This sixth symphony of Philip Glass is more like a cycle of three extended songs with orchestra. The texts for each are taken from Allen Ginsberg's tripartite Plutonian Ode. The first section invokes the name of the great American bard and early environmentalist Walt Whitman in a highly imaginative and rhetorically colorful denunciation of the contamination and pollution resulting from U.S. atomic related activities.

The second and third parts are pleas to overcome this nuclear nightmare. Naming the poem after the man-made, transuranic element plutonium couldn't be more appropriate when you consider that Pluto was the god of the underworld and the element itself is highly toxic chemically as well as a key ingredient in many nuclear weapons. The modern day Hydra of nuclear proliferation makes this symphony all the more meaningful and an artistically cogent appeal for increased, worldwide responsibility when it comes to these issues.

People usually either love or hate Glass's music, but this work with its emphasis on extended melody rather than minimalistic manipulations may well change the minds of many in the latter camp.

The composer wrote this piece with the soprano Lauren Flanigan in mind and she certainly makes a strong case for it here. The orchestral accompaniment couldn't be better and the recorded sound is superb.

As a bonus, a second disc with the poet reciting his lines over the performance is included at no extra charge.

If you find the extended lyricism of this work to your taste, do try this composer's string quartets. (P060209)

-- Bob McQuiston, Classical Lost and Found (CLOFO.com)

The legendary Wanda Landowska was really the first to popularize the harpsichord for twentieth century audiences, and the wonderfully infectious collection of selections included on this beautifully remastered disc is testimony as to how she did it.

The first half of the program is devoted to a number of Polish dances from a variety of composers and folk sources dating from the late 1500s right up through modern times. Selections of particular interest include a bourree written by Landowska herself as well as four traditional dances arranged by her. The former quotes a folk melody made famous by another composer. Can you name him [see answer]?

The remaining selections include some of the finest keyboard music ever written by such greats as Johann Sebastian Bach, Francois Couperin, Jean-Philippe Rameau, George Frideric Handel and Wolfgang Amadeus Mozart. There's also a lovely anonymous piece originally for virginal entitled "Nightingale." Can you name another composer who used this same melody [see answer]?

The performances of the Bach concerto (after Antonio Vivaldi), Handel Harmonious Blacksmith and Mozart Turkish March are hose removers, particularly with Wanda at the keyboard of her Pleyel, custom-built, B-29 of a harpsichord.

Landowska lovers will be delighted with another concurrent release of all the J.S. Bach recordings she did for RCA Victor that include The Well-Tempered Clavier" (see the newsletter of 2 March 2006). (P060208)

-- Bob McQuiston, Classical Lost and Found (CLOFO.com)

Anyone hearing this release would have to conclude that Toshiro Mayuzumi (1929-1997) was certainly among the most accomplished of modern day Japanese composers. The four works included here display different facets of his creative output.

Bogaku was commissioned by the New York City Ballet and is based on ancient Japanese imperial dances. Anyone who remembers the old Denon LP of this will recall that it's extremely powerful music, masterfully orchestrated and an audiophile's dream come true, if properly recorded, as it is here. Batten down your speakers!

The Mandala Symphony was inspired by Buddhist teaching and certainly sounds Japanese. Its two movements represent the descent of Buddha to enlighten man and man's ascent to seek enlightenment. They're joined musically through two "hexatone" rows based on the overtones of bells found in Japanese, Buddhist temples. Again, the orchestration is simply amazing and the sonic effect, dramatically overpowering.

The program also includes two much earlier works, both of which are indicative of the composer's early preoccupation with French impressionism. They also show Latin American as well as Southeast Asian influences, which were acquired during the World War II years, but the lion's claws of Mayuzumi's dynamism show through in a number of places. Symphonic Mood was described by the composer as a musical expression of nostalgia, while the Rhapsody, which receives its premiere performance here, was in some ways an early sketch for the second half of the former.

If you like this music, by all means investigate that of Toshiro's teachers, Kunihiko Hashimoto and Akira Ifukube. (Y060207)

-- Bob McQuiston, Classical Lost and Found (CLOFO.com)

These may not be front-line concertos by today's standards, but they are very accomplished works and arguably the best of the several written by each of these legendary pianists.

Although born in Russia, Anton Rubinstein was a real cosmopolitan due in no small part to his extensive concertizing throughout Europe. He studied in Berlin and German influences are quite apparent in his music; but, in this, his next to last piano concerto, there are thrilling Slavic elements as well. In fact one could imagine the last movement as being a fanciful creation inspired by Felix Mendelssohn and Robert Schumann, but based on some spirited Polish dance.

It's a demanding work that was a favorite of Ignaz Paderewski as well as Sergei Rachmaninov. If you don't already know it, it'll soon be among yours too, particularly in this absolutely stunning performance by one of today's greatest pianists, Marc-Andre Hamelin.

Born in Poland some twenty years after Rubinstein, Franz Xaver Scharwenka pursued a very similar career, which also included extensive studies in Berlin. Anyone liking his contemporary and fellow countryman Moritz Moszkowski's very popular piano concerto will love this work. It's in three movements with a central scherzo-rondo that's quite addictive and features Technicolor orchestration in comparison to Frederic Chopin's more monochromatic works in this genre. When you hear it you'll understand why it was a favorite of Franz Liszt and many other, great European as well as American pianists.

Marc-Andre once again displays his amazing digital dexterity and the accompaniment couldn't be better.

This hybrid disc when played in the multi-channel mode will put you right in the concert hall. The two-channel tracks may not be quite as exciting, but will certainly give any of the other, great piano concerto recordings a run for their money.

Either way you'll be most impressed, so why not try the remaining four Rubinstein and three Scharwenka concertos.

This release is also available in conventional, CD(2) format (see below). (Y060206)

-- Bob McQuiston, Classical Lost and Found (CLOFO.com)

These may not be front-line concertos by today's standards, but they are very accomplished works and arguably the best of the several written by each of these legendary pianists.

Although born in Russia, Anton Rubinstein was a real cosmopolitan due in no small part to his extensive concertizing throughout Europe. He studied in Berlin and German influences are quite apparent in his music; but, in this, his next to last piano concerto, there are thrilling Slavic elements as well. In fact one could imagine the last movement as being a fanciful creation inspired by Felix Mendelssohn and Robert Schumann, but based on some spirited Polish dance.

It's a demanding work that was a favorite of Ignaz Paderewski as well as Sergei Rachmaninov. If you don't already know it, it'll soon be among yours too, particularly in this absolutely stunning performance by one of today's greatest pianists, Marc-Andre Hamelin.

Born in Poland some twenty years after Rubinstein, Franz Xaver Scharwenka pursued a very similar career, which also included extensive studies in Berlin. Anyone liking his contemporary and fellow countryman Moritz Moszkowski's very popular piano concerto will love this work. It's in three movements with a central scherzo-rondo that's quite addictive and features Technicolor orchestration in comparison to Frederic Chopin's more monochromatic works in this genre. When you hear it you'll understand why it was a favorite of Franz Liszt and many other, great European as well as American pianists.

Marc-Andre once again displays his amazing digital dexterity and the accompaniment couldn't be better.

This excellent sounding disc will certainly give any of the other, great piano concerto recordings on CD a run for their money.

You'll be most impressed, so why not try the remaining four Rubinstein and three Scharwenka concertos.

This release is also available in hybrid, CD(2)/SACD(2/5.1) format (see above). (Y060205)

-- Bob McQuiston, Classical Lost and Found (CLOFO.com)

British born Healey Willan, who moved to Toronto while in his thirties, is considered Canada's most outstanding, church composer to date. He was a romantic at heart and all of his organ music included here stands right up there with the best written during the first half of the twentieth century.

The Introduction, Passacaglia and Fugue is his greatest and most popular piece and a frequent repertoire choice for all serious organists. This recording of it shows it off to better effect than any of the other extant ones for a couple reasons. First, the soloist, Canadian born Patrick Wedd, obviously has a real feel for this music, which is not surprising considering his background is very similar to the composer's. Second, the instrument chosen for this magnificent sounding disc is a newly restored Casavant of formidable size with both English and French tonal characteristics. This is particularly significant considering that a similar instrument by the same builder is in the church where Healey was organist and was what inspired him to write it in the first place.

The other selections included here prove beyond a doubt that Willan should not be remembered for this work alone. In fact, you'll find the Passacaglia and Fugue No. 2 a most welcome discovery and worthy sequel to it.

The Prelude and Fugue in C Minor is a masterpiece with a stunning conclusion where all of the previous musical ideas are masterfully brought together.

Seven other very inventive preludes and also included along with two shorter works. One of the latter, entitled Epilogue brings this outstanding recital to a festively joyous conclusion.

This is a great release that's not to be missed, and those liking it might also want to try British composer Francis Jackson's organ music. (P060204)

-- Bob McQuiston, Classical Lost and Found (CLOFO.com)

Most organ enthusiasts know David Briggs as one of today's finest organ virtuosos and improvisers, but this release proves beyond a doubt that he's also a great composer for that instrument as well. The symphony presented here was commissioned by the soloist on this disc, Stephen Farr, and for a very interesting reason.

The great, French church musician Maurice Durufle was working on a suite for organ based on the plainsong Missa pro defunctis when he got a commission for his now, world famous requiem (later dedicated to the memory of John F. Kennedy). At that point he abandoned the suite and incorporated what he had done into the new composition. Durufle was a truly remarkable composer and anyone familiar with his music would have to agree that it's a shame he wrote as little as he did. Farr must have felt that way and his fascination with the thought of a lost Durufle work prompted him to ask Briggs for a "homage" piece honoring it.

Well, Briggs came through in "grand orgue" fashion! His seven movement Missa pro defunctis symphony is a masterpiece, and right in keeping with the many, romantic, French composer-organists he's championed at the keyboard for so many years. The spirits of Charles-Marie Widor, Louis Vierne, Marcel Dupre, Pierre Cochereau, and of course Maurice himself, all waft through this opus; but, in the grand scheme of things it's a unique Briggs creation.

Very appropriately the disc is filled out with a magnificent rendition of Durufle's ever popular suite for organ (Op. 5).

This release is entitled "Sounds Thrilling" and, if anything, that's an understatement, because, quite frankly, organ CDs don't get any better than this. The instrument is superb, the performances, exemplary and the sound, to die for!

Having heard it you'll undoubtedly want to try some of the other discs in the Lammas label's "Sounds..." series. (Y060203)

-- Bob McQuiston, Classical Lost and Found (CLOFO.com)

This is some of the most wonderfully spontaneous, romantic, chamber music ever written and no classical collection is complete without these two trios, particularly in outstanding performances like these.

Written towards the end of Felix Mendelssohn's only too brief life they are the epitome of the romantic period with lush themes and an unabashed emotionality worn right on the sleeve. Both are in four movements and minor keys, and the latter add a bit of gravitas to these otherwise cheerful pieces, particularly in their opening allegros. Their slow movements could easily qualify as Songs without Words and their scherzos cannot help but call to mind the music for A Midsummer Night's Dream. The finales are quite arresting with sweeping, unforgettable melodies. In fact one of them in the second trio is quite choralelike and will remind many of the hymn tune known in the English-speaking world as The Old Hundredth, but then again Mendelssohn was no stranger to the hymnal as evidenced by Hark the Herald Angels Sing.

The Florestan Trio is a class act, but they use their considerable virtuosity only in the service of this music and you won't find any better renditions of these trios on disc.

By the way their recordings of the piano trios by Robert Schumann, Johannes Brahms and Antonin Dvorak are equally accomplished. (P060202)

-- Bob McQuiston, Classical Lost and Found (CLOFO.com)