On this adventurous Brilliant release, we get a couple of clarinet quintets by two lesser-known composers, the first being by Antonín Reicha (aka Anton Reicha, 1770-1836). He was born in Prague and became somewhat of a Pan-European composer.

Young Anton ran away from home in 1880 and was adopted by his Uncle Josef (1752-1795), who was a cellist-conductor-composer living in Wallerstien, Germany, some 200 miles southwest of Prague. He gave the lad violin as well as piano lessons, and his wife taught him French and German. Anton also learned to play the flute.

Then in 1785 the family moved about 200 miles northwest to Bonn, where he played violin as well as flute in a local orchestra and got to know Beethoven (1770-1827) and Haydn (1732-1809). Reicha also studied composition, and 1789 saw him enter the University of Bonn. However, in 1794 that city was attacked and captured by the French, thereby forcing him to flee to Hamburg. There he began earning his living by teaching harmony, composition and piano.

Then 1799 saw him take up residence in Paris where he hoped to become a well-regarded opera composer. But to no avail, so he moved on to Vienna in 1801, which was the beginning of a much more productive and successful period in his life. However, circumstances resulted in his returning to Paris in 1808, where he had a highly successful teaching career, and became a professor of counterpoint and fugue at the Conservatoire de Paris.

Antonín would remain in that city for the rest of his life, and became a French citizen in 1829. During those years his students included such greats as Hector Berlioz (1803-1869), César Franck (1822-1890), Charles Gounod (1818-1893) and Franz Liszt (1811-1886).

Reicha left a large body of works across all genres, the one here being his four-movement, Clarinet Quintet in B-flat major, Op. 89 (c. 1820). It has an "Allegro (Fast)" first one [T-1], which opens with the strings hinting [00:01] at an imminent tune for the clarinet [00:04]. This is followed with a lovely, complementary one played by the violin [00:30].

After that, these ideas are explored [00:59] and repeated [02:47], giving way to a consummate development [03:45]. It has bravura moments for the soloist, and then some lovely reminiscences of past thoughts [08:45] end things pleasantly.

The "Andante (Slow)" movement [T-2] is a theme and variations that opens with a winsome, subdued idea for the clarinet set to a delicate string accompaniment [00:00]. This undergoes several subtle treatments that range from yearning [00:45] to amorous [01:56], pensive [02:39], flighty [03:07] and pining [03:30]. Then a confident one [04:38] brings things to a comely conclusion.

Antonin's operatic aspirations seem reflected in the following "Allegro (Fast)" marked Menuetto (Minuet) [T-3]. It begins with a songlike theme, which powers this movement's outer segments [00:00, 02:45]. They surround an "ariaesque" trio [01:37-02:44] that's based on a related idea, which is somewhat reminiscent of those melodies heard in early 19th century French operas.

Be that as it may, the "Allegretto (Lively)" marked Finale [T-4] starts with an antsy ditty [00:00], which becomes the subject of a fugal episode {00:57]. Then the latter bridges into a contrapuntally-spiced exploration [01:13] having showy moments for the soloist.

Subsequently, the violin initiates a related tuneful, conversational episode for all [02:32]. This is followed by another fugal one [03:53] with a virtuosic segment for the clarinet 05:06]. Then the violin introduces merry passages [04:46] that feature an elated soloist and end the work jubilantly.

Austrian composer-pianist Sigismund Neukomm (aka Sigismund von Neukomm, 1778-1858) was born and grew up in Salzburg, some 150 miles west of Vienna. He received a superb musical education under Michael Haydn (1737-1806) as well as his celebrated, older brother Joseph (1732-1809), who was also known as "Papa Haydn".

Then on "Papa's" recommendation Sigismund served as Kapellmeister at the Lutheran Church of Saint Peter and Saint Paul in Saint Petersburg, Russia from 1804 to 1809. But the year 1810 saw him go to Vienna for two years.

However, in 1812 Neukomm took up residence in Paris, which would be his home base for the rest of his life. During those years he spent a considerable amount of quality time in Brazil (1816-1821) and took trips to numerous other European countries as well as North Africa (1823).

This composer left a significant number of works across all genres, the one here being his Clarinet Quintet in B-flat major, Op. 8 (c. 1809). It's in four movements, and the opening one {T-5] has an "Adagio (Slow)" introduction where three sighing string chords [00:01] invoke a captivating aria [00:14] sung by the clarinet to an approbatory accompaniment.

The foregoing has a mesmeric motif [02:46], which is followed by the "Allegro (Fast)" remaining portion of this movement [04:08]. Here we get a delightful, imitative conversation between soloist and strings. Then bravura clarinet passages [05:49] call up a captivating development [06:24] with memories of that previous motif [08:41, 09:38]. These undergo a thrilling exploration [09:45] that ends things with a "So there!" cadence for all [10:14].

Listeners can "trip the light fantastic" to the next "Allegro molto (Very fast)" marked Menuetto (Minuet) [T-6]. It starts with a chirpy number for all [00:00] that has recurring pairs of birdlike notes [first heard at 00:14]. This animates the movement's outer sections [00:00, 03:13], which bracket a tuneful, string-dominated trio [01:37-03:12] and bring the movement full circle.

The following "Poco Adagio (Somewhat slow)" Thème russe (Russian theme) [T-7] opens with the quartet playing the melody for a Ukrainian folk song known as "Yikhav Kozak za Dunai [00:00]. Then this parents four subsequent variational treatments.

A sprightly first one highlights the soloist [01:00], and it's followed by the strings playing a flighty second [01:53]. Then a songlike third, again featuring the clarinet [02:47], adjoins a captivating fourth for all [03:42]. The latter has virtuosic passages for the soloist as well as a terse afterthought [05:04] that concludes the movement tranquilly.

The "Allegro moderato (Moderately fast)" last one [T-8] is sonata-rondo-like. It begins [00:00] with the clarinet playing a catchy, dance ditty set to a perky, string accompaniment. This is soon followed by a related, more introspective melody [01:42]. Then both ideas are developmentally explored [03:00], after which they respectively return [03:57 & 04:39]. However, the initial one has the last say [05:08}, thereby ending this work and disc in cheerful fashion.

Swiss clarinetist Stephan Siegenthaler (b. 1957) and the Prague-based Stamic Quartet deliver wonderful performances of both selections. What's more, although these took place some eight years ago, they still arguably rank with the best now on disc.

The recordings were made 13-14 February 2016 in Prague at Studio Martének (no pictures readily available). They present superb sonic images of these musicians with violinists Jindřich Pazdera and Josef Kakula to the left of clarinetist Siegenthaler, and violist Jan Pěruška as well as cellist Petr Hegený to his right. The soloist is ideally captured and highlighted against the strings, whose sound is about as good as it gets on conventional discs.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, Y240831)

Those liking concert music as well as opera are in for a real treat with this recent Signum Classics release. It gives us five orchestral selections based on works by famed Italian composer Giacomo Puccini (1858-1924), who was born in Lucca, some 200 miles north-northwest of Rome. These pieces are thanks to our conductor here, Carlo Rizzi (b. 1960), who prepared them in 2020-21 when the COVID-19 pandemic lead to the layoff of orchestras throughout Europe.

More specifically, the first two are symphonic realizations respectively based on the music from two of this composer's most popular operas. However, the others are Rizzi's recently edited versions of three Puccini, opera-related symphonic works.

The CD begins with a suite [T-1] drawn from Madama Butterly (1904-07), which has a busy opening melody [00:00] adjoining a jolly one [00:48]. These power a dramatic segment [01:23] that wanes into an amorous episode [02:32] based on a tune that should be familiar to all.

Then the foregoing calls up a more relaxed section [04:41] as well as some wistful thoughts [06:05, 07:49]. But the latter turn increasingly impassioned and ebb into a searching segment [12:59]. This makes a subdued bridge into perky, Japanese-sounding passages [14:46], which become triumphant and end the work forcefully.

A suite based on Tosca (1900) is next [T-2]. It starts with a commanding preface [00:00] succeeded by a tension-building pause and an agitated theme [00:10]. Then the latter is repeated [00:27], thereby calling up a pensive episode [01:58] that waxes and wanes into a contemplative segment [04:07]. However, a martial one soon follows [04:35] and bridges into some delicate thoughts [06:09, 06:56, 10:12], the last of which escalates into a drumroll-introduced, capricious tune [11:27].

This adjoins some lovely, dance-like passages [13:08] that invoke memories of the opening measures [13:28]. But these are soon succeeded by tender thoughts [13:38, 14:50, 16:12] as well as an amorous one [16:45], followed by some glowing moments [18:12]. Then the latter become quite harried [18:30], only to subsequently ebb into frenetic passages [19:19] that end the suite in much the same spirit as it began.

Those recently Rizzi-edited, opera-related symphonic works are next. All three were written in conjunction with young Giacomo's studies at Milan Conservatory, which is located 130 miles north-northwest of his hometown (see above). That said, the first two are early [T-4] and later [T-3] versions of his Preludio Sinfonico (Symphonic Prelude)", which were written in 1881-82.

Generally speaking, both are rather Wagnerian-sounding and have a gentle, opening theme [00:00] that may remind you of a melody heard near the beginning of his overture to the opera Tannhäuser (1845). This idea is skillfully manipulated throughout both of Giacomo's pieces, thereby bringing them to a quiet, comely conclusion. And incidentally, the earlier version [T-4] has a brief section [07:27-08:57] that Puccini cut for the later one [T-3].

Subsequently, we get Capriccio sinfonico (Symphonic Caprice) [T-5], which was his thesis composition (1883). It's a ternary, A-B-A-structured piece that has "Andante (Slow)" outer "A"s, the first of which features a dark preface [00:00] hinting at a somber theme that eventually appears in full [01:27].

Then the latter undergoes a captivating development that wanes into an "Allegro (Fast)" marked "B" [03:41]. This starts with a melody, which would later become the opening idea for his opera La Bohéme (1893-95). However, here it's explored and ebbs into recollections of "A" [07:49]. These bring Giacomo's impressive student creation as well as this disc to a lovely conclusion.

All five selections are performed by the Welsh National Opera Orchestra (WelshNaOp O) under its Conductor Laureate Carlos Rizzi (b. 1960), who also masterminded them. Together they deliver superb accounts of these pieces, thereby making Signor Rizzi's efforts a "must" for Puccini fans.

The recordings were made 15-16 December 2022 at the Wales Millenium Centre located in Cardiff, some 90 miles west of London. They took place in Hoddinott Hall and present consistently favorable sonic images of these works in spacious surroundings. The orchestral timbre is characterized by pleasant highs, a rich midrange and clean bass. While the overall sound is good, those liking wetter sonics may feel it's a bit on the dry side.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P240830)

American composer Arnold Rosner (1945-2013) returns to these pages (see 31 May 2019) via this new Toccata release. He left a significant body of works across all genres, and here we get first recordings of four more in that label's ongoing survey of his orchestral music.

The first selection is Arnold's Scherzo for Orchestra, Op. 29a (1964) [T-1], which was written when he was only nineteen. It has a furtive introduction [00:00] soon followed by the strings [00:17] and winds [00:29] playing a boisterous, theme that's in the Lydian mode. Then three trombones engage in a brief canonical commentary regarding the latter [00:47], which wanes into a delicate, related idea [01:35].

After that, the foregoing material is food for a dramatic developmental episode [02:18]. This is followed by a "come una canzonetta (like a song)" marked, modal, contrapuntally-spiced trio section [04:01-08:23]. Then memories of the work's opening ideas make an animated reappearance [08:24]. These wane into a nostalgic moment [09:30-10:12], succeeded by commanding passages [10:13] that end the work triumphantly.

Then we get Rosner's three-movement Concerto Grosso No. 2, Op. 74 (1979), which is scored for a classical orchestra. It's in three movements, and the first [T-2] begins with a strident "Lento (Slow)" preface [00:00], hinting at an imminent "Allegro (Fast)" section. The latter has a busy initial idea [00:54] followed by a more lyrical one [02:12]. Then both of the foregoing fuel a lively, contrapuntal development [02:49]. However, memories of past thoughts reappear [06:20] and bring the movement to a compelling conclusion.

The subsequent "Adagio (Slow)" one [T-3] is passacaglia-like with a melancholy, chromatic, opening ostinato idea [00:00] that underscores a couple of treatments. These vary from pensive [01:47] to irate [03:15], and then a serene one [05:20] ends things quietly.

But the pace quickens with the "Allegro molto (Very fast)" closing movement [T-4]. It begins with a kinetic number [00:00] that's the basis for a gripping assortment of episodes. These range from reserved [01:14] to repetitive [02:52], contrapuntally tinted [03:21], contemplative [04:55] and searching [05:19]. Then a determined one [07:05] brings the work to a powerful conclusion.

Next there's Variations on a Theme by Frank Martin, Op. 105 (1996). This starts [T-5] with an austere preface [00:00] soon followed by the main idea [00:13], which is a melody that appears towards the end of the fourth song in Swiss composer Frank Martin's (1890-1974) cycle of them called Der Cornet (1942). And incidentally, its full title is Die Weise von Liebe und Tod des Cornets Christoph Rilke (The Love and Death of Cornet Christopher Rilke).

The foregoing theme proceeds attacca into five subsequent, conjoined developmental treatments. The first is a "Grazioso (Graceful)" one [T-6], where it's the subject of a conversation between the instruments. This is followed by an "Adagio (Slow)" arcane second [T-7] and an "Allegro (Fast)" dancelike third [T-8].

Then an "Adagio (Slow)" contrapuntal fourth [T-9] waxes and wanes into an "Allegro (Fast)" dramatic fifth [T-10], which has many reminders of the main idea. These become increasingly forceful [00:18, 00:53, 01:33], and then fade away [02:17, 02:43, 03:58] as this clever Rosner-Martin concoction comes to a quiet conclusion.

In regard to the last selection titled A My Lai Elegy, Op. 51 (1971, rev. 1993) [T-11], we should first note the album booklet tells us Rosner was a confirmed pacifist, and opposed to war as well as violence in any form. It also says there are passages here that reference ones in the music of Arnold's "composer-heroes" Dmitri Shostakovich (1906-1975) and Alan Hovhaness (1911-2000) -- see if you can find them!

Anyway, this piece was inspired by three horrific incidents related to the Vietnam War (1955-1975). More specifically, these were the My Lai massacre (16 March 1968), as well as the related Kent State shootings (4 May 1970) and Jackson State killings (14-15 May 1970).

Rather than being a symphonic poem depicting these events, this is a twenty-five-minute, through-composed representation of the composer's emotional reactions associated with them. Consequently, it has a dark, uneasy, ponderous beginning [00:00] with apprehensive trumpet passages [02:39, 04:11], all of which are presumably indicative of Rosner's sense of foreboding brought on by that war (see above).

Then an irate episode [07:05] with more trumpet work [08:01] seemingly limns Arnold's outrage over what happened at My Lai (see above). This is followed by a grief-stricken segment [10:56] having a funeral march [13:59] as well as increasingly distressed segments [15:00, 17:09]. And subsequently, there are ones [17:39] with that ubiquitous trumpet [19:49. 21:27], which seemingly express hopes for a better future.

But the latter suddenly stop, and after a tension-building pause, we get explosive passages [22:19]. However, these abruptly give way to the return of those more hopeful ones [23:07], thereby ending the work and this release with pianissimo rays of hope.

These performances are by the famed London Philharmonic Orchestra (LonPO) under American conductor Nick Palmer. They deliver superb accounts of four little-known works, and principal trumpet, British-born-and-educated Paul Beniston, deserves a big round of applause for his work in the last one [T-10]..

The recordings took place 5-6 September in London's Abbey Road Studio One, which is reputedly the largest of its kind in the world. Consequently, they present a generous sonic image with no hint of that confinement sometimes associated with studios. As for the orchestral timbre, it's characterized by acceptable highs, a pleasant midrange and clean bass, but would have fared better had this been an SACD.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P240829)

With this recent Ondine release we welcome a new composer to these pages, namely Outi Tarkiainen (b. 1985). She was born in Rovaniemi, Finland, some 500 miles north of Helsinki.

As a youngster, Outi studied piano at the Lapland Music and Dance Institute located in her hometown (see above). She then furthered her musical education at the Sibelius Academy in Helsinki, as well as the Guildhall School of Music and Drama in London.

After that, Outi attended Miami University located in Oxford, Ohio, USA, and graduated in 2010 with a Master's degree in music. She's since become one of Finland's internationally acclaimed composers, who's to date written works across most genres. We're treated to three in the orchestral category as well as one of her concertos on this CD, these being the only readily available versions of them on disc as of this writing.

The program begins with Ms. Tarkiainen's Midnight Sun Variations (2019) for large orchestra [T-1] that was a joint commission by BBC Radio 3 and Canada's National Arts Centre Orchestra (NAC Orchestra). The title refers to a natural phenomenon that occurs during the summer months within the Arctic Circle, which includes that part of Finland's Lapland (see map) where Outi grew up.

The composer says her work depicts the light at that time, which she describes as a rich spectrum of infinitely-nuanced hues that become veiled in shadow as the sun falls below the horizon. She also draws a parallel between a woman giving birth to a child, and then returning to her former self.

This piece is in a single, ten-minute movement that's not your typical "theme and variations", but more of a symphonic poem. It has delicate opening passages [00:01] indicative of the shimmering light in the arctic sky at this time of the year. Then there are sighing ones [03:35], which become very intense [beginning at 06:15]. But these wane into memories of the opening thoughts [07:06] that end things tranquilly.

The following Songs of the Ice (2019) [T-2] is a closely related, follow-on work, which is also a one-movement symphonic poem scored for large orchestra. Lasting about twelve-minutes, this was commissioned by the FinR SO (see above) and Iceland Symphony Orchestra (ISO).

Here the composer takes her inspiration from the different types of ice found in the Arctic Circle throughout the year. It begins with crashing, percussive, ascending phrases [00:00] that ostensibly reflect the ever-hardening polar ice present during the winter months. This piece is all the more effective for a subsequent chilling episode with shivery trills [01:28].

Then increasingly intense passages [06:56] seemingly represent the arrival of the more temperate summer months, where that ice cracks apart [07:38]. These wax and wane into delicate descending moments [11:08] with what could be hints of warming breezes. However, the foregoing just fade away, thereby bringing this selection to a hushed conclusion.

The succeeding one is a three-movement concerto for cor anglais (English horn) and orchestra called Milky Ways (2022). It was composed on a joint commission from BBC Radio 3 as well as the FinR SO (see above) and San Francisco Symphony. This work is dedicated to the soloist here, British oboist-conductor Nicholas Daniel (b. 1962), and the title has a double meaning. More specifically, Tarkiainen tells us this refers to the Milky Way Galaxy, which includes our Solar System, and is also meant to reflect a mother breastfeeding her newly born child.

Its first movement titled "The Infant Gaze" [T-3] begins with a sustained note for the soloist [00:01] who's soon joined by a shimmering, somewhat dissonant sounding orchestra [00:05]. Then both engage in more subdued passages [00:18] that become increasingly animated [01:47]. However, these give way to a serenade-like episode [03:12], presumably where the infant adjusts to life outside the womb. And subsequently [06:26] there are some lovely moments for the soloist as this music wanes into silence.

But the pace quickens with the following, scherzo-like "Interplays" [T-4]. Here it would seem the child begins to act independently of its mother. Moreover, there are busy oscillating outer sections [00:01, 03:24] with some unusual timpani glissandi [00:23] and knocks on blocks [03:43]. They surround a more lyrical trio-like segment [01:53-03:23] and bring the movement to an antic conclusion [04:35].

The next "At the Fountainhead of God" [T-5] starts with celesta-sequined, celestial-sounding passages [00:00]. These conjure up oneiric orchestral musings [00:22] with ascending, heavenly bound melodies for Daniel [00:52], which are followed by tremulous tutti ones [04:48].

Then he makes a couple of reappearances [06:21, 07:40] to a subdued, orchestral accompaniment with some church-bell-like moments [07:14, 07:19], all of which end the work enigmatically. And incidentally, this piece honored the death of his mother, so the score for its premiere performance had an added dramatic touch. To wit, it indicated that when he stopped playing, he was to be spotlighted, rise from his chair, walk behind the orchestra and leave the concert hall by a rear stage door.

Our last selection titled The Ring of Fire and Love (2020) [T-6] is another ten-minute, single-movement symphonic poem scored for large orchestra. This one connotes a couple of natural phenomena, namely the tectonic belt of volcanoes and earthquakes surrounding the Pacific Ocean, as well as that halo, which appears around the sun during an annular solar eclipse. The composer also relates it to the pain a woman feels during natural birth as the baby's head leaves her body.

This starts with vacillating, timpani-accented [00:01] passages that evoke images of violent eruptions. Then these ebb into eerie subdued ones [01:59], which adjoin a trembling, earthquake-like segment [04:15]. However, the latter wanes into a tranquil episode [05:21] with ardent moments. It may also reflect the sun's fluctuating corona as well as the sensations felt by a birthing mother. In any case, this ends the work and disc with a glowing, pianissimo coda [09:54].

These performances feature the FinR SO (see above) under their Chief Conductor, British-born-and-trained Nicholas Collon (b. 1983). Along with his fellow countryman Nicholas Daniel (see above), they make a strong case for Ms. Tarkiainen's music, thereby giving us some orchestral rarities with great appeal.

The recordings were made during January [T-6], February [T-1], March [T-3 thru 5] and April [T-2] of 2023 at the Helsinki Music Centre, presumably in the Main Concert Hall. They project consistently robust sonic images of all four selections in a splendid venue. Daniel's English horn is well captured and highlighted against the FinR SO (see above). As for the orchestral timbre, it's characterized by a good highend, rich midrange and spectacular, transient lows. This is as good as conventional discs get.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, Y240828)