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Volume 25 Issue 4 - December 2019 / January 2020

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Welcome to our December/January issue as we turn the annual calendar page, halfway through our season for the 25th time, juggling as always, secular stuff, the spirit of the season, new year resolve and winter journeys! Why is Mozart's Handel's Messiah's trumpet a trombone? Why when Laurie Anderson offers to fly you to the moon you should take her up on the invitation. Why messing with Winterreisse can (sometimes) be a very good thing! And a bumper crop of record reviews for your reading (and sometimes listening) pleasure. Available in flipthrough here right now, and on stands commencing Thursday Nov 28. See you on the other side!

more edge to the brash

more edge to the brash and boastful Stones. Starkey’s cello is warm and lyrical throughout and Ippolito’s accompaniment balanced and tasteful. Although Braun’s diction is clear, I wish the texts had been included, along with some information about the composer and poet, their fame notwithstanding. The disc concludes with Previn’s Vocalise written for, and first recorded by, Sylvia McNair and Yo-Yo Ma with the composer at the piano in 1995. It makes a beautiful conclusion to this all-too-brief, 22-minute tribute. Concert note: Kira Braun is featured in the Salvation Army’s Christmas Gala at Roy Thomson Hall on December 14. One disc I’ll certainly not be able to do justice in this limited space is guitarist Daniel Lippel’s double CD Mirrored Spaces (FCR239 I would normally be daunted by the prospect of two and a half hours of solo guitar music, but to my delight Lippel has produced such a diverse program that I didn’t notice the time passing. First and foremost, let me state that although he is a truly accomplished classical guitarist, from the dozen composers represented here, there are very few offerings that would be at home on a traditional Spanish guitar recital. Even in pieces such as Lippel’s own Reflected with its quasi-Renaissance feel, our equilibrium is thrown off-kilter by rapid microtonal passages. A number of the pieces involve electronics, live or otherwise. One that particularly struck me was Christopher Bailey’s Arc of Infinity in which I found myself wondering “What if?” the subtle electronic part was transcribed for live cimbalom – how different would that piece be? At any rate, it is extremely effective. While most of the recital is played on a traditional nylon string acoustic guitar, a number of tracks employ an electric instrument, from the gentle harmonics of Sidney Corbett’s Detroit Rain Song Graffiti, to the distortion, feedback and note bending of Lippel’s concluding Scaffold (live). Interspersed throughout the two discs are the nine movements of Kyle Bartlett’s Aphorisms, all using a traditional Spanish guitar, but utilizing a number of extended techniques. If you think you already know what a guitar sounds like, or think that a double CD would be a bit “much of a muchness,” I urge you to check out this remarkable disc. Last month I wrote about Rebecca Clarke’s Viola Sonata, and the controversy it caused at the Elizabeth Sprague Coolidge-sponsored competition where the judges considered that such a beautiful piece “could not have been written” by a woman. This month Clarke has reappeared on my desk with another work that also was a runner-up in that Berkshire Festival of Chamber Music Competition, the Trio from 1921. Her Voice features the Neave Trio playing works by Clarke, Amy Marcy Cheney Beach (1867-1944) and Louise Farrenc (1804-1875) (Chandos CHAN 20139 Although Clarke (1886-1979) was a generation younger than Beach, her trio was written 17 years before that of her older colleague. Beach’s Trio, Op.150 was a mature work, written in late-Romantic style while showing the influence of French Impressionism. French composer Farrenc on the other hand, whose Trio No.1 Op.33 dates from 1843, writes in a much more Germanic fashion, honouring the genre’s origins with Haydn, and more specifically the music of Beethoven. As a matter of fact, as an amateur who has enjoying playing Beethoven trios, I feel that Farrenc’s is a welcome contribution to the repertoire and I’m glad that it has come to light. Kudos to the Neave Trio for continuing to bring lesser-known works to life in sparkling fashion. Two more composers previously unknown to me appear on the next disc, Piano Concertos by Dora Bright and Ruth Gipps (Somm Recordings SOMMCD 273 Both English, Bright lived from 1862-1951 and Gipps from 1921-1999. Bright was an accomplished and celebrated pianist of whom Liszt said “Mademoiselle, vous jouez a merveille!” and who was described by George Bernard Shaw as “a thorough musician.” In 1888 she became that first woman awarded the Lucas Medal for Composition, and, after leaving the Academy of Music in London, established herself as a double threat, performing her own Concerto in A Minor at the Crystal Palace in 1891. That impressive work is featured in its first recording on this disc with Samantha Ward as soloist. Gipps was also a stellar pianist, celebrated as a child prodigy both as performer and composer. A hand injury thwarted her performing career, but she then focused on composition and added conducting to her portfolio, becoming the first notable British woman in the field and founding several orchestras. She went on to produce five symphonies and several significant concerted works. Her Piano Concerto in G Minor dates from immediately after the Second World War and Ambarvalia, Op.70 is from 1988. Both are performed with conviction by Murray McLachlan. The Royal Liverpool Philharmonic Orchestra’s nuanced performances on this important disc are directed by Charles Peebles. Erich Wolfgang Korngold (1897-1957) was another child prodigy. Born in Vienna, his ballet Der Schneemann (The Snowman) caused a sensation when he was just 11, and his Second Piano Sonata, written at 13, was played throughout Europe by Artur Schnabel. At 21 his opera Der Tote Stadt (The Dead City) was produced in Hamburg and Cologne. Korngold composed a wealth of concert music and six operas, but is best known for the Hollywood film scores he wrote following an invitation to America from director Max Reinhardt in 1934. He stayed in Hollywood for the duration of WWII, and never returned to his homeland. Although his film scores were a huge success, revolutionizing the field along with Max Steiner and Alfred Newman, his later concert music was dismissed by the critics and cognoscenti of the time who were by then focused on the post-war avant-garde doctrines of Boulez and Stockhausen. The Symphony Op.40, was begun in 1947 while on vacation in Canada and completed in 1952. With its lush orchestration, rich melodic content and cinematic scope, the symphony was rejected by the cultural powers that were, and was not revived until the 1970s when Korngold’s star began to rise again. Korngold: Symphony in F Sharp; Theme and Variations; Straussiana is a new recording on the Chandos label featuring Sinfonia of London under John Wilson (CHSA 5220 It is a stunning realization of the symphony, but unfortunately I find the companion pieces – one written for school orchestra and the other a pastiche – to be just too much fluff. But the symphony is well worth the price of admission. The final disc is a little strange in that it no longer exists as such. Daisy DeBolt – Ride Into the Sunset was a limited edition archival collection produced by George Koller for a memorial tribute to DeBolt at Hugh’s Room back in 2011. Although perhaps best known as half of the iconic Canadian acid-folk duo Fraser & DeBolt, active in the late 1960s and early 1970s, DeBolt’s career continued as a solo artist active on the concert stage, composing for the National Film Board and participating in various theatrical productions throughout her lifetime. The recordings included in this compilation date from as early as 1971 – a track with Allan Fraser, presumably an outtake from their first album – right up to four tracks from 2008 co-written with Koller. There’s a 1975 DeBolt composition which she later choreographed for Ballet Ys, and eight tracks from the 1989 cassette-only release Dreams Cost Money. This latter features a number of familiar names including Robert 80 | December 2019January 2020

David (woodwinds), David Woodhead (bass), Brent Titcomb (vocal and percussion), Chris Whitely (trumpet), Zeke Mazurek (violin) and Scott Irvine (tuba) to name but a few. Fraser & DeBolt were a formative influence on me and it is a great pleasure to discover this trove of material as a reminder of just how innovative DeBolt was. Last month DeBolt’s estate decided to reissue Ride Into the Sunset digitally. It is available on all the major platforms, including iTunes, Apple Music, Spotify, Pandora and CD Baby. We invite submissions. CDs, DVDs and comments should be sent to: DISCoveries, WholeNote Media Inc., The Centre for Social Innovation, 503 – 720 Bathurst St. Toronto ON M5S 2R4. David Olds, DISCoveries Editor STRINGS ATTACHED TERRY ROBBINS Space restrictions make it difficult to fully describe Time & Eternity, the remarkable new CD from the brilliant and visionary violinist Patricia Kopatchinskaja with Camerata Bern (Alpha Classics ALPHA 545 This is the fifth in a series of “staged concerts,” a concept that Kopatchinskaja has been developing since 2016, and her second with this ensemble, of which she has been artistic director since autumn 2018. Described as “music made out of the blood and tears of tortured souls,” the core works are the Concerto funèbre by Karl Amadeus Hartmann, written in 1939 in response to the Nazi outrages, and Frank Martin’s violin concerto Polyptyque, inspired by six 14th-century altar panels of the Passion of Christ. That barely scratches the surface of a continuous performance that often feels like a religious service: there’s John Zorn’s solemn and moving Kol Nidre; contributions by cantors and Polish and Russian Orthodox priests; song; and, around and between the six Polyptyque movements, the Kyrie from Machaut’s Messe de Nostre Dame, transcriptions of five Bach chorales and – in place of the Crucifixion panel that Martin omitted – Luboš Fišer’s pain-laden Crux for violin, timpani and bells. It’s an enthralling and emotional journey from the opening spoken Kol Nidre to the fading tolling bell of the final track, with faultless performances from all involved. The Canadian violinist Olivier Brault is Professor of Baroque Violin at McGill University and has been active in the Baroque music world for over 30 years. In 2007 he completed a doctorate on French music for violin and figured bass, so it’s no surprise to find that his new CD, Boismortier Sonates pour Violon Op.20, beautifully performed here by Sonate 1704, the ensemble Brault formed in 2003 with Dorothéa Ventura on harpsichord and Mélisande Corriveau on bass viol, is an absolute gem (Analekta AN 2 8769 The six sonatas by the French composer Joseph Bodin de Boismortier were published in Paris in 1727, and while they show the increasing influence of Italian violin playing, the French style is still much in evidence, especially in the use of dance movements, with Giga, Corrente, Gavotta, Allemande and Sarabanda accounting for more than half of the movements. Warm, sparkling playing of richly inventive works makes for an immensely satisfying CD. You can always count on violinist Christian Tetzlaff for something insightful and challenging, and so it proves to be again in Beethoven and Sibelius Violin Concertos, his new CD with Robin Ticciati and the Deutsches Symphonie-Orchester Berlin (Ondine ODE 1334-2 Tetzlaff has recorded both concertos before, but clearly feels he has more to say – or to add, perhaps – this time around. Quite striking, given our being accustomed to the Auer, Joachim and Kreisler cadenzas, is the use of the first movement cadenza with added timpani that Beethoven wrote for his transcription for piano and orchestra, as well as cadenzas and ornamentation by Beethoven in the other two movements (again presumably backsourced from the piano version, as there were none in the original violin score), although Tetzlaff says in the booklet conversation that he has never done it differently. Insightful comments on both the Beethoven and Sibelius help to illuminate his approach to their performance and both the physical and intellectual demands. The performers are clearly of one mind in engrossing, intelligent and deeply satisfying performances. Annabelle Berthomé-Reynolds is the soloist on Bacewicz Complete Violin Sonatas, with pianist Ivan Donchev joining her in a 2-CD recital of works by the Polish composer Grażyna Bacewicz (muso mu-032 Bacewicz was an outstanding violinist as well as a more than capable pianist, and numbered seven violin concertos, seven string quartets and concertos for piano, viola and cello in her output. The five numbered sonatas for violin and piano span the period 1945-1951, with the Partita for Violin and Piano following in 1955. All display a high level of both structural assurance and familiarity with the technical and expressive potential of the instruments. There are also two powerful Sonatas for Solo Violin – the clearly Bach-inspired No.1 from 1941, written in Nazi-occupied Warsaw, and the quite progressive No.2 from 1958, with its haunting Adagio and What we’re listening to this month: Surefire Sweat " ... toe-tapping rhythms and powerful melodic lines delivered by a strong horn section, Surefire Sweat is a worthy addition to the world of world beats" - Jazz Journal, UK. Album launch at the Small World Music Centre, Toronto, January 31st! A Cheerful Little Earful Diana Panton Sweet, sparkling gems from the Great American Songbook and children's classics from Sesame Street to Walt Disney. Next performance: Registry Theatre in Kitchener, Feb. 8th. December 2019January 2020 | 81

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