In Benjamin Appl’s latest venture, “SCHUBERT Lieder with Orchestra,” the age-old question is posed — do we really need orchestral versions of Schubert’s cherished lieder? As the album unfolds, listeners are taken on a fascinating exploration through arrangements spanning centuries, offering a panoramic view of this controversial practice.

What immediately strikes the ear is the nuanced variety among the arrangers. The youthful Webern brings a distinctive touch, infusing finely mixed orchestral colors that lend an ominous and uncanny aura to ‘Ihr Bild’ and ‘Der Wegweiser.’ Britten, on the other hand, introduces a delightful clarinet in ‘Die Forelle’ that is irresistible. Reger, motivated by a desire to break free from convention, presents varying degrees of success in his arrangements. ‘Nacht und Träume’ is a highlight, executed with finesse, while ‘Erlkönig’ exudes undeniable vigor. Yet, in the hands of various arrangers, strings sometimes smooth over the original textures, and woodwind counterpoints risk veering into the realm of kitsch.

Appl, guided by the skilled conductor Oscar Jockel, showcases a steadfast belief in these orchestrations. His baritone voice, though not imposing, benefits from the meticulous engineering, allowing intricate details to shine through. Particularly adept in more intimate numbers, Appl proves to be an intelligent and sensitive communicator of the lyrics. However, challenges emerge in moments demanding vocal authority and grandeur.

Oscar Jockel’s adept shaping of accompaniments, coupled with the commendable performance of the Munich orchestra, underscores the conviction behind these orchestrations. While the debate about the necessity of rearranging Schubert’s lieder lingers, Appl and Jockel make a compelling case through their performances. Despite occasional concerns about smoothing textures and touches of kitsch, this exploration of orchestral adaptations is a captivating journey. Regrettably, the absence of texts or translations in the BR-Klassik presentation leaves a lyrical void for the discerning listener.

In essence, “SCHUBERT Lieder with Orchestra” is a daring expedition into uncharted territory, leaving the lingering question of necessity unanswered but offering a captivating array of orchestrations for those willing to embark on this musical odyssey.

The latest offering, Painted Light, by the Solem Quartet, leads the listener through a diverse collection of contemporary works. The album’s title suggests a thematic exploration of the relationship between music and light, although this connection is not universally applied across all compositions. The standout feature of this album lies in its ability to weave together an array of styles, showcasing the versatility and virtuosity of both the composers and the performers.

Edmund Finnis’s Quartet No. 3 unfolds with a majestic presence in eight short movements, its subtitle ‘Devotions’ defining its character. Much of the composition is slow-paced, and even when rhythmic activity emerges, it doesn’t disrupt the stately harmonic progress. Tonally based, the quartet carries a quasi-religious feeling with echoes of plainsong. Commissioned by the Solem Quartet, the performers wholly immerse themselves in the idiom, bringing out the full depth and nuance of Finnis’s creation.

Lili Boulanger’s Nocturne, originally known for violin and piano, finds a new life in this rendition for string quartet. While the connection between early 20th-century French music and Impressionist painting is questioned, the quartet’s interpretation adds depth to the composition. The performance captures the essence of Boulanger’s work, revealing a harmonious blend of emotions and technical prowess.

Henriëtte Bosmans’ String Quartet from 1927 introduces a change in pace with its contrasting dynamics and sinewy writing. The outer movements, marked by a faster tempo, showcase the quartet’s versatility, highlighting their ability to navigate through different stylistic landscapes.

Camden Reeves’s The Blue Windows, inspired by Chagall’s stained-glass America Windows, stands out as a visually evocative piece. In stark contrast to Finnis’s work, Reeves employs sparse textures, strategic silences, and fractured tonality, creating a composition that exudes power through patient pacing. The Solem Quartet’s commission results in a performance that breathes life into the visual inspiration behind the piece.

Ayanna Witter-Johnson’s World introduces a unique interplay of vocals and instrumentation, using rests to inflect her expressive delivery. The strategic use of silences adds a distinctive touch to the composition, creating moments of reflection and contemplation.

The album concludes with an arrangement of Joni Mitchell’s classic, Both Sides Now. While this rendition takes the song into more complex territories, the sympathetic performance by the ensemble preserves the simplicity and emotional depth of the original.

Painted Light clearly shows the Solem Quartet’s ability to seamlessly navigate through a diverse repertoire. The album not only showcases the technical prowess of the performers but also highlights the richness and variety within contemporary chamber music. Each piece, with its unique character, contributes to a harmonious tapestry of musical colors that captivates the listener from start to finish.

Erich Wolfgang Korngold’s legacy as a composer often rests on his operas and film scores, yet his contributions to chamber music are equally noteworthy. The Tippett Quartet’s latest release featuring Korngold’s String Quartets Nos. 1–3 brings these lesser-known gems to the forefront, showcasing the evolution of his compositional style from his early years in Vienna to his Hollywood endeavors.

The passage commences with the First String Quartet, completed in 1923, where Korngold displays a departure from his lush harmonies of youth towards a more robust and acerbic sonic landscape. The Tippett Quartet expertly navigates the quartet’s four movements, from the drifting and Bartók-esque “Allegro” to the wistful “Adagio,” the spiky and playful “Intermezzo,” and the good-natured and relaxed “Allegretto” finale. Their technical precision is matched only by their ability to convey the narrative intricacies of the composition, resulting in a truly persuasive interpretation.

The Second Quartet, composed in 1933 amid tumultuous times, exhibits a charming demeanor and infectious energy. Despite facing limited exposure in the German-speaking world due to the Nazis, this quartet features delightful melodies, a crowd-pleasing “Intermezzo,” and a swoon-inducing “Tempo di Valse” finale. The Tippett Quartet’s performance captures the essence of the individual lines with remarkable clarity, all impeccably captured in the recording’s excellent sound quality.

As the quartet progresses, the listener is transported to Korngold’s Hollywood years, marked by the composition of his Third Quartet. Dedicated to Bruno Walter and premiered in Los Angeles in 1946, this quartet showcases a return to edgier harmonics in the “Allegro moderato” opening, balanced by the lighter-hearted “Scherzo” with its melting trio, incorporating music from the film score for “Between Two Worlds.” The “Sostenuto” slow movement features a haunting ‘folk melody’ borrowed from the love theme in “The Sea Wolf.” It’s in this movement that the Tippett Quartet’s performance shines the brightest, captivating the listener with its depth and emotion.

While competing interpretations by the Aron Quartett and the Doric Quartet offer their merits, the Tippett Quartet’s rendition manages to unearth the beating heart of Korngold’s music. Although the Doric Quartet may have an edge in terms of sound quality, the Tippett Quartet excels in conveying the emotional essence of the music, particularly evident in the atmospheric beauty of the Third Quartet.

In conclusion, the Tippett Quartet’s exploration of Erich Wolfgang Korngold’s String Quartets Nos. 1–3 is a must-listen experience. With their technical prowess and an uncanny ability to unravel the narrative within the music, they breathe life into these compositions, illuminating the remarkable passage from Vienna’s classical tradition to the glitzy allure of Hollywood. This album stands as a testament to the enduring power of chamber music and Korngold’s versatile genius.

“Mythes,” a violin and piano album featuring James Ehnes and Andrew Armstrong, is a compilation of recordings from 2015 and 2016. Despite its slightly unusual release format, the album showcases the virtuosity of James Ehnes and his exceptional prowess on the violin. The album’s repertoire spans a diverse selection of compositions, and while some may consider it a collection of musical odds and ends, Ehnes’ flawless performances make it a captivating listening experience.

The album’s centerpiece is Karol Szymanowski’s “Mythes,” a set of three tone poems inspired by Greek mythology. Ehnes’ rendition of this work is particularly noteworthy, as he navigates the intricate technical challenges with remarkable skill. Szymanowski’s music, though imbued with Impressionist elements, possesses a unique character that distinguishes it from mere imitation. With each movement depicting a different Greek myth, Ehnes captures the emotional depth and vivid imagery of the composer’s intentions.

Ehnes’ violin mastery shines throughout the album, and his interpretation of the various pieces demonstrates his unwavering commitment to musical excellence. The third movement of “Mythes” stands out, featuring quarter tones that demand a high level of precision, which Ehnes executes with his characteristic finesse.

The album takes a somewhat unexpected turn with its extensive list of encores. Ranging from Tchaikovsky to contemporary compositions like James Newton Howard’s piece, these encores showcase Ehnes’ versatility and ability to seamlessly navigate a wide range of musical styles. Notably, Ehnes’ rendition of “Flight of the Bumblebee” exhibits his technical brilliance and precision.

Among the encores is the charming “Sicilienne,” once attributed to Maria Theresia von Paradis, and famously performed at the wedding of Prince Harry and Meghan Markle. This inclusion adds a touch of historical significance and whimsy to the album.

While “Mythes” may not be considered an essential album in terms of groundbreaking repertoire, its value lies in its ability to showcase James Ehnes’ exceptional talent and artistry. Ehnes fans will undoubtedly appreciate his consistently strong performances and the opportunity to hear him tackle a diverse array of musical selections.

“Mythes” offers listeners a glimpse into the virtuosic world of James Ehnes, accompanied by Andrew Armstrong’s skilled piano accompaniment. The album’s mix of Szymanowski’s “Mythes” and a varied assortment of encores creates a musical journey that may feel like a curated assortment, but one that highlights Ehnes’ undeniable brilliance as a violinist.

Martin Haselböck’s deep-rooted affinity for Franz Liszt’s compositions is once again illuminated in his latest album “Liszt: Orchestral Songs.” Alongside his exceptional ensemble, the Orchester Wiener Akademie, Haselböck introduces a period-informed interpretation that both reinvigorates familiar works and unearths hidden gems. This collection not only showcases his prowess as a seasoned Lisztian but also highlights the richness of Liszt’s lesser-known orchestral songs.

The album’s standout feature is undoubtedly the inclusion of three premiere recordings. One such gem is “Die Vätergruft,” orchestrated during Liszt’s final year and unveiled in London shortly before his passing. The orchestration vividly paints a sepulchral atmosphere, with eerie percussion, haunting trombones, and triumphant trumpets interweaving to encapsulate the protagonist’s poignant surrender to death’s embrace. Equally captivating premieres are “Weimars Toten,” a centenary tribute to Goethe, and “Der Titan,” enriched by the addition of a male voice chorus led by the commanding Tomasz Konienczny.

Among the selections from 1860 are Liszt’s arrangements of Schubert’s songs, coupled with three of his own compositions. These interpretations present a mixed palette. While “Die junge Nonne” occasionally plods in its orchestral storm, “Erlkönig” propels the listener into a tempestuous journey with Thomas Hampson delivering a commanding performance that preserves the child’s voice from caricature. The most triumphant of these renditions is “Der Doppelgänger,” cocooned in the melancholic shades of lower strings, a masterful display of orchestral finesse.

The album unfolds with Liszt’s own “Die Lorelei,” entrancingly brought to life by mezzo Stephane Houtzeel’s velvety tones. Haselböck masterfully navigates Liszt’s intricate orchestration, building to a climactic crescendo that mirrors the churning waves of the Lorelei’s lore. Thomas Hampson dominates the majority of the songs, showcasing his compelling storytelling through exemplary diction and an authoritative command of the material. While the vocal execution occasionally exhibits unevenness, Hampson’s profound connection with the material remains undeniable.

In “Liszt: Orchestral Songs,” Martin Haselböck and the Orchester Wiener Akademie have presented a meticulously crafted tribute to Franz Liszt’s diverse musical palette. The album not only unearths forgotten compositions but also reinvigorates well-known works with a period-informed approach. The premiere recordings, in particular, grant listeners a glimpse into Liszt’s multifaceted genius. Despite minor vocal inconsistencies, the album successfully captures the emotional essence and historical context of Liszt’s orchestral songs, solidifying Haselböck’s position as a notable interpreter of this rich repertoire.

In the world of contemporary classical music, György Ligeti’s compositions stand as a tribute to the boundless creativity of the human mind. The 2017 live recording reissue of “Ligeti: Kammerkonzert & Other Works,” featuring Les Siècles under the baton of François-Xavier Roth, emerges as a vivid showcase of Ligeti’s intricate chamber pieces. Like uncovering a finely crafted mosaic, this collection captivates listeners with its nuanced timbres and virtuosic interpretations.

The album initiates with the Wind Quintet version of the “Six Bagatelles,” a transformation of Ligeti’s piano composition, Musica ricercata. From the outset, the ensemble’s remarkable sensitivity to tonal nuances is evident. Les Siècles’ history of period-instrument performance likely contributes to their mastery of color, as every note is meticulously weighed and woven into the ensemble’s fabric. The result is a mesmerizing interplay of tones, painting each piece with captivating shades of emotion.

At the heart of this collection lies the Kammerkonzert, a composition Ligeti described as having “four movements corresponding to different types of motion.” Employing his signature micropolyphony technique, reminiscent of his renowned Atmosphères, Ligeti constructs ethereal soundscapes that challenge the listener’s preconceptions of texture and form. The Kammerkonzert demands attentive listening, and Les Siècles, under Roth’s guidance, deftly navigate its intricate passages. By meticulously delineating each individual line, the ensemble creates a mesmerizing auditory tapestry—a sonic cat’s cradle that delights the ear as it unfurls.

The album’s culmination arrives with the Ten Pieces for Wind Quintet, a showcase of virtuosity that pushes each ensemble member to their limits. The juxtaposition of movements—ranging from the demanding Prestissimo leggiero e virtuoso to the agile Presto staccatissimo e leggiero—creates a relentless surge of musical energy. Les Siècles’ ability to navigate these challenges seamlessly is a testament to their exceptional skill and cohesion.

In summary, “Ligeti: Kammerkonzert & Other Works” is a treasure trove of meticulously crafted performances that breathe new life into Ligeti’s intricate compositions. Les Siècles and François-Xavier Roth have demonstrated a profound understanding of Ligeti’s musical language, offering listeners an auditory experience that goes beyond conventional boundaries. This release stands as a tribute to the ensemble’s artistry and their dedication to presenting contemporary classical music with precision and passion. For aficionados of Ligeti’s avant-garde brilliance, this album is an essential addition to their collection.

In “Divine Music: An English Songbook,” countertenor Iestyn Davies and pianist Joseph Middleton embark on an extraordinary exploration of the intersection between beauty and sacredness. In a world where the divine often encompasses both the ethereal and the exquisite, this album takes listeners on a sonic journey that blurs the lines between the earthly and the spiritual. Through a captivating selection of English songs spanning centuries, Davies and Middleton create a realm of musical transcendence that is both enchanting and thought-provoking.

The juxtaposition of Davies’s countertenor voice with Middleton’s piano arrangements immediately captures the listener’s attention, setting the stage for a captivating experience. The collision of historical periods is masterfully executed, where 17th-century compositions harmonize with 21st-century creations, creating a sonic tapestry that feels both timeless and contemporary. This album stands as a testament to the evolution of the countertenor tradition, exemplifying how the legacy of past luminaries like James Bowman has been carried forward by this new generation.

The album’s centerpiece is Nico Muhly’s “Four Traditional Songs” and the Richard III-inspired ‘Old Bones,’ both of which were specially commissioned for Davies. Muhly’s compositions offer a delicate blend of rhapsody and ingenuity, evoking a sense of elegance that resonates throughout the entire album. In ‘Old Bones,’ Davies’s performance exudes unexpected sentimentality, transforming the story of Richard III’s discovery into a poignant elegy. This sentimentality finds a kindred spirit in Howells’s ‘King David,’ as Davies’s ethereal delivery is complemented by Middleton’s minimalist accompaniment, allowing the music’s inherent beauty to shine through.

The album also features Thomas Adès’s ‘Coffee-Spoon Cavatina’ from the opera “The Exterminating Angel,” a clever and witty piece that provides a whimsical contrast to the ethereal themes explored earlier. With a playful nod, Adès reminds us that the pursuit of transcendence is fleeting, bringing us back to the realm of the everyday.

Among the album’s highlights are the renditions of Butterworth’s “Shropshire Lad” songs, where Davies infuses each line with a sense of fragility and wistfulness. Purcell’s songs, arranged by Adès, receive a fresh treatment that enhances the timeless melodies. In particular, ‘Evening Hymn’ is delicately adorned, creating a mesmerizing interplay between Davies’s vocals and Middleton’s piano accompaniment.

“Divine Music: An English Songbook” ultimately succeeds in its mission to explore the connection between beauty and sacredness in music. Iestyn Davies’s versatile countertenor voice, coupled with Joseph Middleton’s sensitive and nuanced piano arrangements, transports listeners into a realm where centuries coalesce, and emotions transcend the mundane. This album is a masterful testament to the power of music to evoke the divine, leaving listeners contemplating the ephemeral nature of true transcendence.