American composer-conductor John Coolidge Adams (b. 1947) birthplace was Worcester, Massachusetts, some 50 miles west of Boston, and he grew up in a musical family, his mother being a singer and Dad, a clarinetist. At eight, John took up the clarinet and began composing when he was only ten. Then during his early school years, Adams played with local orchestras and bands.

The year 1965 saw him enroll at Harvard University and subsequently get a B.A. (1969) as well as an M.A. (1971) in music. While there, John studied composition with such distinguished American composers as Leon Kirchner (1919-2009), Roger Sessions (1896-1985) and David Del Tredici (1937-2023).

Adams moved to San Francisco in 1972 where he taught and conducted at that city's Conservatory of Music. Then 1988 saw him begin conducting orchestras all around the world, which included such greats as those in Chicago, Cleveland, New York, London and Amsterdam. Consequently, John has written a considerable body of works across all genres, which include film scores as well as tape and electronic ones. This recent Naxos release gives us three in the orchestral category.

The first is his three-movement City Noir (2009), which is a tribute to Los Angeles, and was inspired by what the composer seemingly refers to as those dark, eerie chiaroscura, Hollywood films of the 1940-50s. He calls his piece "an imaginary film score", and begins it with "The City and its Double" [T-1], where that "Double" is presumably Hollywood.

This has clamorous, percussion-laced, opening passages [00:01] followed by subdued, slower ones [00:32], as well as a scurrying theme [00:48]. Then the latter peaks [03:30] and suddenly wanes into peaceful passages [04:20] as well as chirpy ones [05:59]. Subsequently, the latter intensify and adjoin some wistful moments [07:19]. These bridge into a jaunty segment [08:28] that becomes increasingly percussive and strengthens.

Then the foregoing proceeds attacca into a middle movement titled "The Song is for You" [T-2], which the album notes refer to as "Nachtmusik (Night music}". This is a percussively spiced nocturnal serenade that has a somewhat spooky beginning [00:00] with eerie strings playing sans vibrato. It could be a musical impression of fog along Los Angeles's Santa Monica Bay. Then a saxophone and trombone emerge from the mists [02:19]. They evoke increasingly jazzy passages [05:32], which become quite frantic. But these suddenly wane into contemplative ones [07:21] that end the movement quietly.

The closing "Boulevard Night" [T-3] begins with shimmering, sedate passages [00:00]. These conjure up thoughts of warm summer evenings along some popular avenue. Then a trumpet surfaces [01:47] playing an idea reminiscent of the scores written for those Hollywood 1940s-50s film noire crime dramas. This comes to a violent close with gunshot-like moments [03:35] that summon a chugging episode, which invokes jazzy, saxophone-dominated segments [04:33, 05:11].

They're followed by a somewhat queasy tidbit [05:48] that calls up additional, jazzy passages [06:18]. These bridge into increasingly frenetic ones [08:04, 08:54], where it's easy to imagine a late summer night along a boulevard crowded with many strange people. Then that sax returns [09:40] and wild passages with a repeated, crazed, three-note motif [10:24] bring the work to a chaotic conclusion.

The next selection called Fearful Symmetries [T-4] was inspired by the fourth line of English poet William Blake's (1757-1827) poem "The Tyger" (1794), which has the words "...fearful symmetry". Lasting almost 30 minutes, there's a driving, balletic quality about this, and there have been over a dozen choreographic stagings of it.

This piece is a combination of stylistic influences. More specifically, you'l find jazzy moments reminiscent of Duke Ellington (1899-1974) and George Gershwin (1898-1937), as well as others that call to mind Igor Stravinsky's (1882-1971) neoclassicism and Philip Glass's (1937) incessant arpeggios.

It gets off to a chugging, steam-engine-like start [00:01], complete with woodwind whistles [00:07]. Subsequently, this colorfully scored music takes on a variety of aspects. They range from yearning [04:55] to pensive [08:11], shivery [12:10], forceful [14:59], capricious [19:02], insistent [22:44] as well as clamorous [25:19]. Then a celestial one [25:40] ends the work peacefully.

The concert closes with a short orchestral treat titled Lola Montez Does the Spider Dance (2016, rev. 2020) [T-5], which Adams has since incorporated into his opera Girls of the Golden West (2016-17). And incidentally, Lola Montez was the stage name of renowned, Irish-dancer-actress Eliza Rosanna Gilbert (1821-1861).

Appropriately enough, it's a tarantalla just like those arachnid-oriented Italian folk dances of old. Moreover, our ballerina is attacked by spiders and proceeds to stamp them out. That said, this gets off to a harried start [00:00], but becomes a little more restrained with some trombone work [00:19].

Then there's a flighty, flute segment [01:23] followed by a hesitant one [02:12]. And after that, ditzy clarinet passages [02:50] transition into a whirling dance [03:30]. The latter becomes increasingly deranged, thereby closing this cavort with an exclamatory, sforzando shriek [05:43].

These performances are by the ORF Vienne Radio Symphony Orchestra (ORF VRSO) under its chief conductor, American-born-and-trained Marin Alsop (b. 1956). She's a good friend of the composer, and thinks very highly of his music. Consequently, "Maestra" Alsop and her superb musicians deliver what must be definitive renditions of everything here.

The recordings took place in Vienna on 31 May through 2 June [T-1, 2, 3 & 5], and 1-3 December [T-4] of 2022 at Austrian Radio's Great Broadcasting Hall. They project somewhat confined sonic images of this music in dry surroundings. However, the many solo instruments called for by these colorful scores are adequately captured and highlighted. As for the overall instrumental timbre, it's characterized by occasionally shrill highs, but an acceptable midrange and good transient bass.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P241130)

A few months ago those adventurous Naxos folks gave us this composer's string quartets (see 31 January 2024). Now, they follow up with world premiere recordings of five more works by Italian composer-pianist Franco Alfano (1875-1954).

This disc begins with his four-movement Suite romantica (1906-08), where Alfano once said his aim in it was to express 'the feelings of two lovers travelling through Italy'. Apparently, their journey was from Venice to Naples.

The first "Calmo ed espressivo (Calm and expressive)" marked "Notte adriatica (Adriatic Night)" [T-1] is a lovely nocturne. It has a somewhat wistful opening [00:01] that becomes more sanguine [02:37] and bridges into a festive episode [05:29]. Then the latter wanes, thereby calling up memories of the opening measures [07:30], which end the movement tranquilly.

It's soon followed by a "Moderato contemplativo (Moderate and contemplative)" one called "Echi dell'Appennino (Apennine Echoes)" [T-2]. Here pastoral passages [00:00, 03:41] surround a rustic dance segment [00:57-03:40]. Then the foregoing is followed by a "Lento, non troppo (Slow, but not overly so)" third titled "Al chiostro abbandonato (At the abandoned monastery)" [T-3].

This gets off to a somber, sanctified start [00:00] along with the sound of church bells [00:17]. Then there are plainsong passages [00:35, 07:31]. These surround what the album notes describe as 'a proud warm, spirited hymn of love' [03:47-07:30]. And then they bring things to a pious conclusion with more church bells [08:05].

After that, it's on to a "Molto vivace (Very vivacious)", "Natale campàno (Christmas in Campania)" [T-4]. Here a beckoning preface [00:00] invites us to a festive, whirling dance [00:04]. This has carol-like segments [00:57, 01:54, 02:25] and conjoins a gorgeous, reverent episode [04:04]. But then there's a drum roll [07:13], after which the previous festivities resume, thereby closing the work in glorious, fortissimo fashion.

During the late 1940s, Alfano began writing music that smacked of French impressionism, namely Claude Debussy (1862-1918) and Marice Ravel (1875-1937). Our next selection, his fourteen-minute Una danza (A dance) of 1948-50 [T-5], is a good example of this.

It has an exotic, casual opening [00:01] somewhat reminiscent of Debussy's Jeux ballet of 1912. Then the Alfano becomes increasingly intense [beginning at 01:37] and has capricious [01:58, 02:55, 06:08, 08:51] as well as waltz-like segments [02:08, 03:25, 09:03]. These wane into melancholy memories of the opening measures [11:58], which end the piece tranquilly.

Then there's a real change of pace with his "Lentamente, ma elastico (Slowly, but supple)" marked Nenia for solo accordion (1951) [T-6]. At just over five minutes, it begins haltingly [00:00] hinting at a rather lugubrious idea that soon follows [00:12], The latter is repeated [01:02] and undergoes several gloomy exporations [01:35, 02:23, 03:47]. Then it returns [04:51] to close this oddity despondently.

The next piece is Alfano's Divertimento per orchestra ridotta e pianoforte obbligato (Divertimento for small orchestra and obbligato piano). It's a neoclassical delight that has a cheerful, dance-like Introduzione (Introduction) [T-7]. This begins with a jaunty number [00:01] that transitions [01:53] into a more forceful version of itself [02:37].

Then the latter makes an attacca transition into an "Allegro festoso (Happy and festive)" Aria [T-8]. It opens with a comely tune [00:00] that undergoes several treatments, which range from yearning [02:04] to amorous [04:07] and fickle [04:52]. Then a pensive one [05:54] ends this section rather wistfully.

It's followed by a Recitativo e Rondò (Recitative and Rondo) [T-9]. The first of these [00:00] is a "Lento (Slow)" hint of what's to come. Then we get a "Presto (Very fast)" second with a catchy, principal theme [00:40] that scampers about. Then it makes two increasingly frenetic appearances [02:19, 04:32], which bring the work to a crazed conclusion.

This disc closes with Alfano's Amour... Amour... (Love... Love...) [T-10], which began life in 1901 as a piece of Salon music for piano. But what we have here is a later orchestral version (pub. 1928). It's a charming waltz that starts with a lovely recurring idea [00:01, 02:03, 04:57]. Then this is interspersed with a couple of countermelodies that are respectively flirtatious [01:19, 04:11] as well as somewhat reticent [02:43, 03:21]. However, the opening thought is the basis for an elated coda [05:35] that ends the piece and disc exultantly.

The Orchestra Sinfonica Di Milano Giuseppe Verdi (OrSinfaMGV) under Italian conductor Giuseppe Grazioli is featured here along with Italian pianist Vittorio Rabagliati. And that accordion selection is played by Davide Vendramin. They'll all leave listeners wanting to hear more Alfano.

These recordings were made 16 [T-1, 2, 3, 4], 17 [T-5], 18 [T-7, 8, 9] and 19 [T-6, 10] August 2022 at the Auditorium di Milano. Italy. They present consistently generous sonic images of the orchestral selections in a marvelous venue with Signore Rabagliati's piano centered and ideally captured. The orchestral timbre is characterized by good highs, a rich midrange and clean, articulate bass. As for Venrdamin's accordion, it speaks for itself!

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, Y241129)

With this recent release we welcome a new Spanish label and composer to these pages, the latter being Juan J. Colomer (b. 1966). He was born in Alzira, and began studying music as an eight-year-old at the Societat Musical d'Alzira. It would then seem he went on to what's now known as the Conservatorio Municipal "José Iturbi" de Valencia, from which he graduated in trumpet and composition.

But in 1990, Colomer moved to the U.S., where he'd live in Boston and study film scoring at the Berklee College of Music. Then 1992 saw him take up residence in Los Angeles and become an American citizen (2006), as well as a highly successful, widely performed composer, who's written a significant body of works across all genres as well as numerous film scores.

Four of his orchestral works are featured here, the first being "Escaping Insanity" (2012) [T-1]. This takes the form of a ponderous, psychotic passacaglia (PPP) based on an initial, pensive ostinato [00:02], which traverses several changes of temperament. These range from agitated [02:04] to frantic [04:01], insistent [05:57], pensive [09:34] and obsessed [10:43]. Then the later slowly wanes [beginning at 13:45], thereby ending the work with a feeling of resignation.

Next, we get Juan's "Symphonic Genesis" (2012), which was inspired by the Dana Point area of California, some 60 miles southeast of Los Angeles. This piece is probably best described as a symphonic poem in four attacca sections.

First there's what's called "The germ" [T-2], which contains the thematic DNA for the whole work, and starts with the horn playing a captivating idea (CI) [00:02] soon reinforced by the rest of the orchestra [00:25]. CI will pervade the entire piece, but for now it bridges into more laid-back moments [02:51]. These build into a climactic episode [03:58] that suddenly stops, thereby instantly transition into the next section.

The album back cover and booklet title page call this "The creaction", but it should be "The creation" [T-3]. This has a hushed beginning [00:00] with what sound like bird calls [00:28] as well as CI [00:33]. Then we get contemplative passages [01:31, 03:21], which intensify and invoke an "Exhilaration" section [T-4].

Here CI is heard right from start [00:00], and parents a warm, euphoric outpouring, which seemingly reflects Dana Point's stunning views. Then the foregoing suddenly stops, and is immediately succeeded by a closing "Majestic" marked section [T-5]. This begins with CI [00:00] and becomes a glorious epilogue that simply fades away.

A through-composed tone poem titled "Escenas pintorescas (Pictoresque Scenes)" of 2020 is next [T-6]. Lasting almost half an hour, it seemingly honors cubism, and presumably Pablo Picasso's (1881-1973) works. The composer probably saw many of the latter in Málaga at the Picasso Museum (Museo Picasso Málaga) during his days in Spain.

But returning to the music at hand, it has an explosive preface [00:02] followed by a nostalgic thought [00:11] featuring a cello [00:13]. This idea is the basis for a series of subsequent segments, some of which seem war related and could have been inspired by Pablo's large oil painting Guernica of 1937.

There are also sad [05:16], capricious [07:44], contemplative [15:47] and volatile ones [17:04] that suddenly bridge into nostalgic as well as marchlike segments [22:27]. Then the last of these calls up a harrowing one [23:51], which ends the work with a couple of hair-raising, orchestral shrieks {24:54].

The final selection titled "A casual walk to extinction" (2023) [T-7] is another PPP (see above). However, this reflects humankind's self-absorption with material pursuits, which could well lead to its disappearance from this planet.

That said, it has a pensive, opening ostinato [00:02], which undergoes several changes of temperament. These include sedate [02:30], troubled [04:21, 07:18], resigned [07:47] and tragic [09:50] ones. Then the latter wanes into subdued, wistful passages that bring the piece and disc to an ominous conclusion.

The performances are by Orquesta Sinfónica de Radio Televisión Española (ORTVE), which is based in Madrid, some 240 miles northwest of Alzira. Under Spanish conductor Sergio Alapont. They give us arresting renditions of all these selections, which make a strong case for this composer.

These recordings took place 15-18 May 2023 at the Teatro Monumental de Madrid. They present consistently generous sonic images of all four selections in spacious surroundings. The orchestral timbre is characterized by acceptable highs, a pleasant midrange and clean bass, but the sound would have come off better had this been an SACD.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P241128)

Four years ago, we told you about some delightful chamber music by this composer on a Chandos release (see 30 November 2020), and now CPO gives us their first volume devoted to his orchestral works. What's more, all four of the selections here are world premiere recordings.

By way of background, composer-conductor-pedagogue Walter Kaufmann (1907-1984) was born in what's now Karlovy Vary, Czech Republic, some 80 miles west of Prague. His music education began at home, and he then went on to study at the Berlin University of the Arts, where one of his teachers was famed, Austrian composer Franz Schreker (1878-1934).

Subsequently, Walter led a very interesting, itinerant life and lived in Germany, India, England and Canada as well as the United States, where he spent his last years (see the album booklet). That said, Kaufmann left an eclectic body of works across all genres, which even include film scores.

This CD begins with his three-movement, Concerto for Piano and Orchestra No. 3 in C Major (1950). The "Allegro (Fast)" opening one [T-1] starts with the orchestra playing a jolly theme [00:01] soon picked up by the piano [00:09]. Then the foregoing is explored [00:29] and becomes the subject of a spirited conversation between the two [02:28]. This evokes a dramatic thought for all [03:25], which the soloist elaborates on [04:30]. And after that, skittering reminders of the opening idea [05:38] close this movement exultantly.

The "Andante (Slow)" middle one [T-2] is a sad serenade. It's based on an initial melancholy tune for the oboe [00:01], which is canonically acquired by the piano [00:28] and strings [00:33]. This idea is repeated [00:59] and undergoes a series of treatments that range from heartsick [01:45] to sullen [02:41], yearning [03:19], tintinnabular [05:34] and anguished [07:11]. Then delicate memories of the opening thought [08:05] end things with a feeling of regret.

But the pace again quickens in the "Vivace (Fast)" closing movement [T-3]. It opens with a perky orchestral preface [00:01] hinting at a chipper tune soon played by the soloist [00:09]. Then the latter turns out to be the principal theme for this catchy, rondo romp.

Here the foregoing idea is next succeeded by exploratory passages [00:43, 01:09] and repeated [01:21]. It subsequently gets whimsical treatments [01:37, 01:53, 02:03, 02:22] plus a fugal one [03:25], followed by a fetching cadenza devised by our soloist [04:23-05:03]. Then passages based on the opening measures as well as that principal theme [05:04] bring this work to glorious conclusion.

Next, we're treated to Walter's three-movement, Symphony No. 3 (1936). The first one [T-4] has an initial stately theme [00:01] with busy strings [00:31], which is explored and followed by a subdued countermelody [02:01]. Then the latter parents a peaceful, peregrine episode [02:41], which would seem to reflect Kauffmann's days in India. This gives way to drum beats [03:51] and martial reminders [04:08] of the opening that end the movement compellingly.

The middle one [T-5] starts with exotic, flute-dominated passages [00:01]. These are the material for subsequent swaying ones [02:12, 03:08] with jagged accents [02:35], as well as an Eastern sounding dance [03:54]. Then we get meandering [05:02] in addition to pensive [06:28, 07:51] segments that bring things to a quiet conclusion.

Its third movement [T-6], gets underway with an animated, somewhat raga-like number [00:01]. Then this is the basis for a serene episode [02:15-03:57], but makes a vibrant last appearance [03:58], thereby ending this work vibrantly.

Seven years later, Walter would write what he called "An Indian Symphony" (1943). It's also in three movements, and stylistically speaking, harkens back to the film scores he did for Hindi cinema during his days in Mumbai.

That said, the first movement [T-7] starts with a march [00:00] soon succeeded by a related mellow thought [01:36]. Then the latter waxes and wanes into agitated passages [02:59], which end the movement with a subdued footnote [05:37].

The next [T-8] begins with a tamtam-prefaced drum beat [00:01], and what sound like temperate, hunting calls played by various woodwinds [00:06]. These are followed by a winsome, melodic thought [01:20] that's explored [02:20, 03:02]. Then memories of this movement's opening [03:58] close things full circle.

As for the third one [T-9], it starts with vivacious passages [00:00] that come to a piecemeal stop. However, they're soon succeeded by perky ones [01:06] that become quite clamorous, but suddenly ebb into high-stepping moments [02:17]. The latter have a skittish, pizzicato midrif [03:47-04:10], after which they end the work excitedly.

Another piece seemingly inspired by his time in Mumbai follows. This is his "Six Indian Miniatures" (1965), where he apparently borrows from more of those ragas. Be that as it may, the first "Miniature" is a "Tranquillo (Tranquil)", rhapsodic tidbit [T-10] based on a comely tune [00:08]. And after that, there's a "Molto Moderato (Very moderate)", contemplative second [T-11] as well as "Lento (Slow)", pensive third [T-12].

Then we get a "Grave (Solemn)", sedate fourth [T-13] with a sparkling, transient moment [01:11-01:28]. It's followed by an "Andante (Slow)", ambulatory fifth [T-14] and a "Vivace (Spirited)", spinning sixth, which brings this delightful work and disc to a vertiginous finish.

Russian pianist Elisaveta Blumina (b. pre-1976) and the Rundfunk-Sinfonieorchester Berlin (RSOBerlin) under British-conductor-composer David Robert Coleman (b. 1969) give a superb account of the concerto. Then Maestro Coleman goes on to deliver outstanding performances of the other three selections.

A coproduction of CPO and Deutschlandfunk Kultur, these recordings were made 14-16 March [T-4 thru 15] and 18-19 October [T-1 thru 3] 2023 in Berlin. They took place at the Rundfunk Berlin-Brandenburg's Haus der Rundfunks', large Broadcasting Hall. Despite the different times, they all present generous sonic images in pleasant surroundings.

Elizaveta's piano is centered in front of the RSOBerlin, well captured, and balanced against it. Also the many solo as well as small groups of instruments called for in Kaufmann's colorful scores are appropriately highlighted. What's more, the overall orchestral timbre is characterized by pleasant highs, an elegant midrange and clean bass. Considering all the foregoing, the overall sound is about as good as it gets on conventional CDs.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, Y241127)