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.

Esa-Pekka Salonen’s latest foray into the world of Béla Bartók’s piano concertos, featuring the virtuosic Pierre-Laurent Aimard as the soloist, unveils a distinctive take on these iconic works. Aimard and Salonen, both well-versed in the intricacies of 20th-century modernist compositions, offer a new perspective that melds technical brilliance with a refined sensitivity to Bartók’s musical palette.

The album opens with Concerto No. 1, revealing an unexpected lyrical quality that breathes fresh life into Bartók’s usually intense and complex music. The first movement flows with an unusual melodic fluidity while maintaining a firm grasp on the underlying motivic structures. Aimard and Salonen seem committed to tempering the raw power of the concerto, exemplified in the outer movements. The central Andante strikes a balance between rhythmic precision and a subdued yet engaging atmosphere, displaying lean textures and clear counterpoint.

In the Second Concerto, Aimard’s collaboration with the San Francisco Symphony Orchestra’s wind section shines brilliantly. The first movement exudes a delightful playfulness and boisterous energy, reminiscent of Stravinsky’s vibrant compositions. In contrast, the Adagio captivates with its hypnotic and almost cinematic stillness. The final movement, with its vigorous rhythmic intensity, remains coherent and controlled throughout, avoiding any descent into chaos.

However, it is in Concerto No. 3 that the true revelation unfolds. Composed for Bartók’s wife, Ditta, this concerto showcases the composer’s innate talent despite his deteriorating health during its creation. Aimard and Salonen bring out the naturalness and ease in Bartók’s writing, reminiscent of great composers like Beethoven and Ellington. The first movement exudes pure elegance, with shades of Bach’s influence and neoclassical touches that link it to the approach taken in Concerto No. 1’s Allegro moderato. The finale, though slightly more deliberate in tempo, remains crisply defined in its contrapuntal lines. The Adagio religioso is a delicate gem, its pristine fragility evoking deep emotional resonance.

In conclusion, this album presents a unique and compelling perspective on Bartók’s piano concertos. Aimard’s exceptional virtuosity, coupled with Salonen’s adept direction of the San Francisco Symphony Orchestra, breathes new life into these canonical works. The recording showcases a marriage of musicality, technical prowess, and intellectual insight that benefits all parties involved. Most importantly, it unveils the hidden mellifluousness in Bartók’s compositions, even in their most rugged moments. Salonen’s distinctive touch and Aimard’s interpretive brilliance make this album a must-listen for both connoisseurs of Bartók and those discovering his music for the first time.

Described by Andrea Bocelli as his favorite tenor in the world of lyric music, guest at the world’s largest opera houses, the tenor Joseph Calleja is back with his new album »Verdi«, released by Decca Classics. On this album, Calleja delves into the bright and the dark side of Verdi’s heroic tenor roles, bringing to life Verdi’s most popular operas such as Aida, Don Carlo or Il Trovatore. He’s joined by the maestro Ramón Tebar and the dazzling Orquestra de la Comunitat Valenciana. 

Calleja started singing at the age of 16, first in his church choir and then in formal training with the Maltese tenor Paul Asciak. 

Among the arias from Il Trovatore, Don Carlo and Otello which can be found on this recording there is also “Celeste Aida” from the opening scene of Verdi’s Egyptian opera. Calleja’s new album also reflects his flourishing live career. Each of these roles highlights the tenor “Robusto” as the vocal type of an opera hero and shows Calleja’s vigorous but melodic voice.  

The understanding between Calleja and Tebar is extraordinary and that’s even more valuable in a very popular and important repertoire for the tenor, which today is considered one of the five most acclaimed in the world. 

The tenor glows commanding a program of great complexity due to the demanding level of the repertoire. His voice sounds smooth and natural, with vibrant squillo, marked expressiveness, conviction and very deeply moving, with a range of interpretive resources that goes from emotional subtlety to the unnerving emotion. 

Joseph Calleja shows once again in this Verdi recital that he is a remarkable actor, playing on a subtle and very embodied articulated style. 

The tone of Calleja in the Opening of Radames possesses a charming legato, and a finely vibrato meticulously controlled.  We can almost see the Egyptian general who certainly victorious would also want to reach the heart of his secretly beloved Aida… Calleja’s voice is highly distinctive especially for this “old school” timbre, that of the tenors of the early twentieth, the color of feeling, rather than trumpeting or even artificial projection. 

The orchestra under the wise and poetic baton of Ramon Tebar, is always the service of the soloist, accompanying him and masterfully responding to the conductor’s demands. The result is a great combination of wisdom, technique and profound feeling that brings the magic right to the listener’s ears.

In “FIVE SOULS,” Tan Dun takes listeners on an ethereal journey through the realms of ancient philosophy and modern technology, merging the wisdom of Taoist thinkers with the limitless possibilities of sound. This audacious “metaverse symphony” is a testament to Tan Dun’s innovative spirit and his ability to seamlessly blend Eastern and Western musical traditions.

The five movements of the symphony, each named with poetic precision, encapsulate Tan Dun’s ambitious exploration of sound as a conduit for cosmic ideas. “H2O Tempo” flows like water, its fluidity and rhythm mirroring the essential nature of existence. The composer’s connection to Taoist principles is palpable as the music evokes the Tao’s core philosophy of harmony with nature.

In “Horch,” listeners are immersed in a sensory experience that mirrors the universe’s duality. The interplay of black and white, light and shadow, yin and yang, unfolds through the music’s rich textures and intricate melodies. Tan Dun’s orchestration becomes a canvas where colors of sound paint a vivid landscape.

The convergence of Eastern and Western cultures, a hallmark of Tan Dun’s work, finds its zenith in “WE (West and East).” Here, disparate musical traditions unite, creating harmonies that transcend cultural boundaries. The composer’s ability to bridge these worlds, honed through his own diverse education and experiences, shines brilliantly.

“Meta Voyage” propels listeners through dimensions, both seen and unseen. The symphony’s immersive recording techniques, realized in an old factory setting, make every note feel like a brushstroke on the canvas of the cosmos. Tan Dun, the conductor of this auditory journey, guides us through his sonic universe.

The finale, “Dream Rhythm,” is a captivating culmination of the symphony’s exploration. With the mastery of a true visionary, Tan Dun weaves dreams and rhythms into a sonic tapestry that envelops the audience. The synergy between composition and performance achieves a profound resonance, echoing the interconnectedness of all things.

Tan Dun’s ability to embody the role of a visual artist is mirrored in his music. His training in both Eastern and Western classical traditions, coupled with his bold experimentation, has led to the creation of “FIVE SOULS” – an opus that transcends conventional boundaries. Tan Dun’s fusion of philosophies, cultures, and sounds is a reminder that music is a universal language, capable of expressing ideas beyond the confines of words.

“FIVE SOULS” stands as a testament to Tan Dun’s continued commitment to pushing artistic boundaries. With this symphony, he not only bridges the past and the present but also propels us into the uncharted territories of the metaverse. The collaboration between Tan Dun and Decca Classics is a union of visionary artistry and technical innovation, resulting in a musical experience that resonates on multiple levels. This album is not merely a collection of compositions; it’s a transformative journey through the cosmos of sound.

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.