CLASSICAL LOST AND FOUND
(CLOFO)
FORGOTTEN MUSIC BY GREAT COMPOSERS AND GREAT MUSIC BY FORGOTTEN COMPOSERS



31 JANUARY 2025

CROCKS NEWSLETTER

The albums below are "Classical Releases Of Current Key Significance," or "CROCKS", if you will. To purchase an album, simply click on one of the web site retail outlets given in the "AVAILABILITY" table under the write-up.



The album cover may not always appear.
Brouwer, M.: The Art of Sailing…, Rhapsody…, Sym No. 1 "Lake Voices", Path at Sunrise…, Pluto; Alsop/ORF VRSO [Naxos]
AUDIOPHILE (1 CD)
American, award-winning, composer-teacher Margaret Brouwer (b. 1940) makes her first appearance in these pages with this recent, enterprising Naxos release. She was born in Ann Arbor, Michigan, some 40 miles west of Detroit, and started her musical career as a professional violinist.

Margaret next went on to get her DMA in composition from Indiana University (IU). Then from 1996 to 2008, Dr. Brouwer headed the Cleveland Institute of Music (CIM) composition department, and in 2004 she was Composer-in-Residence at IU.

Brouwer has to date left a significant body of works across most genres. These have been performed at many U.S. locations as well as others in Taiwan, Europe, Israel and Brazil. Five in the orchestral category are featured here, all being world premiere recordings. They are lyrical, symphonic-poem-like creations that are exquisitely described by the composer in the album booklet notes.

Things get underway with a brief piece known as The Art of Sailing at Dawn (2020) [T-1]. This is a musical portrayal that begins as day breaks and we board a sailboat. Here peaceful passages with what sound like avian twitters [00:01] send us on our way.

Then with more sunlight there are increasingly agitated moments as breezes pick up. These speed our journey, but generate big waves that crash into the boat [05:55]. However, we manage to stay afloat, and subsequently, this short musical travelogue ends, quietly depicting calm waters as well as open spaces.

The concert continues with Margaret's three-movement Rhapsody, Concerto for Orchestra. This was originally composed during 2009, but revised in 2021, when she wrote an entirely new first movement. Brouwer says in essence that she loves the beautiful sounds/colors an orchestra can produce, and consequently designed this music to show them off.

Its opening movement is titled Regrets [T-2]. This starts with a melancholy idea [00:01] that becomes increasingly distraught. But then the mood turns somewhat romantic [beginning at 04:15] and ends with some feelgood flourishes [05:31].

The next Airs and Rhapsodies [T-3] has a pensive preface [00:01] followed by light-hearted passages [01:08]. The latter parent a cheerful, rhapsodic segment [02:42] that concludes this movement all aglow. However, then there's a Dance one [T-4], which gets off to a percussively-enhanced, zany start [00:00]. This whacky, colorfully scored cavort ends the piece with a casual, "So there!" cadence {03:52]. .

After that, there's the composer's Symphony No. 1 "Lake Voices" (1997), which was seemingly inspired by those lakes where Margaret grew up. She tells us it's in three connected movements, but they come off like a continuous tone poem, and accordingly this selection occupies just one track [T-5].

More specifically, it's a musical commemoration of the many aspects associated with these watery wonders. That said, the apocryphal "first movement" starts with gentle passages [00:01] having the sound of distant, ringing bells. These conjure up thoughts of pleasant breezes, warm sunlight, busy boats and swimmers, as well as peripatetic people along the lakeshore.

It adjoins a merry, tintinnabular melody [05:51], which seemingly begins a "second movement" that Brouwer says reflects the Dutch-American environment of her younger days. Then we get a rhythmically spirited "third" [12:55], which for the most part closes this "symphony-tone-poem" ecstatically, except for some placid afterthoughts [15:46].

Subsequently, there's Path at Sunrise, Masses of Flowers (2010), which is a single-movement work that's much as billed [T-6]. Moreover, Margaret tells listeners, "visualize walking down a path in the quiet of the early morning at sunrise".

Accordingly, this piece begins with subdued passages [00:01] with what seem like intermittent avian cries [beginning at 00:05]. Then the music reflects the moods generated by an abundance of multicolored, fragrant posies. These feelings range from wistful [03:20] to compliant [05:07] and genial [07:18], thereby bringing things to an intricate ending with a quirky, closing gesticulation [07:55].

The concert ends with what's called Pluto (1997). This is an orchestral version of an earlier Brouwer work that was a sequel to Gustav Holst's (1874-1934) The Planets (1914-17; see Naxos 8.555776). While her earlier piece included women's voices, the one here replaces them with flutes and oboes.

By way of background, it's named after what was considered to be our Solar System's ninth planet back in the 1990s. Also, Pluto was the Roman god of the Underworld, and consequently the music here gets off to a sinister, percussion-laced start [00:01] with blaring brass moments [beginning at 00:11]. Then it intensifies as this planet's orbit takes it into the eerie, chilling vastness of outer space.

However, a warmer middle section [05:31] reflects that part of its travels, which is closer to the sun. But the darkness and despair implied by those opening passages returns [10:21] as this heavenly body once again moves away from what the ancient Romans used to call Sol. The foregoing ends this piece and release full orbit, so to speak.

These performances are by the ORF Vienna Radio Symphony Orchestra (ORF VRSO) under its chief conductor, award-winning, American born-and trained Marin Alsop (b. 1956). She makes a strong case for her fellow countrywoman's music. More specifically, Maestro Alsop brings out all the congenial, sentient symbolism characterizing these selections, and those looking for something a little different won't be disappointed.

The recordings were made 13-14 March [T-2 thru 5 & T-7[ and then on the 24th of that month [T-1 & T-6] during 2023. They took place at the Austrian Broadcasting (ORF) Funkhaus Grosser Sendesaal in Vienna. Despite the different occasions, they project consistently generous sonic images of the ORF VRSO in salubrious surroundings, The overall instrumental timbre is characterized by pleasant highs, lush mids and a clean, fecund low end. Everything considered, this release gets an "Audiophile" stripe.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, Y250131)

- AVAILABILITY -
Amazon ArkivMusic.com


The album cover may not always appear.
Castelnuovo-Tedesco: Complete String Quartets (Nos. 1, 2 & 3 "Casa al Dono"); QttoAdorno [Naxos]
It's been too long since the music of Italian composer Mario Castelnuovo-Tedeso (C-T for short; 1895-1968) has been featured in these pages! But here's an invaluable recent Naxos release with all three of his string quartets, the first two being world premiere recordings.

By way of background, Mario was born in Florence, where his mother gave him piano lessons at a very early age. Then this talented lad began writing music when he was only nine, and studied composition with fellow countryman, Ildebrando Pizzetti (1880-1968) at the Florence Conservatory, thereby getting a diploma in it during 1918.

Soon thereafter, his music was championed by Italian composer-pianist-conductor Alfredo Casella (1883-1947). Then the years 1922-26 saw him write pieces inspired by great literary works. There were also others of Semitic heritage that were related to the Bible as well as Jewish liturgy, these being in line with his family's origin.

After that (1932) he met Spanish guitarist Andrés Segovia (1893-1987). Consequently, Mario wrote nearly a hundred pieces to be played by that instrument, thereby becoming the 20th century's foremost composer for it.

But with the rise of Fascism and its related racial laws, he fled to America in 1939 and became a U.S. citizen during 1946. C-T eventually took up residence in Hollywood, where he wrote over 200 film scores, which he considered an American artform. Although C-T frequently visited Italy, he spent his last days In Beverley Hills and would leave a huge body of works across all genres.

In regard to the first selection here, his String Quartet No. 1 in G major, Op. 58 (1929), Mario once said he had to work up courage to begin it because he regarded the string quartet as the most 'difficult' and 'perfect' form of chamber music. He also added that this one as well as the other two were simple, clear pieces, which were inspired by the countryside.

The first of its three-movements is marked "Arioso e sereno (Arialike and serious)" [T-1]. It begins with a comely melody [00:03] meant to reflect rows of vineyards and olive trees. This tune is examined, and followed by a moving, additional thought introduced by the second violin [01:31].

Subsequently, the foregoing undergo an exploration having a third "scherzando (Playful)" ditty [03:45], which is extensively developed [04:38]. Then there's a moving recapitulation [06:42] that gradually fades, thereby ending this movement quietly.

However, the pace quickens in the next "Strimpellata (Strumming)" one [T-2]. It starts with a plucky, pizzicato preface [00:00] soon followed by a harmonically spicy, sportive number [00:05]. Then there's a graceful second idea [01:21] and a songful third [02:01]. These undergo a captivating development [02:58] succeeded by a gentle coda [04:09] that brings things to a docile denouement.

The closing movement [T-3] has a pensive "Introduzione (Introduction)" [00:00] with respectively antic [00:28] and searching [00:48] ideas. These are followed by the "Molto moderato (Very moderate)" remainder of it [01:31], where this material undergoes a contrapuntally seasoned, invigorating exploration. The latter has a couple of lyrical segments [03:15-04:27 & 06:46-09:11], but ends this work spiritedly with a "Deciso (Determined)" G major coda {10:01].

His String Quartet No. 2 in F minor, Op. 139 (1948) was penned when Mario visited Italy some twenty years after writing its predecessor (see above). More specifically, it was composed in the beautiful countryside of Usigliano, some 50 miles west of Florence.

This is in three movements, the first of which [T-4] has a "Moderato, ma non troppo lento (Moderate, but not too slow)" pensive introduction based on an opening, restless theme [00:00]. Then there's a "Tempo vivo e appassionato (Lively paced and spirited)" version of it [01:10] soon followed by a related, anacrusis-spiked second thought [01:27]. They're the subjects of a subsequent magnificent, extended, contrapuntal development [02:09] that ends with powerful memories [06:59] of this movement's opening moments.

The subsequent "Andante mesto (Slow and sorrowful)" one [T-5] is a dark ternary, A5-B5-A5 structured nocturne-like utterance, where all four instruments are muted throughout it. The composer said this honored the local Italian Cyprus trees, and aptly described it as 'melancholic', 'detached' and 'resigned'. Here wistful "A5"s [00:01 & 05:57] surround a somewhat more agitated, "fieramente (proudly)" marked "B5" [03:54-05:56], and bring things full circle.

But optimism characterizes the "Molto vivo e ben ritmato (Very lively and rhythmical)" final movement [T-6]. Here an animated, bucolic opening tarantella-like number [00:00] is followed by a stately second thought [00:22]. These are food for respectively sanguine [01:06], audacious [02:12] as well as mercurial [03:11] treatments. Then a whirlwind, fugal one [03:33] with a confident coda [04:23] ends the work emphatically with what seem like high hopes for Italy's future.

C-T's four-movement String Quartet No. 3 in F major 'Casa al Dono' Op. 203 fills out this release. Its subtitle is the name of American art historian Bernard Berenson's (1865-1959) onetime residence in the Vallombrosa area of Florence. He was a good friend of the composer, and it was during a visit with him in the early 1950s that Mario was inspired to sketch the principal themes for this work. However, it wasn't completed until September of 1964, when he was living in Beverley Hills.

Each of its four movements are rather programmatic and bear subtitles, the first one being Ritorno a Vallombrosa (Return to Vallombrosa) [T-7]. This has a curt, brazen, homophonic opening statement [00:00] quickly followed by a "Grazioso e leggero (Graceful and light)" first theme [00:07].

These are briefly explored and give way to a "Più dolce e tranquillo (More tender and tranquil)" additional thought [00:54]. Then the foregoing material is the basis for a facile fantasia [01:45]. It transitions into wisps of the opening measures [05:49], which end this movement tranquilly.

The second L'abbazia (The Abbey) [T-8] honors Vallombrsa Abbey. Consequently, it begins with a devout number (DN) featuring the viola [00:00]. This is repeated by the first violin [00:27] and then the cello [00:45], thereby giving way to pious passages [01:02].

However, the mood darkens as we get a "Quiet and fluent (like a litany)" marked section [01:47] and the cello plays the tune for that old harbinger of doom, the Dies irae (DI) [02:28]. Then DN returns [05:14], but DI has the last word [07:14] as this movement fades away.

But subsequently, things brighten with Il trenino (The Little Train) {T-9], which is a scherzo. It starts with a pizzicato ostinato [00:01] hinting at an "Allegretto mosso e deciso (More lively and determined)", "arco (bowed)" ditty that's soon heard [00:19]. It has some "forte (loud)" notes reminiscent of a train whistle [00:34, 00:37.02:30, 02:33]. Then all this suddenly stops, and after a brief pause, the music resumes [02:46] only to quickly vanish.

A final Discussione e tramonoto (Discussions and Sunset) movement [T-10] suggests Mario and Bernard walking and talking as they stroll through the grounds of Casa al Dono (see above). The Discussions get underway with an animated introduction [00:01] quickly followed by an "Allegretto con spirito (Lively with spirit)" segment [00:16]. The latter has two themes, the first being a hifalutin number [00:16] that's succeeded by a related, more reticent one [01:12].

Then the second idea undergoes an "Allegro deciso e un poco pomposo {Fast with determination and a little pompous)" fugato development [03:44]. However, this ebbs into "Andante, fluido e tranquillo (Slow, flowing and calm)" Sunset [04:55] music. Here both men, who are presumably now in complete accord, return to Casa al Dono. The foregoing closes the work as well as this release with a feeling of contentment.

These performances are by the Italian, award-winning Quartetto Adorno (QttoAdorno), which was founded in 2015 and is named after the great German philosopher-musicologist Theodor W. Adorno (1903-1969). It's comprised of first violinist Edoardo Zosi (b. 1988), second violinist Liù Pelliciari (b. ????), violist Benedetta Bucci (b. 1997) and cellist Stefano Cerrato (b. 1987). They give superb accounts of all three works, thereby making a strong case for some lesser-known quartets.

The recordings took place 26-27 June 2023 at the Castle of Bianello in Quattro Castella, which is an Italian commune located some 100 road miles north-northwest of Florence. They consistently present generously sized sonic images of the quartet in pleasant surroundings. The instruments are positioned from left to right in order of increasing size, well captured, and balanced against one another. Generally speaking, the overall string tone is about as good as it gets on conventional discs.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P250130)

- AVAILABILITY -
Amazon ArkivMusic.com


The album cover may not always appear.
Foss, L.: Ode, Renaissance Concerto, Three American Pieces, Symphony No. 1 in G major; Soloists/Falletta/Buffalo PO [Naxos]
American composer-pianist-conductor-pedagogue Lukas Foss (1922-2009) was born in Berlin to a family named Fuchs. He was a musical wunderkind and began piano lessons as well as music courses at age six. But with the rise of Nazi Germany and its antisemitic policies, the year 1933 saw the Fuchs family move to Paris. Once there, young Lukas continued his piano studies, took composition as well as orchestration courses, and also flute lessons.

In 1937, they moved to Philadelphia, and were taken in by Quakers, who counseled them to change the family name to "Foss". And after that, Lukas attended the local Curtis Institute of Music, where he studied conducting with Fritz Reiner (1888-1963) and took more piano as well as composition instruction. Incidentally, one of Foss's classmates was Leonard Bernstein (1918-1990), who became a lifelong friend.

Then Lukas was very active during the summers of 1939 through 1943. To wit, he studied with Serge Koussevitsky (1874-1951) at what's now the Tanglewood Music Center, and Paul Hindemith (1895-1963) at Yale University.

In 1944 he was hired by the Boston Symphony Orchestra (BSO) as their pianist, but soon moved to the West Coast, where he replaced Arnold Schoenberg (1874-1951) as professor of music at the University of California, Los Angeles (UCLA). Then in 1961 he became director of the Ojai Music Festival, some 80 miles west-northwest of Los Angeles, and was later appointed director of the Buffalo Philharmonic Orchestra (Buffalo PO) for 1963-70.

From 1971 to 1988 he directed what's now known as the Brooklyn Philharmonic, and 1981 saw him become conductor of the Milwaukee Symphony Orchestra (MSO) until 1986. Then in 1991 Foss was hired as a professor of music theory and composition at Boston University (BU).

Lukas would spend his final years at his home on New York City's island of Manhattan, and leave a large body of works across all genres. This release gives us four in the orchestral category played by an orchestra he once directed, namely the Buffalo PO (see above).

The first selection titled Ode [T-1] was written during 1944, but revised in 1958 giving us the version presented here [T-1]. Originally called "Ode to Those Who Will Not Return", it's a musical expression of the composer's sorrow over all those American lives lost during World War II (1939-1945).

This begins with a funereal, four-note, ostinato motif [00:01] that's soon interrupted by brass shrieks of despair [00:47]. Then the music wanes into a lyrical, anguished theme for the strings [01:27], after which there's a martial outburst [02:02] followed by uneasy passages [02:54].

However, the latter make a "vivace (spirited)" escalation into combative ones [06:12] that turn reminiscent of the opening motif [07:18], and slowly fade away. But subsequent trumpet-introduced memories of past thoughts [08:31], followed by delicate woodwinds [10:15] end the work peacefully with a shimmering C major chord.

Then we get Foss's Renaissance Concerto of 1985, which is for flute and orchestra. This is in four movements that each borrow tunes by composers who lived during the Renaissance. The opening "Intrada (Introduction)" [T-2] begins with cadenza-like passages for the soloist set to supportive orchestral ones [00:00].

These hint at a jolly number soon played by the flute [01:43], which is the melody from a Tudor song known as The Carman's Whistle. The foregoing undergoes some colorful treatments [02:39, 03:38, 03:50], but then [beginning at 04:12], gracefully fades away.

Next, there's "Baroque Interlude (after Rameau)" [T-3]. It has an orchestral preface with a harpsichord [00:00], and is based on French composer Jean-Philippe Rameau's (1683-1764) piece called L'Enharmonique (circa 1706). This is picked up by the flute [00:19] and becomes the subject of a capricious cavort for all.

Subsequently, Lukas writes one titled "Recitative (after Monteverdi)" [T-4]. Right from the start [00:00] the flute assumes the role of Orfeo in Claudio Monteverdi's (1567-1643) opera L'Orfeo (1607), and sings the tune for his aria "Tu sei morta... (You are dead...)" to a lachrymose orchestral accompaniment.

But grief turns to gladness in the closing "Jouissance (Enjoyment)" [T-5]. This is based on the melody of Scottish composer David Melvill's (1544-1614) captivating round for four voices called Musings (1612; no recording readily available).

It's a festive treat that begins with colorfully scored, orchestral passages [00:00]. These are soon followed by a frenetic flute [0028] that resorts to some special techniques such as flutter tonguing [00:35], key clicks [01:05] and breath tones [01:10].

However, the orchestra makes a triumphant return [03:15], succeeded by a lengthy, demanding cadenza for the soloist [03:55-04:50], after which the orchestra plays supportive passages. But soon [05:01], as per instructions on the score's final page, the soloist moves slowly towards and out of the stage exit while playing the work's waning, last measures.

The following Three American Pieces was originally written for violin and piano in 1944-45, but Foss orchestrated it in 1989, which is what's presented here. He acknowledged that this piece has an "open-air quality" that smacks of Aaron Copland's (1900-1990) music.

In three movements, the initial one titled Early Song [T-6] is an "Andante (Slow)", barcarolle [00:00] having a gentle theme [00:15, 02:21]. This alternates with an "Allegro (Fast)" idea that Foss calls a "rustic dance" [01:26, 03:03]. Then the latter ends this movement with a sighing violin [04:37].

The following "Lento (Slow)" Dedication [T-7] starts with a somber chorale for all [00:00]. It surrounds a tuneful, more dynamic episode [02:11-03:34], and brings this movement to a tranquil conclusion with some lovely thoughts for the violin.

Then there's an "Allegro (Fast)" one called Composer's Holiday [T-8], which is a folksy frolic right from its opening [00:00]. Here, the violin soon plays a catchy idea [00:13] that resembles Stephen Foster's (1826-1864) folk song called Camptown Races, which was written in 1850. Then there's another number of bluesy disposition [01:20]. And after that, both frantically race to the finish line, which the album notes colorfully refer to as "an exhilarating, 'All-American' C major cadence."

Foss's Symphony No. 1 in G major of 1944 fills out this release. The first of its four movements [T-9] gets off to a facile, "Andantino (Ambulating)" start [00:00] hinting at an antsy theme that soon follows [00:24]. Then the foregoing is examined [01:11] and succeeded by a related, introspective thought [02:13], which becomes quite martial [03:59].

After that, the previous material adjoins "Un poco allegretto (Somewhat lively)" passages [05:35]. These wax and wane with memories of past thoughts, thereby ending this movement tranquilly. As for the second, it's an "Adagio (Slow)" marked, ternary, A2-B2-A2 structured offering [T-10] with comely, cantilena-like "A2"s [00:00, 04:13]. These bracket a bellicose "B2" [02:35-04:12] and bring things full circle.

The "Vivace (Spirited)" third movement is a "Scherzo" [T-11] that's an A3-B3-A3-C3-A3 structured rondo. It opens with an energetic outpouring for the whole orchestra [00:00] soon followed by a heroic, principal "A3" theme {00:27]. This gives way to a somewhat jazzy "B3" episode [01:03]. Then "A3" reappears [02:43] and invokes a busy, expansive "C3" segment [03:19]. But "A3" has the last word [06:15] and ends this movement with a wistful nod to "B3" [06:50].

Its fourth one [T-12] has an "Andantino (Ambulating)" preface [00:00] reminiscent of the symphony's first measures [T-9, 00:00]. Then these adjoin a clarinet-introduced, galvanic, principal theme [01:15] that begins the "Allegro (Fast)" remainder of this work. It has several strongly accented orchestral moments {04:18, 04:37, 04:55, 05:40], but ebbs into a searching, dramatic timpani-bassoon-double-basses parented segment [06:07]. Then exultant memories of the symphony's first measures return [08:55], thereby bringing it as well as this release to a triumphant conclusion.

These performances are by Buffalo Philharmonic Orchestra (Buffalo PO) under its current music director, award-winning JoAnn Falletta (b. 1954). They, along with distinguished American flutist Amy Porter (b. ????) [T-2 thru 5] and the orchestra's concertmaster, American-Canadian violinist Nikki Chooi (b. 1989) [T-6 thru 8], deliver outstanding renditions of these works.

The recordings were made on October 6 [T-2 thru 8] and 7 [T-1 & T-9 thru 12] of 2022 at the Kleinhans Music Hall, which is this orchestra's home in Buffalo. They present consistently pleasant sonic images of these pieces in warm surroundings with the soloists centered, well captured and highlighted against the orchestra. The instrumental timbre is generally good, and while the overall sound falls a bit short of an "AUDIOPHILE" stripe, this wonderfully engaging music easily gets a "RECOMMENDED" one.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P250129)

- AVAILABILITY -
Amazon ArkivMusic.com


The album cover may not always appear.
Taylor, Mat.: Orch Wks V2 (Sym No. 6, Oboe Conc, Clarinet Conc, Violin Conc); Soloists/Taylor/BBC NOW [Toccata]
English composer-conductor Matthew Taylor (b. 1964) was born in London, and showed an interest in classical music at age four, when his father played him Beethoven's (1770-1827) Fifth Symphony (1804-08). Then as a youngster, he studied at the Royal Academy of Music (RAM) and took composition courses with Robin Holloway (b. 1943) at the University of Cambridge's Queens' College.

After that, Taylor attended the Guildhall School of Music and Drama, and spent more time at the RAM, where he had more composition courses with English composers Robert Simpson (1921-1997) and Sir Malcolm Arnold (1921-2006). What's more, Taylor trained as a conductor with Leonard Bernstein (1918-1990) at the Schleswig-Holstein Musik Festival located in Northern Germany.

Subsequently, Matthew has had a career as a conductor, and written a significant body of works across most genres. The Toccata label has already come up with four releases devoted to them (see TOCC 0015, 0144, 0175 & 0486), and here they give us yet another that's their second volume devoted to his orchestral music.

It begins with Taylor's Symphony No. 6, Op. 62 (2019-21), which was commissioned by the Malcolm Arnold Society (MAS) to celebrate that composer's birth centenary in 2021. Matthew also personally dedicated it to him as Malcolm was one of his most venerated teachers.

In three movements, the first [T-1] begins very softly with an "Adagio teneramente (Slow and tender)" marked preface [00:02] featuring timpani, piano and harp. This adjoins contemplative clarinet moments [00:29] and pensive string ones [01:23]. Then the foregoing builds into a lilting climax [02:46] that gradually wanes into tender, harp-piano passages [03:37] soon joined by a piccolo [04:26].

These connect with the main "Allegro leggiero (Fast and nimble)" remainder of the movement that starts with antsy strings [04:50] and is of scurrying disposition. It surrounds a "L'istesso tempo (At the same speed as before)" marked, spirited segment [06:12-10:45], but ends the movement with a peaceful piano-timpani afterthought [12:06].

The middle one [T-2] is an "Andante tranquillo (Tranquilly flowing)", serene fugue, based on a haunting, subject theme initially played by the violins [00:00]. It undergoes several transformations that range from venatic [01:54] to casual [03:14] and searching [04:25].

Then an intimate one [05:17] with harp and piano in canon [05:36] makes an attacca bridge into the "Vivo (Lively}", closing movement [T-3]. Here Taylor dishes up a combination scherzo and finale, which in spirit bears a resemblance to Malcolm's music.

It opens with clarinets accompanied by timpani and pizzicato bass playing a capricious ditty [00:00]. It seems distantly related to the work's opening measures, and is the basis for this concluding movement. Moreover, jolly, boisterous initial passages with a timpanic explosion [00:38] soon proceed via a "L'istesso Tempo, Alla Valse (To the waltz at the same speed as before)" marked ones [01:37] into a vivacious, colorfully scored, dancelike episode [03:51] that becomes increasingly revelrous. Then the latter suddenly ends the work with a final yelp [06:01].

Matthew's Oboe Concerto, Op. 60 (2020-21) is next, where the soloist plays an oboe as well as its more piquant alto sibling, the cors anglais (aka English horn). In three movements, the first [T-4] begins "Largamente (Expansively)" with rising orchestral passages [00:01], from which the soloist emerges [01:44] and invokes an extended "Andante traquillo (Tranquilly flowing)" idea [01:56]. Then there's a "Poco allegretto (Somewhat lively)" section [04:07-06:22], after which memories of the opening measures end this movement with a tranquil oboe.

The second [T-5] is an "Allegro molto (Very fast)" marked Scherzo [T-5]. Right from the start [00:00], it's a cheeky escapade for all, where the soloist really gets a chance to show off [00:09]. However, the mood turns more subdued and pastoral in the closing "Adagio tranquillo (Slow and tranquil) )" one {T-6].

This is a gentle, rustic offering that the composer says in his album notes was inspired by peaceful walks he took with his family on Colmer's Hill in Dorset. It has a bucolic orchestral preface [00:00] and scenic oboe [00:26] as well as English horn [00:43] passages. These intensify and then suddenly ebb [03:46], thereby closing the work uneventfully.

It's followed by his Clarinet Concerto, Op. 63 (2021), which was written for our soloist here, and has three linked movements. The first "Andante sereno (Serenely flowing)" one [T-7] begins with the clarinet playing a pleasant melody [00:01] to a violin accompaniment [00:17]. Then other strings gradually appear [02:30] and the mood turns more assertive, but wanes attacca into the middle movement {T-8].

This is a ternary, A8-B8-A8 structured one with "Largamente (Dignified)", languid "A8"s [00:00, 04:39]. They surround a "Vivace agitato (Vivacious and agitated)" "B8" [03:57-04:38] with a sportive clarinet, and proceed attacca into the closing "Allegretto semplice (Joyfully simple)" movement [T-9, 00:00]. Here the soloist plays a blithe ditty [00:05], cavorts with the strings, and ends the work with a friendly flourish [02:53].

One of the composer's earlier works fills out this release, namely his Violin Concerto, Op. 52 (2016). Like the preceding selection, this is in three attacca movements, the first being a "Deliberato (Determined)" Hornpipe [T-10].

Right from the start [00:01[, it's a spirited utterance. However, the music then ebbs into a middle "Andante con moto (Slow with movement)" one [T-11], which is a captivating cantabile number for the soloist plus some other strings.

Subsequently the foregoing adjoins a "Vivace (Spirited), Energico (Energetic)" Finale [T-12]. Here an initial [00:00], volatile, three-note motif (V3) for the soloist is interspersed with other string tidbits. Then the foregoing becomes a reworked version of that first Hornpipe. It's a mercurial dance for all with some spicy pizzicato [beginning at 01:04] and closes the concerto as well as this disc with a cheeky V3 [02:46].

The performances are by the BBC National Orchestra of Wales (BBC NOW) conducted by the composer. They also feature oboe/cors anglais soloist James Turnbull, clarinetist Poppy Beddoe and Polish violinist Mira Marton. Together they deliver captivating accounts of these selections. What's more, with Taylor on the podium, they'll probably be the definitive renditions of all four works for some time to come.

These recordings were made 17-16 December 2022 in association with the BBC NOW at the Wales Millennium Centre's Hoddinott Hall located in Cardiff some 150 miles west of London. They present consistently satisfying sonic images of all four works in a good venue. Each of the soloists is centered and their instruments well captured as well as balanced against the orchestra. The overall instrumental timbre is pleasing, but probably would have fared better had this been an SACD.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P250128)

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