This recent Naxos release gives us music by two brothers, namely German composers Antoine (aka Anton, 1783-1852) and Max (1785-1867) Bohrer, who were both born in Munich. What's more, all three selections on this CD are world premiere recordings.

The opening Grande symphonie militaire was a collaboration by both composers and published around 1820. It's in essence a double concerto for violin, cello and orchestra, which is not surprising as Antoine was a superb violinist, and Max, an accomplished cellist.

Having four movements, the first "Allegro brillante (Fast and bright)" one [T-1] has a drum-roll-laced, orchestral preface [00:01], which calls up a valiant militaristic theme [00:19] that adjoins a jolly related ditty [01:46]. Then there's a pause followed by the assertive entrance of the soloists [02:57], who along with the tutti engage in showy passages.

These invoke a virtuosic cadenza [07:59] arranged by our soloists (violinist Friedemann Eichhorn and cellist Alexander Hülshoff). This is based on François Schubert (1808-1878) and Friedrich Kummer's (1797-1879) Duo, Op. 62, No.1 "Souvenir de Fra Diavolo" (see Naxos-8.573000).

Subsequently, the orchestra makes a jolly return [09:42] and is joined by the soloists [10:06]. Then arpeggiated cello passages [11:04] begin a captivating march segment with spicy violin moments [11:39, 12:20, 12:56], all of which close the movement definitively.

The next [T-2] begins with a stately orchestral "Introduxione (Introduction)" [00:00] hinting at an amiable theme that soon appears [01:18] and opens the "Adagio ma non troppo (Lively, but not too fast)" remainder of this movement. Here the violin, cello and tutti deliver a fetching Air Hollandaise (Dutch Air) with frequent, delightful excursions for both soloists. Then recollections of the movement's opening idea [04:54, 05:16] wax and wane away.

This sets the mood for the penultimate "Adagio (Slow)" one [T-3]. It's in F major and opens with wistful serenade-like passages for the orchestra and cello [00:00] that are supported by the violin. These are succeeded by a pleading tidbit having both soloists [03:29] that ends things tranquilly.

However, the pace soon quickens in the closing "Allegro molto (Very fast)", dancelike, last movement [T-4]. It starts with a timpani-roll [00:00] soon followed by a jolly ditty for all [00:01, 00:39]]. The latter parents a couple of treatments, the first being of skittering disposition [00:52]. Then a martial one [01:47] with two cadenzas arranged by the soloists [02:01, 02:29] closes the work triumphantly.

It's succeeded by Antoine's three-movement Violin Concerto in E minor, Op. 9 (pub. 1809). The "Allegro spiritoso (Fast and playful)" first [T-5] has a vivacious orchestral preface [00:00]. This is followed by a commanding theme [00:15] that surrounds a dancelike one [01:03-01:46]. Then the soloist picks up on the foregoing [02:14] and plays a lovely tune [03:57], which makes a virtuosic bridge into the forceful return of the orchestra [05:20].

But the latter wanes into a mischievous violin dominated section [06:01] that has a demanding, lengthy cadenza of the soloist's fabrication [07:08-08:56]. Then violin and tutti intone [08:57] reminiscences of that earlier, lovely tune (see above). This gives way to coltish moments for the soloist [09:32] and an assertive, orchestral coda [10:26], which concludes things definitively.

The foregoing is followed by a brief "Adagio (Slow)" movement [T-6]. This has a horn preface [00:00] and fervent, recitative-like passages for the violinist [00:14]. These serve as an introduction to the closing movement [T-7], which starts with a "Tema un poco allegretto (Somewhat lively theme)" for soloist and orchestra [00:00].

This is then the subject of "Variations 1-6", the first five being sequentially whimsical [01:06], capricious [01:44], assertive [02:35], frisky [03:46], as well as amorous [04:35]. And after that, a fickle sixth [06:20] with a precise postscript [07:03] ends the work decisively.

Brother Max's three-movement Cello Concerto No. 1 in D minor, Op. 1 (pub.1819) closes this release. Its opening sonata-form-like, "Allegro moderato (Moderately fast)" one [T-8] has a grandiose orchestral exposition, which starts with a proud theme [00:00] followed by a more lyrical thought [01:02]. Then the soloist joins in [02:05] and picks up on the preceding ideas, thereby delivering magnificent, double-stop-riddled, highly virtuosic passages.

These educe an exciting development [05:50] with memories of past thoughts presented in a minor key [06:31]. Then there's an anticipatory pause and thrilling recapitulation [08:20] having bravura cello moments, all of which bring the movement to a magnificent conclusion.

The middle, "Adagio ma non troppo (Lively, but not too fast)" one [T-9] begins with a salient, orchestral introduction [00:00] hinting at a lovely "A major" melody soon played by the soloist [00:43]. Then the latter is overlaid with an oboe-introduced, complementary "F major" tune [02:21]. And after that, the cello delivers some chromatically-tinged thoughts [03:24]. These are followed by affecting recollections of the soloist's opening melody [04:06], which end things peacefully.

Subsequently, the pace quickens with an "Allegro moderato (Moderately fast)" marked "Rondo" [T-10]. This opens with the soloist and orchestra playing a bucolic, dancelike, principal theme [00:00], that's succeeded by a vivacious treatment of it [01:01] having some cello fireworks.

Then the soloist repeats the main idea [02:28], which is followed by approving orchestral passages [03:02]. These adjoin a capricious version of it played by the cello [03:37]. And after that, the latter is given respectively wistful [04:58] as well as sprightly [05:15] treatments.

However, the principal theme returns [05:42] and gets more orchestral approbation [06:16], which calls up a lengthy, challenging cello cadenza [06:38-07:53]. Then the orchestra reappears [07:54], thereby closing Max's Concerto and this disc in splendid fashion.

These performances feature violinist Friedemann Eichhorn (b. 1971), cellist Alexander Hülshoff (b. 1969) and the Jena Philharmonic Orchestra (aka the Jenaer Philharmonie - Jena PO), which is based in Jena Germany, some 230 miles north of Munich. Under Uruguayan-born, German-trained conductor Nicolás Pasquet (b. 1958), these superb musicians deliver outstanding accounts of all three selections.

The recordings were all made during 2020 in the Volkshaus Jena, but at different times. More specifically, the Cello Concerto... [T-8 thru 10] took place 7-8 October, the Violin Concerto... [T-5 thru 7] on 9-10 November, and the Grande symphonie... [T-1 thru 4] over 11, 13 and 14 November.

They project consistently generous sonic images of all three works. The soloists are positioned just left (violin) and right (cello) of Maestro Pasquet for the Grande symphonie... [T-1 thru 4]. However, the concertos [T-5 thru 10] find them center-stage.

That said, both of their instruments are well captured and highlighted against the Jena PO. As for the orchestral timbre, it's about as good as it gets on conventional discs. Moreover, you'll find the highs as well as midrange are quite pleasant, while the bass is lean and clean. What's more, the wonderful venue where these recordings were made, enriches the sound all the more, thereby earning this CD an "Audiophile" rating.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, Y240930)

Toccata's survey of Ukrainian-born, Russian-trained Fridrich Bruk's (b. 1937) orchestral music (see 31 October 2023) continues with this fifth volume, which gives us another two of his twenty-three symphonies. Both were inspired by famous paintings, and are world premiere recordings. Incidentally, the album booklet has detailed analyses of these works, so we'll just hit the high points.

First, we get his three-movement Symphony No. 13 "The Artist Kazimir Malevich (1879-1935)", which was written in 2014. The initial one subtitled "Kazimir" [T-1] is a tone painting inspired by the artist's 1908-1910 self-portrait. This opens with an arresting tam-tam stroke soon followed by a subdued, gallant theme (GT) [00:05] that ebbs into a languorous waltz (LW) [02:31]. Then the latter becomes increasingly emphatic, but suddenly quits.

After that, there are bizarre, bassoon-introduced dance passages [04:23], having a forceful reminder of LW [07:12]. They're then followed by a pause, and subdued reference to LW [08:56]. But the latter dramatically transitions into wistful moments [10:30] that become increasingly forceful. However, these subsequently wane into memories of GT [12:48], which end the movement tranquilly.

Subtitled "The Two Squares, Black and Red (1915)", the middle one [T-2] honors Kazimir's painting of that year. It's rather scherzoesque and gets off to a hectic, chromatic start [00:00]. Then the horns [00:37] introduce an austere, chorale-like segment [00:46] with wistful winds [01:31].

After that, those horns call up impassioned passages [02:46], which become frenzied [03:31]. However, these adjoin more chorale-like ones [05:04] that turn increasingly harried with percussive reinforcement [06:04] and bring things to an abrupt conclusion.

A third called "The Revolution" [T-3] is music reflecting that historic incident of 1917. And incidentally, Malevich later became an official protagonist for the new cultural mandates instigated under Joseph Stalin (1878-1953). However, beginning in 1932 avant-garde artists such as he fell afoul of the Soviet cultural authorities. Consequently, his paintings were removed from Russian museums, but began returning in the early 1990s with the dissolution of the Soviet Union (1922-1991).

This movement has curious, underlying, concertante piano spicing and gets off to a brash start with martial motifs [00:00]. They evoke a queasy segment [01:32], which seemingly reflects a ravaged countryside. Then the music makes a searching journey into a horn-introduced, strutting episode [05:36]. However, the foregoing waxes and wanes, thereby calling up a longing segment [08:13].

But the latter becomes increasingly belligerent and suddenly stops. Then more longing moments [09:32] adjoin rushing ones [10:00], which become intense with that piano frequently in evidence. All this plus explosive, percussive outbursts end the work dramatically.

Bruk's Symphony No. 14 "The Scream" of 2015 is next. The subtitle refers to Norwegian artist Edvard Munch's (1863-1944) iconic, eponymous painting of 1893, which epitomizes expressionism. In a single movement lasting just over half an hour [T-4], this is one of the composer's finest symphonies (see the album notes).

It opens [00:01] with a percussively underscored, vaulting trumpet bit [00:00], which fades and is followed by a celesta-introduced, berceuse-like number [00:16]. This adjoins increasingly chaotic passages [00:51] that wane into wistful ones [01:32], which end with a tam-tam stroke [02:01].

Subsequently, there's a colorfully scored, searching segment [02:06] that adjoins a spooky waltz number [05:57], which becomes quite jittery and ebbs into a comely one [08:57]. Then the latter gradually transitions into a subdued, berceuse-reminiscent, mystical episode [12:00]. However, this turns impish [14:09] with percussive outbursts [15:55, 16:17], the last of which is followed by a more laidback tuneful section [16:29].

But this waxes and wanes into more jaunty passages [18:25] that bridge with more of that tam-tam into melancholy ones [19:37]. These have a sighing celesta [19:50, 22:15] as well as lamenting strings [20:27, 20:44]. Then animated passages [22:58] bring things to a percussive stop.

However, all this conjoins flighty passages [24:47, 25:47, 28:18], which alternate with frenzied ones [25:04, 26:49, 30:21]. What's more, the last of these is enhanced with the sound of an air-raid siren [31:17], thereby closing the work and disc in cataclysmic fashion.

As in Toccata's previous volume devoted to Bruk's orchestral music (see 31 October 2023), these performances are by the Lithuanian State Symphony Orchestra (LithSt SO or LVSO) under prominent Latvian conductor Imants Resnis (b. 1949). Together, they give us captivating accounts of another two Bruk symphonies, which rank with his finest.

The recordings took place 16-18 June 2014 (Symphony No. 13) [T-1 thru 3] and 22-24 June 2024 (Symphony No. 14) [T-4] at Congress Hall located in Vilnius, which is the capital of Lithuania. They present consistently robust sonic images of these colorfully scored works in a wonderful venue that enriches this music all the more.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P240929)

English composer-pianist Dorothy Howell (1898-1982) makes a long overdue appearance in these pages with this recent Signum Classics release. By way of background, she was born and grew up in the Handsworth area of Birmingham, some 100 miles northwest of London. Her budding musical talents were encouraged by parents as well as siblings who were also musically oriented.

Young Dorothy started composing at only 13. Then three years later (1914) she began studying composition, piano and violin at the Royal Academy of Music (RAM) in London. After that, 1919 saw her musical career really blossom. However, it suffered a severe setback during World War II (1939-1945), when that great city suffered repeated bombing, and she served in the Women's Land Army.

After the war, Howell taught at the RAM until 1971. Then she became a member of the Royal Philharmonic Society (RPS) and devoted more time to writing music. But unfortunately, during her late forties Dorothy's health began to fail, and she became very depressed. Consequently, this curtailed her musical activities. So around 1978 Dorothy moved into the Perrins House Nursing Home located near scenic Great Malvern, some 130 miles northwest of London, where she'd spend her last years.

Howell left a significant body of works across most genres, and we're treated to five in the orchestral category on this CD. Four of them are world premiere recordings, and accordingly marked with a "WPR" after their titles.

The concert opens with her Humoresque (1919; WPR) [T-1], which is an orchestral version of a 1919 eponymous piano work (not readily available on disc as of this writing). At just under five minutes, it's based on a delightful, perky opening ditty [00:00]. This seems of Spanish descent, and gets things off to lively start.

Then we get a brilliantly scored symphonic poem called The Rock (1928; WPR) [T-2]. The composer subtitled this "Impressions of Gibraltar" as it was inspired by the sights and sounds encountered during a trip she made there in 1924.

Right from the first note [00:00], this is a vivid, rhythmically spiced creation. More specifically, according to the composer it reflects winding city streets lined with markets selling "embroidered shawls, carved ivory figures and oriental rugs". Then there are more subdued, woodwind-tinged segments [03:51, 05:15, 06:16], as well as a couple of charming ones [07:42, 09:16]. They limn braying donkeys, merchants singing about their wares, and wax into passages [10:19] that end the work in spirited fashion.

The following selection titled Three Divertissements (1940; WPR) was Howell's last large orchestral work. However, because of the war (1939-1945), it didn't receive its first performance until 1950. As for this recording, they're presented on consecutive tracks, the first [T-3] being a rhythmically mischievous number based on a playful opening ditty [00:01].

Then the next one [T-4] has contemplative outer sections [00:00, 03:09]. They bracket a delicate midriff [01:14-03:08], thereby bringing things full circle. And after that, there's a gladsome third [T-5], which has a festive churning preface [00:00] hinting at a jaunty number that soon follows [00:06].

The latter is then explored [00:41] and invokes a retiring countermelody [01:04]. However, the first thoughts reappear [02:12], become increasingly ecstatic, and end the work with a jubilant coda [03:13] having a closing "So there!" cadence [03:27].

Another symphonic poem called Lamia (1919) is next [T-6]. It was inspired by English poet John Keat's (1795-1821) eponymous, tragic narrative poem of 1819, whose underlying story is based on Greek mythology. Moreover, this involves the god Hermes, but centers around serpentine queen Lamia and her beau Lycius.

It has a flighty, flute-decorated preamble [00:00] followed by a lovely string-introduced theme [00:07], which is an increasingly radiant representation of Lamia. Then there's a passionate episode [04:08] reflecting the love between her and Lycius.

Subsequently, the foregoing wanes into a spirited dance [08:06] indicative of their wedding. But Lamia's sudden disappearance is then reflected by nostalgic reminiscences of the opening passages [12:41]. And after that, doleful ones limning the death of a grief-stricken Lycius [13:34], bring the work to a sad conclusion.

Howell's only ballet titled Koong Shee (1921, WPR) is the closing selection [T-7]. This is a twenty-minute, single-act work of narrative disposition, whose underlying story is quite unusual. To wit, it's associated with the one behind that iconic, Blue Willow China Pattern tableware that was very popular in England during the composer's day.

Here capricious opening passage [00:00] presumably introduce us to Koong Shee and her wealthy mandarin father, Tso Ling. Although he's promised her hand in marriage to a wealthy business associate, she's in love with a handsome guy named Chang, who's just one of her Dad's lowly clerks.

Then lively passages [04:27] reflect her father's anger when he finds out about her relationship with Chang. And after that, respectively wistful [05:03], anxious [08:31, 10:28] and pensive [11:42] ones imply the lovers' elopement with Tao Ling in hot pursuit of the happy couple with the intention of killing them.

However, brighter magical moments [14:56, 16:38, 17:20] reflect the gods' intervention as they transform both lovers into turtle doves. Then a glorious episode [17:40] depicts their flight heavenwards, and wanes into melancholy afterthoughts [20:25], which fade away, thereby ending this disc quietly.

These performances by the BBC Concert Orchestra (BBC ConO) are conducted by American-born Rebecca Miller (b. 1975). She's known for championing music by neglected lady composers, and makes a strong case for the selections here. Moreover, this release may well inspire more recordings of Howell's works.

The recordings were made 13-15 June 2022 at St Judes Church located in the Hampstead Garden Suburb of London. They present a consistently generous sonic image of these works in reverberant surroundings that enrich this colorfully scored music all the more. The instrumental timbre is characterized by bright highs, a convincing midrange and clean bass. Consequently, the overall sound is about as good as it gets on conventional discs, but would probably have been demonstration quality had this been an SACD.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, Y240928)

Here's an Avie CD with some violin music by Belgian composer Eugène Ysaÿe (1858-1931), who was born in Liège. It gives us two orchestral works, both being world premiere recordings, as well a couple of chamber ones. All feature acclaimed French violinist Philippe Graffin (b. 1964).

Our program gets underway with the "Poème concertant (Concert Poem)" [T-1]. This is a realization by Belgian musicologist Xavier Falques and Mexican composer Erika Vega (b. 1987) based on Ysaÿe's original manuscript presumably dating from around 1894.

It has a "Misterioso (Mysterious)" orchestral introduction [00:02] followed by an eerie idea for the soloist [01:38]. Then the latter undergoes a progressively excited orchestral exploration [02:20l, which waxes and wanes into increasingly agitated passages highlighting the violin [03:53]. And after that, there's a captivating episode [05:27] with a comely tune for the soloist (CT) [06:59].

This is followed by recollections of the work's opening [08:06, 09:57, 12:13] as well as a fugato segment [14:13] based on CT. Then the latter conjoins a delicate bridge [17:01] into a searching, extended violin cadenza [19:12-20:48]. And subsequently, memories of the soloist's initial entry overlaid with CT [20:53] bring the piece to a dramatic conclusion.

Next there's the three-movement Violin Concerto in E minor (1884-85), whose first one is marked "Allegro appassianto non troppo vivo (Fast and spirited but not too lively)" [T-2]. It has a restless first theme for orchestra and soloist (RF) [00:00] that brings to mind the opening of Felix Mendelssohn's (1809-1847) eponymous work (1838-44). Then RF is explored [01:01] and followed by a related, mild-mannered idea (ML) [01:37], which is examined [02:35].

Subsequently, both thoughts are food for developmental passages [04:44] with skittering violin work plus a commanding restatement of ML [05:48]. However, this wanes into a subdued, melancholy violin reminiscence of ML [06:29] that turns into a protracted, challenging cadenza [08:02-11:42]. Then the latter adjoins captivating closing passages [11:43], which recall past thoughts, have nostalgic moments for the soloist, and end the movement forcefully.

The middle "Andante (Slow)" one [T-3] has a peaceful orchestral introduction [00:00] hinting at some subdued, chromatically-tinged thoughts soon played by the violin [00:21, 01:06, 02:21]. Then the foregoing wax and wane into a tender serenade [03:56]. It has a delicate midriff [03:56], ends quietly, and may remind you of Richard Wagner's (1813-1883) Siegfried Idyll of 1870.

However, the pace quickens in the "Allegro in modo di pomposo ma furioso (Fast in an imperiously rampant way)" marked closing movement [T-4]. Apparently, this virtuosic escapade was a problem child for the composer. Moreover, he abandoned the first version of it, and came up with a second that's only to be found on four partial scores. The latter have been carefully reconstructed and orchestrated by Xavier (see above), thereby giving us what we have here.

Be that as it may, this rondoesque caper has a rousing orchestral opening [00:00] hinting at a vivacious, principle theme soon played by the violin [00:25]. Then the latter is repeated [01:16] and undergoes several modifications of varying temperament. These range from assertive [01:39] to searching [02:11], complacent [02:33], fickle [04:34], martial [06:20, 06:39], imploring [07:58, 08:21] and playful [09:15]. Then a sprightly one [11:47] ends the work definitively.

Those Ysaÿe chamber selections are next, both being for violin and piano. The first is "2 Mazurkas de salon (2 Living Room Mazurkas)" Op. 10 (1882). These were written in Moscow during his second tour of Russia, and became very popular with that country's violinists during the 20th century.

The initial one is subtitled "Dans le lointain (In the Distance)" [T-5]. This has a couple of delicate ideas in its charming outer sections [00:01, 02:49]. They surround a middle one [02:21-02:48] featuring a spirited countermelody, and bring things full circle.

As for the other, it's simply called "Mazurka" [T-6], but similarly structured. Here outer passages [00:00, 03:07] suffused with two captivating thoughts, bracket some [01:10-03:06] featuring a capricious melody, and end this selection like it started.

Subsequently, we get "Rêve d'enfants (Children's Dream)" Op. 14 (1900) [T-7]. This is a tiny oneiric rhapsody based on an initial, soothing, berceuse-like melody [00:00], which is examined [01:56]. Then the foregoing gives way to a slowly swaying, related thought [02:40]. This conjures up images of a gently rocking cradle, thereby concluding the piece and disc adoringly.

All these performances feature renowned violinist Philippe Graffin (see above), who makes a strong case for all these Ysaÿe rarities. He receives superb support in the first two selections from the Royal Liverpool Philharmonic Orchestra (RLiver PO) under French violinist-conductor Jean-Jacques Kantorow (b. 1945). And after that, Philippe and American pianist Marisa Gupta (b. 1978) give us magnificent renditions of the chamber works.

The orchestral recordings [T-1 thru 4] were made 21-23 June 2023 at the Friary in Liverpool England, some 200 miles north-northwest of London. They project a suitably sized sonic image in pleasant surroundings with the soloist centered in front of the RLiver RPO. Monsieur Graffin's violin is well captured and highlighted against the orchestra, whose timbre is characterized by pleasant highs, good mids and clean bass.

Regarding the chamber ones [T-5 thru 7], these took place 9 October 2023 in the Grande Salle of the Royal Conservatory of Brussels. They present a comfortably sized sonic image of Philippe and Marisa with both of their instruments well captured.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P240927)