In their latest release, “Music to Hear …,” violists Richard Boothby and Asako Morikawa offer a captivating exploration of Alfonso Ferrabosco’s lesser-known compositions. This collection showcases 23 pieces from Ferrabosco’s 1609 publication “Lessons for 1, 2 & 3e Viols,” shedding light on the musical talents of a historically significant composer and performer. Boothby’s past accomplishments, especially within the realm of English music for the viol, underscore his authority as an interpreter of Ferrabosco’s work.

Alfonso Ferrabosco II, the illegitimate son of Alfonso Ferrabosco the elder, was a prominent musician in England during the early 17th century. His role as a court musician under Queen Elizabeth and later King James VI of Scotland granted him the opportunity to collaborate with renowned artists like Ben Jonson and Inigo Jones on court masques and other musical endeavors. This disc showcases a selection of his compositions for the lyra-viol, an instrument with six strings that allowed for intricate chords and arpeggiated textures, reminiscent of the lute.

Boothby and Morikawa’s performances exhibit a deep understanding of the intricacies of Ferrabosco’s music. The duo’s interpretations beautifully capture the essence of these compositions, revealing the composer’s thought processes and emotional nuances. The preludes on this recording exude a sense of improvisational exploration, akin to Frescobaldi’s keyboard toccatas. Boothby’s playing showcases an uncanny intimacy with the music, bringing out the subtleties that make Ferrabosco’s work so engaging.

The diverse range of dance forms featured on the album, such as the almaines and corantos, highlights Ferrabosco’s compositional skill and inventiveness. Boothby’s meticulous attention to detail distinguishes the different dance types, delivering performances that are both lively and expressive. The corantos, for instance, demonstrate a lighter texture and a more straightforward rhythm compared to the almaines, showcasing Boothby’s aptitude for highlighting the intricacies of each dance.

Ferrabosco’s music also conveys melancholic moments and flashes of joy, both of which Boothby captures with his expressive playing. The deep understanding between the violists and Ferrabosco’s compositions results in performances that transcend mere technical execution, breathing life into each piece. It’s as if Boothby and Morikawa are engaged in a musical conversation with Ferrabosco across the centuries.

The historical significance of Ferrabosco’s contributions to English music, along with Boothby and Morikawa’s masterful interpretations, underscores the value of this recording. “Music to Hear …” invites listeners to explore the subtleties and complexities of Ferrabosco’s work and offers a rewarding listening experience for lovers of both early music and the viol. Boothby’s ability to bring out the emotions embedded in Ferrabosco’s compositions turns this disc into a valuable addition to any collection, making the case for the enduring relevance of this lesser-known composer.

_{Barbara Clark, December 2023}

Mary Bevan, renowned for her exceptional interpretations of art songs, continues to captivate with her latest release, “Visions Illuminées,” an all-French program that showcases her masterful command of vocal expression. Collaborating with Joseph Middleton, the 12 Ensemble, and the Ruisi Quartet, Bevan delivers an enchanting collection of songs that range from late 19th-century classics to modern compositions, creating a mesmerizing tapestry of musical and emotional colors.

At the heart of the album lies Benjamin Britten’s “Les Illuminations,” a work rich in emotional depth and complexity. Bevan’s delicate yet expressive soprano voice, coupled with the nimble and transparent playing of the 12 Ensemble, breathe new life into this celebrated composition. The ensemble’s lightness and sensitivity complement the emotional subtleties of the piece, while Bevan’s ethereal singing, as demonstrated in “Phrase” and “Antique,” offers moments of sheer transcendence. The delicate interplay between the soprano and the ensemble is a testament to the musicians’ synergy and interpretive prowess.

Surrounding “Les Illuminations” are other French gems, both familiar and lesser-known. Mary Bevan’s exploration of Maurice Ravel’s “Un grand sommeil noir,” accompanied by Robin Holloway’s interludes, unveils a modern twist on these late 19th-century songs. Bevan’s surprising depth in the lower register adds a layer of richness to her interpretation. In the “Quatre Mélodies de Verlaine” by Debussy, the Ruisi Quartet’s intimate presence adds a fittingly delicate accompaniment, allowing Bevan’s charm to shine, especially in the whimsical “Mandoline.”

A quartet of isolated songs, presented in rarely heard instrumental arrangements, further highlights Bevan’s versatility. From Fauré’s “Clair de Lune” to Duparc’s poignant “Chanson triste,” Bevan’s emotional range and the finely nuanced interpretations of the accompanying ensembles create a uniquely enchanting experience. Chabrier’s “Tes yeux bleus,” orchestrated by the composer himself and recorded here for the first time, showcases Bevan’s ability to evoke longing and sentiment through her voice. Chausson’s “Chanson perpétuelle” adds a touch of Wagnerian influence, gracefully performed by Bevan.

The album’s delightful culmination is the inclusion of five serenades by Augusta Holmés, arranged for voice and piano quintet. Bevan’s emotive and sincere delivery turns these charming parlour songs into deeply touching pieces. Her golden tones blend harmoniously with the enchanting melodies, providing a sweet conclusion to an already exceptional collection.

Throughout “Visions Illuminées,” Joseph Middleton’s sensitive and sparkling piano accompaniment, the expressive artistry of the 12 Ensemble, and the refined contributions of the Ruisi Quartet create an exquisite backdrop for Mary Bevan’s vocals. The album, not only a showcase of Bevan’s vocal mastery but also a testament to her ability to interpret and connect with a wide array of musical styles, resonates with beauty and emotional resonance.

In a landscape of numerous renditions, Mary Bevan’s “Visions Illuminées” stands out as a treasure trove of captivating performances, both through the renowned and the lesser-known works it features. With its meticulously curated program, exceptional musicianship, and Bevan’s luminous voice, this album is a showcase of the enduring power of art song interpretation.

_{Mark Jordan, December 2023}

In the tapestry of classical music, few instruments evoke the depths of emotion and versatility quite like the violin. With each sweeping note, it tells a story that transcends time and tradition. The album “Violin Concertos” masterfully weaves this narrative, showcasing the exceptional artistry of Théotime Langlois de Swarte on the violin, accompanied by the accomplished ensemble Les Ombres, under the direction of Margaux Blanchard and Sylvain Sartre. Through the music of three Baroque luminaries—Antonio Vivaldi, Pietro Antonio Locatelli, and Jean-Marie Leclair—the album invites listeners on a captivating journey through the evolution of the violin from an ensemble member to a solo virtuoso.

Opening a door to the past, the album pays homage to the pioneers of the solo violin concerto genre, tracing its roots back to the early 17th century. As the album progresses, it chronicles the evolution of the instrument and its performers, from Antonio Vivaldi’s vibrant compositions to Pietro Antonio Locatelli’s daring technical feats, and finally, Jean-Marie Leclair’s elegant French influence.

Théotime Langlois de Swarte’s performance is nothing short of remarkable. His technical prowess and emotional depth are evident from the outset, as he masterfully navigates the intricate passages and expressive melodies. The standout feature of Langlois de Swarte’s performance is his interpretation of the capriccios in Locatelli’s concertos. These intricate and challenging improvisatory sections showcase his remarkable skill and ability to bring the music to life with spontaneity and brilliance.

The collaboration between Langlois de Swarte and Les Ombres is a harmonious blend of virtuosity and ensemble precision. The ensemble’s impeccable timing and sensitive accompaniment enhance the soloist’s performances, creating a seamless musical dialogue that captures the essence of each concerto.

The choice of works on this album is carefully curated to showcase the distinct styles and innovations of each composer. Antonio Vivaldi’s concertos brim with exuberance and energy, reflecting his own virtuosity as a violinist. Pietro Antonio Locatelli’s compositions push the boundaries of violin technique with their inclusion of capriccios, serving as a testament to the artist’s technical prowess. In contrast, Jean-Marie Leclair’s concertos add a touch of French elegance, demonstrating the violin’s evolution in different musical traditions.

The technical brilliance showcased throughout the album never overshadows the musicality. Langlois de Swarte artfully balances the virtuosic demands with sensitivity, ensuring that each piece is more than a mere display of technical feats. The emotional depth he brings to his interpretation elevates the performances beyond mere virtuosity, evoking the varied emotions and narratives of each concerto.

“Violin Concertos” is not only a testament to the technical skills of Théotime Langlois de Swarte but also a captivating journey through the history of the violin concerto. The album’s careful selection of pieces, Langlois de Swarte’s stunning performances, and the ensemble’s impeccable support make it a must-listen for both aficionados of the violin and those looking to explore the rich tapestry of Baroque music. This recording is an engaging exploration of the violin’s evolution from ensemble player to solo star, all brought to life with undeniable musicality and technical brilliance.

In the rich tapestry of Baroque music, the violin emerged as a stellar instrument, capturing hearts with its virtuosic displays and emotive capabilities. The album “Duello d’archi a Venezia” presents a captivating journey through the works of four remarkable violinist-composers from the early 18th century. Chouchane Siranossian, accompanied by the Venice Baroque Orchestra under the direction of Andrea Marcon, leads listeners into the enchanting world of Vivaldi, Locatelli, Veracini, and Tartini, delivering a performance that masterfully showcases the evolution of the solo concerto.

The album opens with Antonio Vivaldi’s “Il grosso Mogul,” an early exemplar of virtuosity. This concerto shines as a prime showcase of Vivaldi’s technical prowess and innovation. Chouchane Siranossian’s rendering captures the flamboyance of the composer’s writing, with her violin dancing effortlessly through intricate double stopping and lightning-fast passages. The Venice Baroque Orchestra’s accompaniment, led by Marcon, provides a solid foundation, allowing Siranossian to take center stage.

Pietro Antonio Locatelli’s works, including his Op. 3 concertos, reveal a composer who bridges the gap between technical brilliance and expressiveness. Siranossian’s approach highlights the balance between the dazzling solo passages and the extended cadenzas, or capricci, which she navigates with finesse. The concerto’s captivating slow movements reveal a more introspective side of Locatelli’s composition, and Siranossian’s sensitive phrasing and ornamentation breathe life into these moments.

Francesco Maria Veracini’s “Concerto a 8 stromenti in D” offers a grandeur akin to Vivaldi’s concerti a molti stromenti. Here, Siranossian’s violin competes for attention with pairs of trumpets and oboes, creating a vibrant interplay. Her virtuosity blends seamlessly with the orchestra’s energetic accompaniment, resulting in a dynamic performance that encapsulates Veracini’s bold compositional style.

The album concludes with Giuseppe Tartini’s violin concerto in F, offering a departure from the flamboyant virtuosity found in the previous works. Tartini’s compositional approach prioritizes expressive depth over technical display, and Siranossian adeptly captures the introspective nature of this piece. Her nuanced interpretation breathes life into the intricate ornamentation and lyrical lines, inviting listeners into Tartini’s world of emotion and sensitivity.

Throughout “Duello d’archi a Venezia,” Chouchane Siranossian’s playing captivates with its technical precision, emotional depth, and vivid storytelling. Her ability to navigate the varying styles of these four violinist-composers is a testament to her artistry and understanding of the Baroque idiom. The collaboration with the Venice Baroque Orchestra, led by Andrea Marcon, is seamless, allowing for a dialogue between soloist and ensemble that enhances the music’s impact.

The album’s meticulous liner notes by Olivier Fourès provide historical context and insights into each composer’s work, enriching the listening experience. However, a minor error in the list of performers should have been addressed in proofreading.

“Duello d’archi a Venezia” offers a compelling journey through the evolution of the Baroque violin concerto, showcasing the technical brilliance and expressive depth of four outstanding composer-performers. Chouchane Siranossian’s virtuosity, combined with the Venice Baroque Orchestra’s artistry, makes this album a must-listen for enthusiasts of the Baroque era and beyond.

In an astute pairing that might raise eyebrows initially, Liya Petrova, the gifted Bulgarian violinist, brings together Walton’s Violin Concerto and Respighi’s Violin Sonata in a display of artistic prowess that finds a unique connection between these two diverse compositions. Both hailing from Italy, a country that exudes the essence of the Mediterranean, these pieces, when played by Petrova, seem to resonate with a shared vibrancy and fervor.

From the very first notes, a common thread of opulence and warmth weaves through both works. Petrova’s interpretation taps into this quality effortlessly, allowing the concerto’s spontaneous character to shine and skillfully molding its enchanting themes. The allure of her performance is particularly evident in the velvety descents to the G string, which she imbues with a seductive charm that is hard to resist.

Petrova’s approach to the recurring themes in the concerto is remarkable. As the woodwinds echo the opening motif towards the movement’s conclusion, her violin weaves a delicate tapestry around the melody, infusing it with tender introspection. At the same time, she captures Walton’s spirited essence, embracing the vivacious syncopation that underscores his distinct musical personality.

The recording’s immediate presence is an asset, effectively highlighting the soloist’s virtuosity while allowing the orchestra’s intricate layers to unfold. Guided by Duncan Ward, the Royal Philharmonic Orchestra maintains a responsive synergy with Petrova, resulting in a captivating interplay of energy and musical dialogue.

While Respighi’s Sonata in B minor might be overshadowed by more well-known compositions, Petrova’s performance thrusts it into the limelight. The transition from orchestra to piano, skillfully navigated by Adam Laloum, doesn’t diminish the piece’s impact. The first movement’s opening theme, while distinct, carries a distant echo of the concerto, forming an unexpected bridge between the works. Respighi’s signature neoclassical flavor is evident, intertwined with a theatrical flair that crescendos in the passionate climax of the slow movement.

However, Petrova’s true mastery lies in her ability to retain the sonata’s lyrical essence. Her Slavic temperament infuses the expressive passages with profound emotion, adding a layer of depth to the effusive writing. The juxtaposition of these seemingly disparate pieces, chosen with thoughtful intent, creates a unique synergy that enhances the appreciation of both compositions.

In summation, Liya Petrova’s performance of Walton’s Violin Concerto and Respighi’s Violin Sonata is a testament to her artistic finesse. Her capacity to capture the sultry allure and operatic grandeur embedded in both pieces showcases her deep grasp of their underlying spirit. Petrova’s deliberate pairing of these compositions underscores the fascinating interplay between seemingly unrelated works, revealing the unifying influence of the Mediterranean’s musical charm.

John Corigliano, a luminary of contemporary classical music, finds his profound piano compositions brought to life in a splendid new album titled “John Corigliano’s Piano Music.” Presented by the skillful hands of pianist Philip Edward Fisher and the Albany Symphony Orchestra under the direction of David Alan Miller, this album is a masterful celebration of Corigliano’s intricate and diverse piano works.

Fisher’s rendition of the Concerto for Piano and Orchestra sets the tone for the album. While Corigliano’s influences, such as Bartók and Barber, are discernible, Fisher injects an invigorating freshness into the performance. The nuanced phrasing and rhythmical precision he brings to the first movement are captivating, and the interplay between piano and clarinets in the Appassionato is executed with delicate finesse. Fisher navigates the fiendish fugue of the finale with impressive dexterity, supported seamlessly by the Albany Symphony Orchestra.

In the Fantasia on an Ostinato and Etude Fantasy, Fisher showcases his remarkable interpretive skills. The Fantasia is rendered with remarkable clarity, highlighting the intricate rhythms and underlying structure of Corigliano’s composition. The Etude Fantasy’s “Ornaments” section is a tour de force of pianistic virtuosity, with Fisher’s playing maintaining astonishing clarity even in the most demanding passages. The closing “Melody” leaves a lasting emotional imprint, skillfully delivered by Fisher’s expressive touch.

The standout inclusion, “Winging It,” serves as a bridge between Corigliano’s earlier and later works. This triptych of semi-improvisational pieces exhibits Fisher’s ability to capture the essence of Corigliano’s evolving style. The middle movement, with its introspective and bluesy elements, is a true revelation. Fisher’s interpretation shines a light on the depth and complexity of Corigliano’s musical journey over four decades.

Throughout the album, Fisher’s collaboration with the Albany Symphony Orchestra, led by David Alan Miller, is commendable. The orchestral textures never overpower Fisher’s piano, maintaining a perfect balance that enhances the listening experience.

“John Corigliano’s Piano Music” pays homage to a composer who has significantly shaped contemporary classical music. Philip Edward Fisher’s profound musicianship and technical prowess breathe new life into Corigliano’s piano compositions, delivering a collection that showcases the evolution of a remarkable composer. This album stands as a testament to the enduring creativity of Corigliano and the musicians who bring his music to life, making it a must-listen for enthusiasts of modern classical music.