. He was more enthusiastic about a commission from the highly fashionable Ballets Russes, and did indeed complete Jeux himself, which Pierre Boulez regarded as one of the most prophetic works of the twentieth century. La Boîte à joujoux (‘The Toybox’) completes this collection.

FANTASY: SCHUMANN, CPE BACH, SCHUBERT, Danae Dorken, piano ARS 38150 SACD  A piquant choice of repertoire here: three pieces linked by being written in the ‘fantasy’idiom form, but providing some unusual bedfellows – when did you last hear a disc which featured keyboard music by both CPE Bach and Schubert? Danae Dorken’s performances are full of grace and authority, and the combination of the three pieces make for a most satisfying program.

PROKOFIEV: VIOLIN CONCERTO No. 2, etc., Roseanne Philippens, Sinfonieorchester St Gallen, Otto Tausk/Challenge Classic CCS39517  There seems to have been something of a fashion for recordings of the Prokofiev Second Violin Concerto in recent years, but this is as striking and impassioned a rendition as one is likely to encounter, although it must be pointed out that it is in stereo sound only, not the surround sound to be heard among other recent readings. Roseanne Philippens has a sure grasp of Prokofiev’s colourful and distinctive writing, and one of the particular pleasures of the disc is her reading of the Violin Sonata in D major, folding in much impressive Russian feeling.

HAUSEGGER: BARBAROSSA (SYMPHONIC POEM); DREI HYMNEN AN DIE NACHT FOR BARITONE & ORCHESTRA, Hans Christoph Begemann, Norrköping Symphony Orchestra, Antony Hermu/CPO 777666-2  Let’s be honest – who, a decade or so ago, would have been familiar with the music of Hausegger? The composer’s name was simply something we’d read in reference books, but the CPO label has demonstrated that this is a neglected composer whose music (largely speaking in the vein of Richard Strauss or Mahler) deserves investigation. This latest disc is another remarkable discovery: a major piece dusted off and given what appears to be a totally authoritative reading.

GRANADOS: ORCHESTRAL WORKS, Barcelona Symphony Orchestra, Pablo González/ NAXOS V8.503295 [3-CD boxed set]  This is a very attractive collection of music, little of which will be familiar to the listener. To celebrate the 150th anniversary of Enrique Granados’s birth the three internationally admired volumes of his orchestral discs have been brought together. The set includes one of the greatest pieces in all Spanish music, the Intermezzo from Goyescas, as well as much that is exceptionally rare, such as an impressive symphonic poem.

RACHMANINOV: VIRTUOSO ARRANGEMENTS VOL. 2, Martin Jones, Nimbus NI5695  Those of us who love the piano music of Rachmaninov tend to have an inordinate affection for it – and we really want to hear every piece that the composer wrote for his own instrument, both major and minor. This second collection of less celebrated pieces shows that Rachmaninov’s commitment to piano music was total. However, significant (or otherwise) the piece, Martin Jones matches the composer’s own celebrated virtuosity on his instrument.

VAUGHAN WILLIAMS: Dona Nobis Pacem, BERNSTEIN: Chichester Psalms, Choir of Kings College, Cambridge, soloists, Britten Sinfonia, Stephen Cleobury, Kings College KG 50021 SACD  It was an intriguing notion to put these two remarkable 20th-century masterpieces for chorus and soloists on the same disc, and it is particularly welcome to have Dona Nobis Pacem making its debut in the surround sound medium. These are strong and committed performances, but there are caveats. Never have the orchestral passages in the RVW piece sounded as impressive as on this Cleobury disc, but — uncharacteristically for this label – some of the recordings of the choral passages are lacking clarity and the text is less clear than on rival recordings. That being said, these are strong performances and fully merit the listener’s attention.

DANIEL JONES: SYMPHONIES 2 & 11, Bryden Thomson Lyrita SRCD364  Hardly major masterpieces, Daniel Jones’ symphonies are solidly composed, attractive music which are here given readings under the late Bryden Thomson which makes the best possible case for the works.

KARAYEV: ORCHESTRAL WORKS, Bournemouth Symphony Orchestra / Kirill Karabits/Chandos CHSA 5203  More neglected music, from a company that specialises in presenting new avenues for the more adventurous listener This set of idiomatically lyrical, rhythmic, and colourful pieces with the Bournemouth SO and its Chief Conductor, Kirill Karabits, who appears on Chandos for the first time, marks the start of a new series dedicated to lesser-known composers from former Soviet Union countries.

BORUP-JORENSEN: MARIN, Soloists, DNSO, Thomas Sondergard/ OUR Recordings, 21104 26   This curious package (containing both a DVD and a Super Audio CD) contains both an animated film and a portrait of the composer Axel Borup-Jorgensen. The music (unquestionably in avant-garde idiom) is written for a very disparate collection of instruments, which the composer utilises to the full. Not for every taste, but those of adventurous mien might find this a worthwhile investment.

BORENSTEIN: ORCHESTRAL WORKS, Irmina Trynkos / Oxford Philharmonic Orchestra / Vladimir Ashkenazy/Chandos CHSA 5209 SACD  The dedication of the Chandos label to bringing unfamiliar and accessible classical music to disc is well known and celebrated among classical music listeners , and this latest issue continues that tradition. Conducting the Oxford Philharmonic Orchestra and the promising young violinist Irmina Trynkos, Vladimir Ashkenazy marks his 80th birthday by bringing the orchestral music of Nimrod Borenstein, a long-time protégé, to SACD for the first time. I have to confess that despite the professionalism and colourful writing on offer here, I found it difficult to detect an individual character to the music. But if you share Ashkenazy’s enthusiasm for Borenstein, then it’s hard to imagine these pieces being better performed.

CHISHOLM: VIOLIN CONCERTO & DANCE SUITE, Matthew Trusler, Danny Driver, BBC Scottish Symphony Orchestra, Martyn Brabbins/Hyperion CDA68208  If you’d asked a lover of British music a couple of decades ago If they’d heard the work of Eric Chisholm, you would probably have received a blank stare. Fortunately, that egregious neglect is being remedied with a series of issues from different companies that demonstrate Chisholm was a highly individual talent — and certainly did not warrant his nigh-invisible status. The very characterful music on this disc may be may of some help in redressing the balance. A bracing excursion to the Indian subcontinent via the Scottish Highlands: the compelling force of Scottish modernism, with Matthew Trusler and Danny Driver are the committed soloists in the two large-scale concertante works.

Ralph VAUGHAN WILLIAMS, Rebecca CLARKE, Benjamin BRITTEN: Let Beauty Awake, Ellen Nisbeth, Bengt Forsberg/BIS 2182  Vaughan Williams’ Songs of Travel has been particularly lucky on disc, enjoying a variety of impeccable vocal performances. But even RVW admirers may not be prepared for this latest outing, in which certain songs in the cycle are intelligently transcribed for violin. The results are highly persuasive, without quite displacing the original, but remaining pleasing. Swedish violist Ellen Nisbeth, hailing from a family of Scottish origin, feels a particular affinity for the landscapes of Scotland, and for the Scottish author Robert Louis Stevenson. For her first recital disc Ellen Nisbeth has devised an all- British programme which includes her own transcriptions of selected songs from Songs of Travel – Ralph Vaughan Williams’s settings of poems by Stevenson. The songs intersperse the remainder of the programme, and one of them – Let Beauty Awake – has also lent its title to the entire disc. Together with the eminent pianist and chamber musician Bengt Forsberg, Nisbeth goes on to perform the impassioned Viola Sonata composed in 1919 by Rebecca Clarke, and Benjamin Britten’s Third Suite for Cello, transcribed for viola by Rebecca Clarke, and Benjamin Britten’s Third Suite for Cello, transcribed for viola by Ellen Nisbeth herself. This is a disc that will find a ready audience.

Richard RODGERS, George GERSHWIN, Frank LOESSER, Jerome KERN, Leonard BERNSTEIN, Mitch LEIGH  Glorious Quest Rodney Earl Clarke, Christopher Gould/STONE 5060192780758  A personal, caveat. Although the piano transcriptions by played by Christopher Gould here are as adroit as one could wish, those who love this glorious music will be missing the superb orchestral arrangements (usually by the Dean of Broadway orchestrators, Robert Russell Bennett), with which they are customarily arrayed. That said, however, this is still an attractive disc. Many music lovers would argue that the best work by the great Broadway composers such as Gershwin, Rodgers and Kern is a match for many more ‘respectable’ art songs, a premise that this collection comprehensively proves. Without quite shaking the customary sense that a popular non-trained singer might perhaps find the best in these pieces, this is a beautifully sung recital. Glorious Quest is the debut album from British baritone Rodney Earl Clarke.

LAJTHA: SYMPHONIES NOS. 8 AND 9, Pécs Symphony Orchestra,• Nicolás Pasquet/NAXOS  The welcome series of Marco Polo issues of Lajtha’s music on the Naxos label continues apace – and this is a particularly cherishable issue. Reflecting Hungary’s troubled times following the Soviet suppression of the 1956 Hungarian Uprising, Lajtha’s last two symphonies are deeply emotional and dramatic works ranging from tragic intensity to optimism. Whereas the Eighth Symphony was aptly described by the composer’s wife as ‘a tragedy without consolation’, the emotional power and the melodic beauty of the Ninth Symphony evoke suffering, happiness and hope. A huge success at its 1963 Parisian premiere, the work was acclaimed by the critic Claude Rostand as ‘the one that convinced us that László Lajtha was truly one of the greatest symphonic composers of the 20th century.

WEINER: WEINER: SERENADE / TWO DIVERTIMENTOS, Estonian National Symphony Orchestra | Neeme Järvi/Chandos CHAN 10959  It appears that — after a fashion — Weiner’s time is coming. Neeme Järvi and his Estonian National Symphony Orchestra reveal here the delightful, witty Hungarian style of Leó Weiner by encapsulating the freshness and fluidity of engaging, yet too rarely performed Serenade and five Divertimentos.