Kansas City Symphony: Audiophile Recording

A group of about 400 invited subscribers and friends of the Kansas City Symphony gathered at Helzberg Hall Wednesday for a most interesting and enlightening experience, a preview concert of a new recording of the Symphony by Reference Recordings. Gone forever, it seems, are the days when the major orchestras of the US and Europe churned out new recordings by the dozens every month on the great labels of the era… Columbia, Deutsche Gramophon, Decca… conducted by the giants of the time. Filling that gap are smaller labels like Reference Recordings who produce a smaller number of fine recordings each year.  Lucky for us here, Reference has forged a bond with our local band and has released two well received recordings, including a Grammy winner.

I have to give all involved great credit for daring to record major standard repertoire pieces that often have some very heady competition. No unknown or unrecorded composers or works on this latest disc containing three 20^th century orchestral showpieces, Prokofiev’s “Love for Three Oranges” Suite, Bartok’s “Miraculous Mandarin” Suite and Hindemith’s “Symphonic Metamorphosis of Themes by Carl Maria von Weber.”

This was no mere run though to test the microphones (although that really was the main purpose). We were treated to a true, focused concert with some of the best playing I have ever heard from the KCS, and we have heard a lot; crisp, exciting, lyrical, brisk but not excessive tempi and visceral. The Prokofiev crackled with wit and snap, the often violent and complex score of the Bartok was breathtaking, clear and detailed without being fussy. Those paying attention may have noted the organ pedals at the beginning, the first time many have heard the mighty new Casavant organ. Michael Stern’s very first concert as Music Director included the Hindemith Metamorphosis and wowed the audience then. This one was even better with fabulous wind solos, chiming and clean percussion, and dancing rhythms.

On hand were Reference Recordings’ wizards of sound, “Professor” Keith Johnson, the finest recording engineer around and producer David Frost, the best of his profession as well. This team, as Maestro Stern noted, has won about as many Grammy Awards as there were people in the hall. With the orchestra focused and enthused, the already fine sound of Helzberg Hall and the RR team.. can you say “instant audiophile classic”? Sure you can.

Kansas City Symphony Mahler 2

They say no one likes a show-off, but can we make an exception for the Kansas City Symphony? When you have a fine new venue such as Helzberg Hall you just have to show everyone what it can do. A work tailor made for showing what a hall and ensemble can do was the sole work on this weekend’s program, Mahler’s grand Symphony # 2 “Resurrection”. Michael Stern led the combined forces of the Symphony and Chorus with Kelly O’Connor and Jessica Rivera as soloists.

Much like the previous Symphony #1, the “Resurrection” was slow to evolve into its final form. The first movement started as a tone poem titled Totenfeier (Funeral Rites), written in 1888. The middle movements, 2 and 3, date from 1893. The problem was finding the right text for his proposed choral final movement. Conductor Hans von Bulow’s funeral in 1894 provided the inspiration and the text, Friedrich Klopstock's “Die Auferstehung (The Resurrection)”, a setting of which was performed at the funeral. After composing the finale, Mahler went back and inserted a short song “Urlicht” just before the finale, sort of a transition from the worldly to the heavenly.  Also like the first, Mahler toyed with programmatic subtitles and descriptions of the movements, up until the work’s premiere. They were later abandoned, letting the music speak for itself.

From the very first gruff flourish of the lower strings I sensed that this might be a slightly cool “Resurrection”. Stern and the orchestra just seemed to lack the n’th degree of drama that marks the very best of performances of this monster of a symphonic movement. As the movement progressed, great details abounded; crisp, precise percussion, well executed wind solos and careful focus on dynamics, the latter most essential. The forces found their moxie in the grand build up and exhausted collapse that occurs after the development and by the end of the movement the inherent drama was emerging.

Stern wisely followed Mahler’s instructions to observe an at least 5 minute gap between the first and second movements, something that is not often done today and missing on a recording unless you do it your self. It allows one to digest the sprawling first movement and illustrates the contrast of the more delicate and less episodic movements to come.

Those who follow my musical scribbling realize I often march to a slightly off beat drummer. Thus I am one who feels the three inner movements are more interesting and even fulfilling than the more stormy and grandiose first and last movements. They are among Mahler’s most sublime and intricately scored symphonic statements.I can’t decide if the second movement or third is my favorite… or maybe “Urlicht”.

The second, “Andante moderato, in the style of a Ländler”, is a delicate, flowing and subtle statement. If taken too slow and square, it degenerates into a vulgar waltz, or at worst, a static, lilt challenged (thank you for that phrase Maestro) mess. But under Stern’s capable leadership, this incredible movement flowed with a perfect tempo and just the right amount of rubato. The work’s scherzo “In ruhig fließender Bewegung” (With quietly flowing movement) was appropriately ghostly, tinged with irony and even humor. The KCS trumpets were magnificent in the strange, off kilter waltz episode about half way through the movement. The clear acoustics and Stern’s attention to detail allowed us to hear all the strings and harps that are also moving behind the brass. The powerful final “death cry” brought this demonic section to a screeching halt, just as Mahler wanted.

Picky note: the rute or bundle of reeds Mahler calls for in this movement was just right; a part of the texture and not a jarring slap. I listen for this and have dismissed performances of this fascinating movement if the rute wakes me from my reverie.  Also, am I the only one who can channel Luciano Berio’s “Sinfonia” while hearing this movement? Those who can, know what I am talking about… those who can’t need not bother.

The short “Urlicht” movement was, in my most humble opinion, the most sublime example of the vocal art I have ever heard in Kansas City. As when I heard her perform the same part in St Louis last season, Mezzo Kelly O’Connor’s cognac colored voice just materialized from the ghostly gong stroke that closes the scherzo. Major kudos go to the KCS brass who did not muck up the serenely reverent chorale after this glorious moment, as its cross state rivals did. Maybe I am a man of few words, or more likely of simple thought, but for me “Urlicht” is the true emotional high of the work; an epiphany of understanding and hope. Every time I hear it, I am reduced to a blubbering fool. Consider it done again.

O red rose!
Man lies in greatest need!
Man lies in greatest pain!
How I would rather be in heaven….

In my warped world, Mahler could have ended the whole thing there. But we’d miss the excitement of the stunning finale, with the huge chorus alternately whispering and shouting, instruments parading on and off the stage, (practically an entire orchestra is placed off-stage), and a percussionist mounting a ladder to sound the dark, metallic chimes at a couple of climactic moments. I was concerned that such a large chorus would not be able to negotiate the more quiet and introspective passages, but they did with clear diction and subtle power, although the opening “Aufersteh'n, ja aufersteh'n” at its best a hushed, expectant whisper, was a bit too forceful. Soprano Jessica Rivera soared over the massed choral voices in her brief but essential part. Sadly, the new Cassavant Organ is not ready and we had to settle for the feeble electronic organ for the subterranean pedal points at the end.

The fine acoustics, spacious stage and choral loft certainly helped, but I am sure Stern, the orchestra and chorus would have provided us with just as fine and committed a performance anywhere they performed.

Europa Galante Chamber Orchestra: Vivaldi Pyrotechnics

Sometimes, the best laid plans... I had looked forward to seeing my conducting hero Stanislaw Skrowaczewski  perform the Schubert 9th in St Louis. At 88, he can't be conducting much longer. I thought the same when I saw him do the Bruckner 8th in St Louis in 2009, so hope I am wrong. But, horrid wet and stormy weather and threat of overnight and AM fog kept me at home.

Plan B, my neighbor had an extra ticket to the performance of The Europa Galante Chamber Orchestra, Fabio Biondi leading, with guest Mezzo Soprano Vivica Genaux. I was not all that thrilled at first, as Baroque music, Vivaldi and florid singing are not among my top choices. I hope I got a seat where I could sneak out early if needed.

I ended up staying for a most remarkable and exciting show.

Biondi and his small band have made a name for themselves by dusting off the works of Vivaldi and his contemporaries with exciting and visceral programs. No slow, scratchy, out of tune, bland and pedantic "authentic" performance here. The orchestra is usually two or three to a part with harpsichord, theorbo, and violine on continuo. The orchestra is usually two or three to a part with harpsichord, theorbo, and violine on continuo and they tune their instruments to the standard of the time. Whether you call them historically informed or authentic, their sound and vitality is heads above some other groups I have heard which seem to sap all the life out of the works.

Alaskan born mezzo Vivica Genaux is in demand for her vivid portrayals of baroque opera roles, her incredible technique and her equal ability with bel canto roles. She has a vibrant and engaging stage presence, may be a bit over-the-top drama at times but one can tell she loves the music and loves performing it even more.

The intelligently arranged program juxtaposed string works by Vivaldi, Locatelli and Nardini with arias from Vivaldi's operas including "Tito Manilo", "Farnace" and "Catone in Utica".

Genaux probably sang more notes in the evening than did the all the members of the chorus singing the Mahler Second down the street. Her runs and leaps were breathtaking and always clear. She verily oozed the drama and passion in the arias, many of them likely written for castrati. Most notable: the poignant "E prigonerio e re" (I am both prisoner and king) from "Semiramide" and "Alma oppressa" from "La fida ninfa". In her final aria "Agitata da due venti" ("I am tossed by two winds") from "Adelade" , Genaux's torrent of runs and trills literally blew across the audience like stormy winds.

The band's instrumental selections were equally fine. Vivaldi's Concerto for 2 Violins in A minor was so admired by Bach that it is one he transcribed for keyboard. Biondi and the leader of the second violins Andrea Rognoni were equally fine solos for this vibrant work. The Locatelli Concerto Grosso Op.7 # 6 "The Weeping of Arianna" with its sobbing phrases and long Largo sections, was particularly compelling and totally unknown to me. Simply fine examples of baroque writing and performance.

So, although I was tinged with regret over not travelling to St Louis for the Schubert, I was rewarded with a new (to me) discovery in the Europa Galante Orchestra... one that I will be exploring in the future.

Kansas City Symphony: Kahane Conducts Mozart and Rachmaninoff

Presumably, when a concert featured a piano or violin concerto in, let's say, 1760, the soloist was the composer and had written the piece for himself. Very likely, the composer/soloist would also conduct the orchestra. Such was the case of Mozart who wrote most of his early concerti (1-13) for himself. After the 13th, written in 1783, Mozart began to compose piano concerti for others to perform while a conductor led the orchestra.

One of the reasons for the change was that the concerto was growing in stature and complexity. No longer a sweet trifle created to amuse, the concerto was assuming its role as a major musical form, second only to the symphony in importance. Earlier concerti started with an orchestral introduction followed by the solo’s entrance. This was either alone or with minimal accompaniment. The orchestra would sometimes echo a theme or close a phrase and then bring the movement with a final tutti. The orchestra was usually a small chamber ensemble of strings and maybe a few winds. By 1780, the era of Mozart’s later piano concerti (and certainly by this concert’s featured work his 25th Piano Concerto in C major K 503), the concerto had reached symphonic proportions. The orchestra had grown too with brass, expanded winds and strings plus tympani.

It takes a coordinated, yes even gutsy, pianist to solo and also conduct such a symphonic concerto. This evening’s Kansas City Symphony guest conductor, Jeffrey Kahane, is not only a superb pianist (a Van Cliburn Competition finalist) but also a skilled conductor of orchestras large and small (Colorado Symphony, Los Angeles Chamber Orchestra) and thus well equipped for the challenge. Kahane conducts with economy of motion, using fingers, nods and eyes to get what he wants out his forces, allowing him to equally concentrate on the demanding solo part.

Kahane’s Mozart 25th was a bit on the leisurely side yet a smooth, romantic reading befitting this most majestic of concerti. Not a spectacularly flashy concerto, Kahane highlighted the heroic nature of the work, especially in the dramatic opening Allegro maestoso. The long lined central Andante was poetic but could have used a bit more contrast from the first movement; attributed to the slower tempo of the opening movement. There was no doubt of the conviction of the performers, however, with the Kansas City Symphony winds in their usual fine form.

Instead of a skittering, lightweight Rondo, Mozart treats us to a most symphonic finale. Although still discernable as a rondo form, the movement has all the organic elements of a tightly argued sonata. Kahane relished the more brilliant writing for the solo in this movement as much as he milked the long, flowing lines of the Andante. A well balanced and powerful conclusion to this marvelous work.

Throughout the concerto, Kahane’s pianism was more expressive than precise (fine with me) perhaps owing to his split attention to the largish forces and demanding score. A most fine performance, with nary a missed entrance or miscue from the orchestra, good balance but marred by some weak string passages, a minor flaw in a sparkling jewel of a performance.

Although I had my heart set on the previously announced program with Asher Fisch conducting the Mahler “Blumine” movement and the Brahms/Schoenberg Quartet in g, I am sure the capacity audience better enjoyed the big and lush Rachmaninoff Symphony # 2 than the more unfamiliar works.

Again Kahane led a tad leisurely performance, but not to the point where the work became a bloated barge. It is fitting to remember that for many years this work was performed in a radically cut version of about 35 minutes. The first complete recording was not made until 1968. 

Kahane and the orchestra were at their best in the brooding, mysterious and oh-so-Russian first movement, emphasizing the soaring themes and Orthodox chant inspired moods. The subtle shifts in meter and tempo kept the long movement moving, permitting us to luxuriate in the bounty of melody and passionate passages just long enough.

The vigorous scherzo must have woke a few snoozers; the big cymbal and bass drum crash that signals the entrance of the second theme and central part of the movement caused quite a burst of chatter and murmuring among the audience. The end of the scherzo, with its reference to the Latin Dies Irae (day of wrath) chorale could have been a bit more chilling, which is about the only little quibble I have here.

The big adagio is a feast of romantic melody; one can almost see the torrid images of lovers straight from the cover of Harlequin Romances. Song writers love to pluck themes from Rachmaninoff’s works for popular songs, and the main theme of this movement is no exception. Kahane’s slower tempo worked against him here and the movement became a bit slack with some weak sister climaxes. The English horn, violin and clarinet reveries were certainly highlights of the movement as was the lovely string passage with horn obbligato (how the horns have improved over the last 5 years) about ¾ through the movement, ending in a transcendent chord with soft and sweet flute and viola figures floating above. This was a movement made up of some fine moments, but just not jelling to a perfect whole.

As if dispelling all the Russian gloom and soulful passion, the finale is an Allegro Vivace Italian tarantella. The movement certainly has no shortage of fine melodies, but now they all spring from sun and light. The motives from previous movements make a final appearance to sum the big symphony up nicely. Kahane and the orchestra brought the work and the demanding program to a vibrant and exciting close.

A Fragment

This weekend’s Kansas City Symphony concerts were supposed to be conducted by guest conductor Asher Fisch who for reasons unknown to me did not make it. Thus Jeffery Kahane filled in an changed the program. Instead of Mahler’s Blumine Movement from the Symphony # 1, Mozart Piano Concerto # 17 and the Brahms/Schoenberg Piano Quartet in g, we got a different Mozart Piano Concerto (#25) with Kahane as solo and conductor and the Rachmaninoff Second Symphony.

Somewhat like the orphan “Blumine”, I was preparing a second “must hear” essay about it to go along with the earlier one about the Brahms/Schoenberg Quartet. Seeing it was now a moot point, I went no further than what you see below. Although the Kahane performances were quite good, I have a pang of regret that the KC audiences were not able to experience two rarely heard and wonderful works. The Brahms/Schoenberg essay was published earlier here but not on the KC Symphony Blog.

Thus, as it is,  I submit my “Blumine”; a bit disjointed and unpolished, much like the work it honors.

The Mahler’s first symphonic essay took a circuitous route in both form and performance venue before emerging as the familiar and popular Symphony # 1 in D major. The “Blumine”, to be performed by the KCS along with the Brahms/Schoenberg Piano Quartet, was once a part of this symphony but was discarded by Mahler after a few performances. After its rediscovery in 1966, it has occasionally been performed as a part of the Symphony but more frequently as a separate piece, as in this case. A little history lesson is in order so as to understand how this movement disappeared for 70 years.

Mahler first conceived of this work as “A Symphonic Poem in Two Parts” when it was premiered in Budapest in 1889. “Blumine” (although not yet labeled as such) was the second movement of this early form which is recognizable as the First Symphony but with many differences in orchestration and some formal reorganization. This performance was not well received and thus Mahler made some extensive revisions for a second performance, this time in Hamburg in 1893. Now titled “Titan, a Tone Poem in Symphonic Form”, the movement gained the title “Blumine” (Flowers, or Flower Chapter) and remained as the second movement. Mahler prepared an elaborate program for the piece; the first part (current first movement, “Blumine” and the Scherzo) was called “From the Days of Youth: Youth, Fruit and Thorns”. The second part “Commedia Umana” consisted of the current “Funeral March” movement and the Finale.

Only a couple of performances were given of this version before a 4^th performance in Berlin in 1896 where Blumine was formally struck from the score, all traces of the program and  the name “Titan” were removed. The work was published in its current form in 1899 titled Symphony # 1 in D Major.

Blumine remained unperformed and lost until it was discovered in a copy of an early manuscript donated to Yale University. Benjamin Britten performed it soon after and the enterprising New Haven Symphony under conductor Frank Brieff performed and recorded it, interpolated into the definitive score as the second movement. Since then, several performances have been given and recorded of the early Budapest and Hamburg versions.

So what of the music? Mahler biographer Henry-Louis de La Grange was not too kind:

“There can be no doubt as to the authorship of ‘Blumine,’ and yet few other arguments can be stated in its favor. It is the music of a late-nineteenth-century Mendelssohn, pretty, charming, lightweight, urbane, and repetitious, just what Mahler’s music never is.”

Frankly, I kind of like the early versions with Blumine. Performing much the same services as the Adagietto of the 5^th, the short interlude comes as a quiet, simple respite in the hothouse charged atmosphere of the symphony. I do agree with de La Grange, it is a bit like Mendelssohn scored with a decidedly late century palate. However it looks forward to Mahler’s grander creations such as the aforementioned 5^th and the 3^rd’s posthorn serenade.

Several fine recordings of the Symphony with Blumine are available, mostly including Blumine as an appendix, notably Zinman/Zurich Tonhalle on RCA and Neeme Jarvi/Royal Scottish Orchestra on Chandos. The 1883 Hamburg “Symphonic Poem in Two Movements: Titan” is easiest to find in a Challenge Classics recording with Jan Willem de Vriend conducting the Netherlands SO. Haydn House, an LP to CD reissue source has the original Frank Brieff/New Haven recording.

We Three Pugs 2011

Although The Dowager Empress, HM Puggles has passed on to the Rainbow Bridge, I was reminded of her favorite Christmas Carol that we published every year around this time. So, in honor of a great lady and Queen I give you this one more time. Merry Christmas and a Happy New Year from HRH Olive, The Princess Royal and staff:

HM Puggles, 1999-2011

We Three Pugs

(to the tune of We Three Kings)

We three Pugs of Orient are

Snuffling low we can not go far

Bellies dragging, tails a'wagging

Hounding the Milk Bone Jar

Oh! Oh!

We love treats and we love hugs

We love all 'cause we are pugs

Licking, sneezing, snoring, wheezing

Guide us to the warmest rugs!

Merry Christmas

Happy New Year

From Puggingham Palace

D & O

Baker's Dozen Best Recordings 2011

My annual Baker's Dozen best recordings of the year is here. Since it is my list, I set the rules which are frequently broken. Most of these are new recordings or releases for the year. Some may be new to me or simply old wine in new skins. Whatever the case, here is what I have enjoyed and noted for the year in no particular order:

1) MAHLER: SYMPHONY # 10. ILLUSTRATED LECTURE BY COOKE, BERTHOLD GOLDSCHMIDT LONDON SO (1964) AND PHILHARMONIA ORCHESTRA (1960) TESTAMENT 1457

This 3 disc set was the Grammophone Magazine winner for Best Historic recording, and deservedly so.  Includes the 1960 BBC broadcast lecture by Deryck Cooke, illustrated with piano and orchestral examples, the full 1960 broadcast performance of the sketches as they had been compiled at that time by Cooke and finally the 1964 World Premiere of the 10^th by Berthold Goldschmidt and the London SO. All are recorded in decent mono and both orchestra performances exhibit somewhat scrappy playing, but what an incredible historical document.

2) IVES/BRANT: CONCORD SYMPHONY. COPLAND: ORGAN SYMPHONY. MICHAEL TILSON THOMAS SAN FRANCISCO SO  SFO 38

I first heard of Canadian Henry Brant (1913-2008) as a classical music crazed teen. I confess I wanted to write a piece for my High School auditorium based on his spatial music concepts. The high brass would sound out of the projector box, the tubas and trombones out of the vents in the floor, the strings on the stage, the winds in the isles.. the percussion in the hallway outside.. yeah I was nuts. His rendition of Ives’ Concord Sonata as a Symphony is all wrong; too modern and craggy for Ives, but an incredible and addictive listening experience. A bonus is a fine recording of Copland’s first symphony with the original organ part.

3) BRUCKNER: 9 SYMPHONIES. GUNTER WAND COLOGNE RADIO ORCHESTRA RCA/SONY 7776582

Budget priced reissue of these fine recordings of Bruckner’s major Symphonies, but does not include “Die Nulte” or the Symphony in F if you have to have those. Skrowaczweski/Saarbrucken is my standard, but for the price these can not be beat.

4) JOYCE DI DONATO: DIVA/DIVO. VIRGIN CLASSICS 41986   

Home town girl (I have a picture of me with Joyce to prove it) makes good in this wonderful collection of arias exploring gender bending trouser roles from Gluck to Richard Strauss.

5) CHARLES-MARIE WIDOR: PIANO CONCERTO # 1 OP 39, PIANO CONCERTO # 2 OP 77, FANTASIE, OP 62. MARKUS BECKER, PIANO. THIERRY FISCHER BBC NATIONAL ORCHESTRA OF WALES  HYPERION CDA 67817. ROMANTIC PIANO CONCERTO SERIES # 55

A recording for those who think C-M. Widor only wrote a famous Toccata for Organ to be used at Easter or weddings. These two bravura concerti and the brilliant “Fantasie” are simply fabulous music. A second set has appeared on Dutton/Epoch but seems to be hard to find. With great sound and easy availability, this is the one to have for sure.

6) HAVERGAL BRIAN: SYMPHONY # 1 “GOTHIC”. BBC NATIONAL ORCHESTRA OF WALES, BBC CONCERT ORCHESTRA, SOLOISTS AND CHOIRS HYPERION CDA679712

Renowned for its listing in the Guinness Book of World Records as the longest symphony, the Gothic is, of course, rarely performed. But on July 17 2011, over 800 musicians under the direction of Martyn Brabbins performed this monster at a Royal Albert Hall Proms Concert. This is a live recording in fine sound and likely the best performance we’ll hear in a lifetime. 

7) HAVERGAL BRIAN: ORCHESTRAL MUSIC VOL. 1. BURLESQUE VARIATIONS ON AN ORIGINAL THEME, ENGLISH SUITE NO. 5, RUSTIC SCENES, ELEGY, LEGEND: “AVE ATQUE VALE”. GARRY WALKER BBC SCOTTISH  SYMPHONY ORCHESTRA. TOCCATA CLASSICS TOCC 00110

Every few years, Toccata Classics gives us some gems from the vast oeuvre of Havergal Brian, he of 32 symphonies and tons of unperformed and even lost works. In 2005 a recital of songs was well received and a welcome addition. This year Toccata seems to be embarking on an orchestral series, hopefully to include the symphonies, since the Naxos series seems to be abandoned. Volume 1 contains premiere recordings, first studio or professional recordings of works ranging from 1903 to 1968.

8)  HAVERGAL BRIAN: ORCHESTRAL MUSIC VOL. 2 MUSIC FROM THE OPERAS.  SYMPHONIC VARIATIONS ON ‘HAS ANYBODY HERE SEEN KELLY?’, THREE PIECES FROM ‘TURANDOT’, FAUST: NIGHT RIDE OF FAUST AND MEPHISTOPHELES, THE CENCI: PRELUDIO TRAGICO,  A TURANDOT SUITE (ARR. MALCOLM MACDONALD). GARRY WALKER BBC SCOTTISH SYMPHONY ORCHESTRA. TOCCATA CLASSICS TOCC 00113

Long neglected Havergal Brian (1876–1972) is having a banner year. His music is interesting and always colorful, albeit frequently clunky and not always structurally sound. This disc features orchestral excerpts from some of his 5 unperformed operas.

9) MARTINU SYMPHONY # 4, TRE RICERCARI, PIANO CONCERTO # 4

TURNOVSKY CZECH PHIL APEX 0927498222

Almost everyone first heard this wonderful Symphony via this old Turnabout LP that has seen several iterations over the years. Now available in a budget CD with great sound and couplings.

10)  MICHELLE BREEDT, SOPRANO NINA SCHUMANN, PIANO: “SHAKESPEARE INSPIRED”  TWO PIANISTS RECORDS 1039077

South African-born Michelle Breedt is featured in this innovative Shakespeare-in-song collection from Two Pianists Records, also from South Africa. Just about every English composer of note from Arne through Coates, Parry, Delius, Vaughan Williams and on to Britten and Rubbra is included. Most entertaining and enlightening.

11) ANDRZEJ PANUFNIK: SYMPHONIE ELEGIACA (NO. 2), SINFONIA SACRA (NO. 3), SYMPHONY NO. 10.  KONZERTHAUSORCHESTER BERLIN. LUKASZ BOROWICZ CPO-777 683-2

These works have all received fine performances before, especially the popular Sinfonia Sacra. But this finely played and recorded disc from the Polish Radio Symphony is especially sweet since Panufnik was exiled from and his music banned in his native Poland for so long. Volume 4 of an ongoing series of his symphonic works.

12) ALLAN PETTERSSON: SYMPHONIES NOS. 1 (ARR. LINDBERG) SYMPHONY #  2 NORRKÖPING SYMPHONY ORCHESTRA CHRISTIAN LINDBERG BIS-1860 (PLUS DVD)

When I am depressed and ready to jump off a bridge, I listen to the music of Pettersson and suddenly I realize I am not as bad off as I thought. Pettersson’s music, from his first symphony to his last works, is relentlessly gloomy, dark, mysterious and angry; much like the man himself. Yet it is sincere and well written which is what makes it so interesting. The early, incomplete first Symphony is a performing edition by Lindberg receiving its first recording.

13) IVES: 4 VIOLIN SONATAS HILARY HAHN VIOLIN, VALENTINA LISITSA, PIANO DEUTSCHE GRAMMOPHON  001608202

Amazing that an Ives recording has been at the top of the Classical Music charts for a good part of the year, displacing the usual “crossover” glorp. Maybe the boys are buying the album because of the two pretty ladies on the cover. Whatever the motive, finest performances we can expect in a long time of these quirky and even fun pieces.