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Folk Trails

Folk-music has been a resource for classical composers since the beginning of the western tradition. The violin has its own folk heritage, of course, but since you can’t lug a piano from village to village, composers for that instrument have had to dig into their own musical roots to generate a folk-based keyboard repertoire, usually with refreshing results. This recital takes the listener on a journey that spans three continents, east to west, marrying the resources of the modern concert grand with the immediacy of the folk originals.

Anya Alexeyev, piano, primo
Leslie De’Ath, secondo

Linda Kouvaras: Instrumental Music, Chamber Works and Songs, Volume One

As with many other Australian composers, the music of Linda Kouvaras (b. 1960) has a strong sense of wide-open spaces, expressed in lyrical, elegiac melodic lines that soar over freewheeling Lisztian piano textures and atmospheric echoes of French Impressionism. In this first album of a series presenting all of her instrumental works, chamber music and songs written since 1991, she also addresses two major contemporary issues, with a duo for saxophone and piano exploring the human response to the COVID-19 pandemic and a song-cycle confronting domestic violence from a woman’s viewpoint.

Justin Kenealy, saxophone
Linda Barcan, mezzo-soprano
Coady Green, piano

Tchaikovsky by Arrangement: The Nutcracker and the Mouse King or The Clockmaker’s Tale: A Re-telling by John Mauceri

Tchaikovsky’s ballet The Nutcracker, which has its origins in a novella by E. T. A. Hoffmann, contains some of the best-loved music ever written. But its composer wasn’t very happy with it, perhaps because the plot he was given to work with allowed him to present only a series of dances, losing the moral basis of Hoffman’s surprisingly modern tale, with its messages of inclusivity and what is now called ‘women’s agency’ – here it is the little girl who saves the prince. Hoffmann’s aspirational story continues well after the ballet ends, with the little girl, now grown up, marrying the prince, who is now king. John Mauceri has brought the ballet back to its inspiration, calling on music from elsewhere in Tchaikovsky’s orchestral output to fashion this ‘re-telling’, marrying Hoffmann’s text and Tchaikovsky’s music for the first time.

This is very much a Scottish product, by the way, even leaving aside Toccata’s Scottish origins: the orchestra is the Royal Scottish National Orchestra, John Mauceri spent seven years as music director of Scottish Opera in Glasgow, and the narrator is Alan Cumming, now a NY-based gay icon but born in Aberfeldy and brought up in Carnoustie.

Alan Cumming, narrator
Royal Scottish National Orchestra
John Mauceri, conductor

American Vignettes: Contemporary Works for Cello and Piano

Though quintessentially American in spirit, the musical snapshots in this album are as diverse as the men and women who composed them. Drawing from influences as disparate as the blues, jazz, Broadway, gospel, folksong and the wild west, these ‘American vignettes’ merge popular idioms into a new canon of the repertoire for cello and piano. The distinctive voices of six US composers, from the late twentieth and early 21st centuries, here come together to weave a virtuosic and colourful tapestry of Americana.

Aron Zelkowicz, cello
Christina Wright-Ivanova, piano

Steve Elcock: Chamber Music, Volume Two: String Quartets

The English composer Steve Elcock (b. 1957) spent years writing music without ever expecting it to be heard: based in rural France, he worked as a translator, composing in his spare time. The emergence of his orchestral and chamber music on Toccata Classics over the past few years has led to his being acclaimed as one of the most important composers at work today. This recording of his four works (to date) for string quartet confirms that judgement: all in single spans, they generate tension and energy in equal measure – animated, in one of them, by a lively sense of humour.

The Tippett Quartet
John Mills and Jeremy Isaac, violins
Lydia Lowndes-Northcott, viola
Božidar Vukotić, cello

Adam Gorb: Piano Music

The 24 Preludes of Adam Gorb (born in Cardiff in 1958 and a feature of musical life in Manchester for over two decades) follow the examples of Chopin and Shostakovich in describing a cycle of fifths – though his descend, whereas Chopin’s and Shostakovich’s go up. Like those earlier exemplars, and as with the preludes of Debussy, Rachmaninov and others, Gorb’s are miniature studies of personality and mood – charming, brittle, perky, languorous, bat-flight fast, borderline violent or tender. His Velocity does what it says on the tin: it’s a wild, even manic, chase, over rhythmically dislocating ground.

Clare Hammond, piano

Martinů: Early Orchestral Works, Volume Two

Martinů’s mature orchestral works are now a mainstay of the repertoire. But the generous quantity of orchestral music he wrote between his late teens and early thirties is as good as unknown; some of it, indeed, has never even been performed. That’s the case with the ballet Stín (‘The Shadow’) from 1916, which has its world premiere in this recording – astonishingly, in view of the quality of the music it contains. Although the action of the ballet is dark – a girl dances with her shadow in the presence of Death – Martinů’s score presents a series of remarkably buoyant and cheery dances.

Dorota Szczepańska, offstage soprano
Anna Maria Staśkiewicz, violin
Agnieszka Kopacka, piano
Sinfonia Varsovia
Ian Hobson, conductor