Program Archive

January 2010
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  • Absolute Jest 10:18 John Adams
    Royal Scottish National Orchestra
    Peter Oundjian
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    Cincinnati Symphony Orchestra
    Paavo Jarvi
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The New Releases
The New Releases

The New Releases for Thursday, January 28, 2010

  • Concerto Originis (mvts 1 & 2) (2003); Ad Lib, fr Three Sketches (1993)
    Sergio Assad; Clarice Assad
    Nadja Salerno-Sonnenberg, violin; Sergio and Odair Assad, guitars; Sao Paulo City Orchestra/John Neschling, conductor; Nadja Salerno-Sonnenberg, violin; Sergio and Odair Assad, guitars
    NSS Music 07
    Music among friends and family can be pretty wonderful, and these two Brazilian guitarists and their American violinist commrade have been engaging each other in concert and on disc for some years. Sergio's concerto explores their divergent South American and European backgrounds, while the little sketch by his eldest daughter, an early work, is tiny proof of her own evolving voice.
    10:04 p.m.
  • Lute Songs and Solos
    John Dowland and Peter Croton
    Theresia Bothe, voice; Peter Croton, lute
    Remembrance of Things Past Guild 7341
    American lutenist Peter Croton, now living in Switzerland, decided to add some of his own new songs to the Dowland tradition, and the clear and supple voice of Canadian soprano Bothe does justice to it all. Warmly intimate recorded sound.
    10:21 p.m.
  • Concert in G for 2 Viols (L'Aureille)
    Augustin Dautrecourt
    Les Voix Humaines (Susi Napper & Margaret Little, gambas)
    ATMA Classique 2106
    The famous gamba duo from Montreal came to Minnesota for weekend concerts on Friday [1/29] for the Saint Croix Concert Series at Trinity Lutheran, Stillwater and Saturday [1/30] for the Chamber Music Society of St. Cloud at the Public Library (2PM) and Atonement Lutheran Church (7:30PM).
    10:36 p.m.
  • Requiem (2008, excerpts)
    David Bednall
    Chamber Choir of St. Mary’s Calne/Edward Whiting, director; Philip Dukes, viola; David Bednall, organ
    Regent 327
    Since his appointment as Organ Scholar at Gloucester Cathedral in 2000, Mr. Bednall has impressed widely through his playing and composing. This Requiem (an expanded version of a Missa Brevis from 2007, with new movements including viola/organ interludes) is poignant and thoughtful, and the exquisite performance by the St. Mary's girls (middle-school and high-school ages, singing with a notable unity of pitch and ensemble) is equally notable. Search this one out!
    10:46 p.m.
  • Sonata for Piano (1998, 3rd mvt.); The Horse with the Lavender Eye (1997, 3rd mvt.)
    Stephen Hartke
    Xak Bjerken, piano; Richard Faria, clarinet; Ellen Jewett, violin; Xak Bjerken, piano
    Chandos 10513
    With inspirations as diverse as an Italian farce, Japanese court music and Robert Crumb cartoons, Hartke's music is difficult to categorize but engaging to hear. The 'floating' postlude to the Piano Sonata is particularly lovely.
    11:02 p.m.
  • Les Djinns (after Victor Hugo), Op. 35 (1914)
    Louis Vierne
    Steve Davislim, tenor; Queensland Orchestra/Guillaume Tourniaire, conductor
    Melba 301123
    Known as an organist-composer, Vierne's works for other media are largely overlooked, even though they are more numerous than his organ scores. Captured here for the first time (to my knowledge) are four symphonic songs, richly orchestrated settings of real originality. The Australian musicians convince with every measure. Why have we overlooked this music for so long?
    11:15 p.m.
  • Ballad Nocturne (2009)
    Ann Millikan
    Emanuele Arciuli, piano; Bulgarian National Radio Symphony/Grigor Palikarov, conductor
    Innova 713
    Written for an Italian classical pianist with a jazz fascination by an American composer who left jazz 20 years ago (but jazz didn't leave her), this curirous and brooding score blends Ravel with early Coltrane.
    11:30 p.m.
  • "Carmen" Ballet
    Rodion Shchedrin
    Chamber Orchestra Kremlin/Misha Rachlevsky, conductor
    Claves 50-2207
    Borrowing the good tunes from Bizet's opera, but creating something marvelous with his all-strings-with-percussion instrumentation, Shchedrin's ballet was a hit and scandal simultaneously, and has lost none of its emotive power.
    11:45 p.m.
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