Once again with this CD those indefatigable Naxos folks give us some string quartet works that have languished in obscurity for far too long! That said, this disc features American composers Florence Beatrice Price (née Smith, 1887-1953) and Leo Sowerby (1895-1968).

The concert starts with a piece by Price, who's been a CLOFO regular for several years (see the newsletter of 31 March 2022). It's her four-movement String Quartet No. 2 in A minor of 1935, which opens with a "Moderato (Moderate)" sonata-form one [T-1].

The exposition features a carefree first idea [00:01] followed by a bluesy second [01:34]. Then the latter undergoes a fervent development [03:44], after which that initial thought initiates a refreshing recapitulation [05:45]. This has a lengthy coda [09:29] that becomes increasingly impassioned and ends the movement forcefully.

Structurally speaking, the next "Andante cantabile (Flowingly songful)" one [T-2] resembles a theme and variations. It opens with a lovely, spiritualsesque subject [00:00] that undergoes several treatments. These range from wistful [00:29] to pensive [01:06, 01:43], hopeful [02:03] and agitated [03:04]. Then the main idea returns [03:57], thereby bringing things full circle.

The third movement is a ternary, A-B-A-structured scherzo [T-3], whose "A"s [00:00, 02:47] feature an "Allegro (Fast)" [T-3] Juba dance. They bracket an "Allegretto [Lively)" marked "B" 00:56-02:46] that includes another similar one {01:42-02:10], and end this delightful movement with a 🙂.

Subsequently, there's an "Allegro (Fast)", lively "Finale" [T-4], which is a rondo that opens with a jig-like principal theme [00:00]. It alternates with a couple of pensive episodes [02:12, 03:38], and then becomes the basis for a final coda that brings the work to a vigorous conclusion.

This CD also has Beatrice's Five Folksongs in Counterpoint for String Quartet (1951). The "Adagio vigoroso (Slow and strong)" first one [T-9] starts with the melody from that African-American spiritual known as "Calvary" [00:00]. It undergoes an increasingly excited, chromatic-tinged treatment, which ends with an "Amen" reminiscent, plagal cadence.

The "Andantino (Ambulating)" second [T-10] commences with the tune for that old, familiar American folk ballad "Clementine" (aka, "Oh, My Darling Clementine") [00:00], which may have been of Spanish origin. This is then repeated [00:45] and undergoes a colorful development [01:01] followed by a scurrying version [02:08] that brings things to a dashing finish.

An "Andante cantabile (Flowingly songful)" third [T-11] begins with the melody for that song "Drink to Me Only with Thine Eyes" [00:00], which may have been written by English composer John Wall Callcott {1766-1821) sometime around 1790. Price turns this into a delicate serenade with a nostalgic, closing reminder of its opening tune [03:26].

The "Allegro (Fast)", scherzo-like fourth [T-12] serves up another African-American-related treat based on the tunes for "Shortnin' Bread" as well as a couple of unidentified folksongs. It starts with that "Bread" ditty [00:00] that's spiked with references to those others, and then ends things cheerfully.

But the pace slows for the "Andantino (Leisurely)" fifth [T-13], which features yet another African_American-related classic, namely the melody for "Swing low, Sweet Chariot" [T-13]. This is the opening subject [00:00] for a counterpoint-chromatic-flavored rhapsody that closes triumphantly [04:33] with memories of its opening measures.

This release is filled out with music by Leo Sowerby (1895-1968), who makes a long overdue appearance in these pages. Born in Grand Rapids, Michigan, he was a wunderkind, who started composing at age 10. Leo had a strong interest in church music, and by 15 he began learning how to play the organ. This led to his studying composition at what was then the American Conservatory of Music (ACM) in Chicago, Illinois, some 180 miles from his hometown.

Subsequently during World War I (1914-1918), he served as a bandmaster in France. But 1919 saw him return to the U.S., where he became associate organist at Chicago's Fourth Presbyterian Church. Then in 1921 he was the first composer to receive the Rome Prize from the American Academy in Rome. And 1924 found him teaching at ACM, where one of his students was Florence Price (see above).

Three years later (1927) Sowerby became organist and choirmaster st Chicago's St. James Episcopal Church. But after his retirement from there in 1962, Leo was appointed founding director of Washington National Cathedral's College of Church Musicians. During the summer of those later years, he'd teach at the Wa-LI-Ro choir camp located in Put-in-Bay, Ohio, some 80 miles west of Cleveland, where he'd spend his last days.

Sowerby was very prolific and left over 500 works (no extensive listing available as of this writing). These are in a variety of genres, and include a vast amount of church music for choir and organ, but no ballets or operas.

This CD gives us the world premiere recording of his String Quartet in G minor, H.226 (1935). It was never published, so what we have here was realized from an engraved pencil copy as well as a 1936 archival recording.

The first of this work's four movements [T-5] opens with a "Languidly, darkly" marked introduction [00:00] hinting at an idea soon to come. Then the foregoing is examined and followed by a parenthetical, contrapuntal tidbit [01:19-01:53].

The latter invokes a "Fast, with dash", full appearance of that aforementioned idea [01:54], which adjoins a related, more serene one [03:53]. Then both thoughts undergo a sublime development [06:07]. This waxes and wanes into memories of the opening measures [11:44], which end the movement in the same spirit as it began.

A "Very fast", frantic scherzo is next [T-6]. This is a ternary, A-B-A-structured piece with antsy "A"s [00:00, 04:03] based on a flighty ditty [00:19]. They bracket a serene "B" [02:41-04:02] featuring an initial, hymnlike number, and close the movement full circle.

The third one marked "Slowly; rhapsodically" [T-7] is as billed. It begins with a melancholy melody intoned by the cello [00:00] that's soon set to a pious violin-viola accompaniment [00:17]. This seemingly reflects the composer's religious associations, and is a prayerlike offering that quietly fades away.

Memories of the preceding movement then parent the "(Recitative); Broadly" marked fourth's [T-8] initial passages [00:00]. These suggest the opening main subject of a subsequent "(Fugue:) Moderately fast, yet with broad sweep" that soon appears [01:29]. This begins somewhat academically (shades of the composer's teaching days), but becomes very commanding, thereby ending the quartet assertively.

These performances are by the Chicago-based Avalon String Quartet (Avalon Stg Qt), which is currently in-residence at the Northern Illinois University School of Music (NIU) located in DeKalb, Illinois, some 65 miles west of Chicago. Its members (first-violinist Blaise Magnière, second-violinist Marie Wang, violist Anthony Devroye, cellist Cheng-Hou Lee) deliver superb accounts of these three rarities.

The recordings were all made during September and October of 2022 at NIU's Boutell Memorial Concert Hall. They present consistently lifelike sonic images of the Avalon in pleasant surroundings. Its members are comfortably positioned from left to right in order of increasing instrument size. All four are well captured as well as balanced against one another. What's more, the string tone is as good as it gets on conventional discs.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, Y241031)

American composer Paul Moravec's (b. 1957) birthplace was Buffalo, New York, and he has strong academic credentials. More specifically, he got a B.A. in composition from Harvard University in 1980, and then went on to earn his Masters (1982) and Doctor of Musical Arts (1987) from Columbia University.

We should also note that Paul won a Prix de Rome, whereby he studied at the American Academy in Rome during 1984-85. He tells us (see the informative album booklet) his time in that great city was "an inexhaustible quarry of civilizational memory and inspiration".

Moravec subsequently taught at Dartmouth (1987-96) as well as Hunter College (1997-98), and has more recently been on the faculties of Adelphi University and the Mannes School of Music. He received the Pulitzer Prize for Music in 2004 for his Tempest Fantasy (2003; see Naxos-8.559323). This lead to his being named as a new honorary composer-member of the New York Composers Circle in 2006 and appointed composer in residence for the academic year 2007-08 at the Institute for Advanced Study in Princeton, New Jersey.

He's also received composer fellowships from the National Endowment for The Arts, as well as the Rockefeller Foundation. What's more Moravec has gotten the Charles Ives Prize (1985) in addition to the Goddard Lieberson-titled award in American composition.

His music is mostly tonal, neo-romantic fare, and Paul has written a substantial body of works across all genres. Here BMOP continues their survey of them (see BMOP-1024, 1054) with four in the orchestral category (see the informative album booklet for more details).

This release begins with The Overlook Hotel (2016) [T-1], which is a suite for large orchestra and musical portrait of that infamous Inn featured in the composer's opera The Shining (2016). Incidentally, the underlying story was also the basis for a controversial, eponymous film released in 1980.

The Moravec has an eerie, percussion-string-glissando-complected opening [00:01], that even includes shouts from members of the orchestra [02:17, 02:21]. Then the foregoing calls up some 1940s, big band-like dance music [04:15]. This makes a spooky, extended bridge [08:04] into crazed memories of the opening [09:03] with more shouts [14:14, 14:18], and brings the work to a traumatic conclusion [15:08-05:16].

Three selections for chamber orchestra are next, the first being Paul's Scorpio Dances (2019) [T-2]. This was commissioned by the BalletCollective, and inspired by American aerial photographer George Steinmetz's (b. 1957) thought-provoking desert pictures.

It has an allegro (fast) opening [00:01] with flighty moments [00:26], which seemingly represent an airborne Steinmetz (see above). Subsequently, there's a slower, more lyrical segment [03:55] followed by a warm, songful, brass-dominated episode [05:22], as well some pensive ones [08:05, 09:11, 12:32]. The foregoing ostensibly depict the sun rising over some awesome desert landscape, and then nostalgic passages [13:54] end the work peacefully.

The next selection titled Serenade (2004) is in four movements and dedicated to the Albany Symphony Orchestra as well as the people of that city. It was inspired by the New York State Capitol Building's Great Western Staircase. While the building took 32 years to construct, the subject staircase was 14 in the making. More specifically, the latter is 119 feet high and decorated with busts of famous as well as ordinary people. Additionally, there are many figures of small animals (cats, squirrels, lizards et al.), all of which represent the efforts of some 500 stone carvers.

Its opening "Stately" marked "Ascent" [T-3] has a sparkling preface [00:01] followed by a rising melody [00:29]. The latter gradually brightens as one climbs higher to the sunlit upper levels, and closes peacefully.

Then there's "Capitol Unknowns (Part 1)" [T-4], which is indicated as "Singing, expressive, with a little rubato". This honors those unknown people whose images appear along the staircase. It's a film-score-like, rather chiaroscuro tidbit that gets off to a glowing start [00:00]. This has intertwined radiant as well as stygian passages and ends quietly.

The "Playful scampering" marked third movement is called "Capital Critters" [T-5]. It's a scherzo-esque characterization of those frisky animals decorating the stairway. This has a perky preface [00:00] followed by some antic themes [00:10, 00:40, 01:54] that well characterize these critters.

Lastly, there's "Capitol Unknowns (Part 2)" [T-6]. It has a "Lontano (Aloof)" prefix [00:00] succeeded by passages [00:16] that take up where Part 1 left off, and commemorate more of those busts (see above). Then the music shines brightly [01:01] and wanes into comforting memories of the opening moments [02:42]. These intensify, but then evoke a moving episode [04:29], which brings the work to a sublime conclusion.

This release is filled out with Moravec's Brandenburg Gate (2008). It celebrates Bach's (1685-1750) six Brandenburg Concertos (c. 1711-20), as well as the 1989 reopening of that eponymous monument. Like the last five of those Bach works, Paul's is a three-movement concerto grosso. More specifically, it's scored for string orchestra and a concertino consisting of violin, flute, clarinet (includes bass clarinet) and trumpet.

Here two fast movements bracket a slow one, all of which are riddled with what's known as the BACH motif. The first [T-7] gets off to a boisterous start [00:01] with an animated conversation between the continuo (see above) and strings. Then the music becomes somewhat more reflective [03:38] and wanes into slower, twitchy passages [05:15] that end things unpretentiously.

The latter set the mood for a "Pesante (Heavy)" marked second [T-8]. It opens with the strings playing a chromatically-tinged, chorale-like idea [00:01]. This is the basis for a ghostly serenade, where the concertino instruments (see above) frequently appear. It then builds into dramatic passages [05:55] that conjoin somber, concluding ones [06:52].

Subsequently, there's a capricious third [T-9] that begins with antsy, pizzicato strings, which are soon accompanied by driving arco (bowed) ones [00:23]. Then the concertino (see above) joins the fray [00:51] and we get spiky moments, which might represent hammers and chisels picking away at the Berlin Wall. Be that as it may, the trumpet subsequently introduces a more triumphant section [04:00], which ends the work and this disc with a joyful orchestral yelp [06:03].

These performances are by the Boston Modern Orchestra Project (BMOP) under its founder-conductor Gil Rose (b. 1964). They give outstanding accounts of all four selections. Also a big round of applause goes to those BMOP musicians featured in Brandenburg Gate [T7 thru T9}, namely violinist Gabriela Diaz, flutist Sarah Brady, clarinetist Jan Halloran and trumpeter Terry Everson.

The recordings on this hybrid disc were all made in the U.S. More specifically, The Overlook Hotel [T-1] and Brandenburg Gate [T-7 thru 9] were done 25 August and 9 October 2022 in Boston's Jordan Hall. As for Scorpio Dances [T-2] and Serenade [T-3 thru 6], they took place on 18 June 2021 and 9 October 2022 at Mechanics Hall located in Worcester, some 50 miles west of Boston.

Despite the different times and locations, they all present generous sonic images in warm, enriching venues. The overall instrumental timbre is excellent with pleasant highs, a rich midrange and clean bass. As for the concertino instruments (see above), they're well captured and highlighted against the rest of the orchestra. The string tone is good on the conventional stereo tracks, and even better with the Super Audio ones.

Those with home theater systems will find the multichannel mode adds a concert ambience that gives listeners a virtual, center-orchestra seat a few rows back from the BMOP. Everything considered, this release gets an "Audiophile" stripe no matter how you play it.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, Y241030)

With this recent Hänssler release, Swiss composer Rudolf Moser (1892-1960) makes his CLOFO debut. He was born in the village of Niederuzwil, but grew up in Basel, around 90 miles west of there. He showed an interest in music early on, and this was encouraged by his parents. Moreover, young Rudolf would study violin, piano, organ and music theory at what's now known as the Music Academy of the City of Basel (MAB).

Then in 1912 he moved to Leipzig, Germany, some 450 miles north-northeast of there, where he continued his musical studies with such greats as Max Reger (1873-1916; see 31 August 2016). However, with the onset of World War I, Moser returned to Basel in 1914 and furthered his musical education at MAB, where one of his instructors was fellow countryman Hans Huber (1852-1921).

Upon completing his studies, Rudolf was made a professor of composition and music theory at MAB by its then residing director, famed Austrian conductor-composer-pianist Felix Weingartner (1863-1942). Novak would continue in this capacity until 1960. However, he was an ardent alpinist and was killed that year in an unfortunate mountaineering accident near Silvaplana, about 170 miles southeast of Basel.

Moser left a significant body of works in almost all genres (no listing available as of this writing), and we're treated to five in the orchestral category on this release. The first is his Variations, Op. 2, No. 2 (1931), which starts with a catchy main idea [00:01] that's soon followed by a hymnlike variant [01:16].

This is succeeded by a delicate, woodwind-flavored one [02:25] and subsequent assertive [04:32], contemplative [05:44] as well as antsy [07:37] variants. Then the last of these makes a stately transition [08:41] into an impressive fugato [08:41], which ends things with a solemn remnant of the opening thought [10:59].

Rudolf'a three-movement Piano Concerto, Op. 61 (1934) is next. It begins with a sonata-form-like "Allegro moderato (Moderately fast)" one [T-2], whose exposition starts with the orchestra playing a cheerful tune [00:00]. This is soon picked up by the piano [00:32] and explored by all [00:50]. Then the orchestra introduces a lovely, related number [02:05] that's seconded by the soloist [02:19].

The latter is subsequently examined, thereby calling up a vivacious, development for all [03:03]. Then [05:28] that attractive, second thought is played by the soloist with underlying orchestral suggestions of its companion. This launches a thrilling recapitulation [06:15] with a descending coda [07:11] that ends the movement uneventfully.

It's followed by a "Poco sostenuto (Somewhat sustained)" one [T-3], which opens with a subdued, searching theme for the orchestra [00:00] that's followed by an attractive, related countermelody played by the piano [00:32]. Subsequently, these thoughts are the subjects of an affecting discourse between the two. This conversation has profound moments [01:45, 03:33, 05:13, 06:43] as well as animated ones [02:08, 06:16, 07:00], the last of which brings the movement to a quiet conclusion.

The dashing theme-and-variations "Finale" [T-4] starts with a rollicking main subject for the orchestra [00:00] and soloist [00:36]. This is succeeded by bravura [01:48] as well as haughty [02:28] variational treatments. Then a bold one [04:02] ends the concerto resolutely.

On a somewhat lighter note, we then get Rudolf's Suite, Op. 56 (1932-36). In six short movements, the first is an "Allegro moderato (Moderately fast)" marked "Präludium (Prelude)" [T-5]. It has a melodious introductory theme [00:01], which parents a superb fugal episode [01:58].

Then there's an "Allegro moderato (Moderately fast)" marked "Fuge (Fugue) [T-6]. This is a captivating, colorfully scored piece, based on a melodious initial subject [00:00]. It's a real attention-getter and comes to a blazing close [03:39]. But after that there's a "Larghetto (Rather slow)" marked "Air" [T-7], which has rather melancholy outer segments [00:00, 02:52] on either side of a rather perky one [01:49-02:51].

However, the mood turns capricious with the subsequent "Presto (Very fast)" marked "Rondo" [T-8]. Here a delightful, flighty ditty [00:00, 02:31] dances around a comely, complementary number [01:06-02:30]. But another "Air" of "Andante (Slow)" deportment follows [T-9]. This has nostalgic sections [00:00, 03:18] on either side of a more mercurial one [01:44-03:17].

As for the last movement [T-10], it's based on two dances. More specifically, here a "Vivace (Fast)" marked "Forlane" [00:00, 02:58] brackets a "Moderato (Moderate)" marked "Anglaise" [01:04-02:57], and ends the suite in sunny fashion.

Things become quite serious in the following Passacaglia on 'Es ist ein Schnittzer der heisst Tod (It's a Reaper called Death)' [T-11]. This starts with an ominous, recurring, ostinato theme [00:01] that underlies passages of differing disposition. These are respectively reverent [00:21], agitated [01:21], pensive [01:54], stormy [02:27], flighty [02:45] and imperious [03:02]. Then felicitous fugal ones [03:27] bring the piece to a rousing conclusion.

Last but not least, there's Moser's Overture to a Church Concert, Op. 41 (1928) [T-12]. It opens with a pious theme [00:00] that's examined [00:33, 01:23]. Then after a tension-building pause, this becomes the subject of a magnificent fugally-spiced episode [02:03]]. And subsequently, subdued reminiscences of the main idea [04:59] end this work and release reverently.

These performances are by the Sinfonietta Rīga, which is based in Latvia's capital. Under Swiss conductor Philippe Bach (b. 1974), they give superb accounts of all five selections, and our old friend, German pianist Oliver Triendl (b. 1970; see 31 January 2024), deserves a standing ovation for his playing of the concerto [T-2 thru 4]. These superb musicians make a strong case for this undeservedly forgotten composer.

The recordings were made 28-30 November 2023 in Riga at that city's Reformed Church (no interior pictures readily available). They project an aptly sized sonic image of the Sinfonietta with Oliver's piano centered, well captured and balanced against it. The orchestral timbre is characterized by pleasant highs that would have sounded better had this been an SACD. As for the mids and lows, they're more convincing.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P241029)

It's been a few years since we sang the praises of Polish composer Feliks Nowowiejski (1877-1946; see 30 June 2017). But he makes a triumphant return to these pages with this recent DUX release having two of his concertos. What's more, both are world premiere recordings and follow this label's earlier disc featuring two of his symphonies (see DUX-1446).

Feliks was born in Barczewo about 140 miles north of Warsaw. He first studied music in nearby Święta Lipka and Olsztyn. Then 1893 saw him begin his career as a violinist and composer of works for bands and orchestras. He would also further his musical education at Berlin's Stern Conservatory.

In 1909, Nowowiejski returned to Poland and took up residence in Kraków, about 180 miles south of Warsaw. But with the outbreak of World War I (1914-1918), he went back to Berlin, and served as the conductor of a military orchestra.

Shortly after the end of that conflict, he returned to Warsaw. Then during World War II (1939-1945) Feliks moved some 200 miles west to Poznań, where he hid in a hospital. But 1945 saw him resume his musical activities in that city, where he'd unfortunately soon die.

Nowowiejski's three-movement Piano Concerto in D Minor, Op. 60 (1941) begins this release. It's been referred to as the "Slavic" by some sources; however, that subtitle seems to have been written on the manuscript sometime later. Be that as it may, what we have here is one of his last compositions, which is a Slavic-flavored, neo-romantic work that's a virtuosic workout for the soloist.

Its opening sonata-form "Allegro con fuoco (Fast with fire)" [T-1] has an exciting introduction, where the orchestra plays a dramatic theme [00:00]. Then the exposition begins as the piano emerges picking up on same [00:48], and plays a related, songful countermelody [01:12] that's joined by the tutti [01:32].

Subsequently, these ideas undergo a captivating development [02:46] with languorous passages for the soloist [03:42, 05:27] and orchestra [04:45, 06:20]. They call up a lengthy, winsome piano cadenza [06:37], that invokes a thrilling recapitulation [07:41]. Then the latter ends this movement with an exultant coda for all [09:56].

The "Andantino (Leisurely)" middle one bears the marking "Poezja starego Krakowa (Poetry of Old Kraków)" [T-2]. It's theme-and-variations-like, and has a lovely, languid opening subject played by the soloist [00:00]. Then the foregoing parents a rhapsodic variant for all [02:31], which waxes and wanes into a nostalgic one [03:55]. This adjoins searching treatments [05:07. 05:32] that end the movement tranquilly.

Then there's a sonata-rondo third [T-3]. It gets off to a "Maestoso (Majestic)" start with an imposing theme for the orchestra [00:00] and soloist [00:12]. This idea will recur throughout the "Vivace (Spirited)" remainder of the movement [00:42], and play lyrical leapfrog [05:35, 06:58, 09:06] with several other, related tunes.

The latter range from yearning [00:42] to vivacious [01:44], pensive [04:10], songful [04:45], playful [06:19] and assured [08:03]. Then a virtuosic-piano-dominated one [09:19] brings things to a commanding conclusion.

After that, this CD gives us Feliks's three-movement Cello Concerto, Op. 60 (1938). Written three years before the preceding one, it's a stunning workout for the soloist, and takes the form of a sinfonia-concertante-like piece. Here the cello competes with the orchestra, and the composer explores all of that instrument's possibilities. Consequently, the work is a brilliantly scored piece, which places great technical demands on the soloist.

The initial "Allegro con brio (Fast with spirit)" [T-4] begins with a fiery orchestral preface [00:00] hinting at an engaging melody soon to come. Then the soloist enters [00:31] and plays that idea in full [00:34]. This material is subsequently explored [01:47] and appears in several forms.

The first two are rather songful [02:12, 03:39] and bridge into respectively whimsical [05:37] and triumphant [07:05] ones. Then there's a tension-building-pause [08:04] followed by a cello-introduced subdued segment [08:08] that turns increasingly lively [beginning at 08:43]. This wanes into excited passages [10:07] with showy cello moments [10:56], all of which end the movement forcefully.

An "Andante tranquillo (Tranquilly flowing)" marked "Aria" is next [T-5]. It has a lovely, celestially suggestive, orchestral introduction [00:00], where the soloist soon sings a winsome tune (WT) [00:37]. This is then the subject of a delicate discourse between the two.

The latter has inquiring moments [03:10] in addition to avian-tinged [04:55] as well as hymnnlike [05:25] ones with a restless soloist. These are followed by a humongous, challenging, cello cadenza [06:53-10:06], which conjoins the return of the orchestra [10:07]. The latter again invokes those opening celestial thoughts with wisps of the soloist that seemingly fade into heaven above.

Then it's back to earth for the "Allegro moderato (Somewhat fast)" closing "Passacaglia" [T-6]. This gets off to a stormy start with the orchestra playing a WT-reminiscent ostinato (WO) [00:00] that's picked up by the cello [00:39].

Subsequently, WO is the lifeblood of several scions. These range from rascally [01:04] to flighty [02:00], impatient [02:27] and raucous [03:47]. Then the foregoing wanes into giddy [04:25] as well as contemplative [05:24] ones. However, the latter is followed by a scurrying segment for all [08:04], which ends the work decisively.

There's also an extant manuscript with a second version of the above movement, and this disc closes with that [T-7]. It's almost identical to the earlier one, except the last segment [08:04] is two minutes longer with additional passages [beginning at 10:39], which bring things to a sublime conclusion.

The Poznań Philharmonic Orchestra (Poznań PO) under its Music Director and Chief Conductor Łukasz Borowicz (b. 1977) is featured here, along with Polish pianist, Jacek Kortus (b. 1988) and his fellow countryman, cellist Bartosz Koziak (b. 1980). Together they deliver superb performances of all three selections.

These recordings were made in Poznań during 2022. More specifically, the first selection [T-1 thru 3] was done 25-27 May at the Adam Mickiewicz University's Auditorium (no image readily available). Then the others [T-4 thru 7] took place 12-14 September in the Poznań Philharmonic Concert Hall.

Despite the different times and locations, they present consistently acceptable sonic images in affable surroundings. Both soloists are centered, and their instruments convincingly captured as well as highlighted against the orchestra.

In regard to the overall instrumental timbre, it's characterized by respectable highs, a good midrange and clean bass. While this release won't win any audiophile awards, it's highly recommendable for the little-known works included here. With appealing music such as this, pointy-eared listeners will soon forget any sonic shortcomings.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P241028)