Not long ago we told you about some music by Grażyna Bacewicz (see 31 March 2024). Now Naxos gives us a second volume (see Naxos 8.573282 for first) devoted to orchestral works by her composer-pianist brother Vytautas (1905-1970).

He was born and grew up in Lodz, Poland, where he studied piano and composition in 1926 at what's now known as the Academy of Music in that city. Then during 1926-1928 he continued his musical education at today's Vytautas Magnus University in Kaunas, which is the second-largest city in Lithuania.

Then up until 1939 Vytautas gave recitals throughout Europe and spent time in Paris, after which he concertized all over South America. However, with the outbreak of World War II (1939-1945), the Nazis invaded Poland and Lithuania making him a stateless person. What's more the subsequent Soviet control of this area forced the composer's immigration to New York City in 1944, where he engaged in a number of musical pursuits.

These included concertizing, teaching and composing. But he was apparently never very happy in the U.S. and longed to be back home with all his relatives. However, Bacevičius died on Long Island at the Jewish Medical Center and is buried nearby in the Cypress Hills Cemetery located in Queens. He'd leave a numbser of works (no extensive catalog of them available as of this writing), and apparently considered his concertos and symphonies among his best.

Vytautas's Piano Concert No. 1, Op. 12 (1929) comes first. It's in three attacca movements and subtitled "Sur des thèmes Lituaniens (On Lithuanian Themes)". This borrows melodic tidbits from folksongs of that country (see the album booklet for their placement and texts).

The initial movement [T-1] begins "Allegro moderato (Moderately fast)" [00:02] with a cadenza for the soloist. This turns "più mosso (more lively)" [01:09], and the orchestra finally surfaces [01:11]. Then there's an "Allegro molto (Very fast)", captivating segment [01:52] followed by a "Moderato (Moderately)", forceful [02:33] one as well as a "Vivace (Spirited)", scurrying [02:55] number.

These adjoin the second movement [T-2], which has an initial, "Andante sostenuto (Flowing and sustained)" section with a delicate, opening piano cadenza [00:00] succeeded by more dramatic tutti passages [00:36]. Then "Moderato sostenuto (Moderate and sustained)", pensive ones [02:37] adjoin the last movement [T-3]. It's an "Allegro moderato (Moderately fast)", showy piece that ends the work excitedly.

Moving right along, we get a world premiere recording of the composer's Piano Concerto No. 2, Op. 17 (1933), which is also replete with melodic morsels of Lithuanian folksongs (see the album booklet for their placement and texts). In four attacca movements, the first [T-4] is marked "Allegro (Fast)" and gets off to a busy start for everyone [00:00]. This music is quite impish, and apparently depicts the antics of a "Village Elder" under the influence of some strong drink.

Then the movement moves via a "cello C" right into a meditative, pensive second one [T-5], which has an "Andante (Slow)" orchestral opening [00:00]. After that, the music turns "Moderato (Moderate)" [0030], and the piano makes a tipsy entrance [00:38] initiating a saucy segment. Subsequently, "Andante (Slow)" recollections of the opening [02:49] bring things full circle.

These abut a third "Allegretto (Lively)" movement [T-6]. It's a scherzo-like rollick where the orchestra [00:00] and soloist [00:05] chase each other about. This is full of cheeky piano moments that include a sustained "A flat" [03:37].

However, the latter is forcefully interrupted by an "Allegro (Fast)" fourth movement [T-7], where the orchestra launches into an emphatic preface [00:00] having a scurrying, piano-based fugal episode [00:14]. Then the latter recurs [00:59, 01:39] between additional, busy orchestral moments. And after that, some captivating folk tunes [02:12, 02:41, 04:02] give way to increasingly agitated passages for all [04:45]. These bring the work to a glorious conclusion.

This CD closes with the world premiere recording of the composer's Symphony No. 3, Op. 33 (1944). It was written not long after his taking up residence in the United States, and has four movements. The first [T-8] begins with a mystical "Moderato maestoso (Moderate and majestic)" segment [00:00], succeeded by an "Allegro molto (Very fast)", vivacious one [01:45]. Then these alternate with each other [02:54/04:19, 06:25/07:35, 08:43/10:31, 11:11/12:12], and a last pairing of them [12:29/12:40] ends the movement forcefully.

The next "Andante doloroso (Slowly sorrowful)" one [T-9] is a rueful, utterance with teary initial passages [00:00]. Then there are somewhat lighter moments [03:31] having avian twitters [03:10, 03:43], as well as a strangely fey harp cadenza [05:18-06:37]. However, the opening measures return [06:38], thereby ending this movement just like it began.

But gloom turns to glee in the subsequent Scherzo [T-10]. Here "Allegro leggiero (Fast and light)" moments with pizzicato string accompaniment [00:00, 00:41, 02:09, 02:50} are interspersed with "Moderate (moderate)" arco (bowed) ones [00:17, 01:08, 02:26}, and bring things to a zippy conclusion.

The fourth movement [T-11] opens with "Allegro maestoso (Fast and majestic)" passages [00:00], followed by a bellicose episode [02:36]. Then the latter wanes into a "Moderato (Moderate)" version of the U.S. National Anthem [04:10], namely "The Star-Spangled Banner" (not "The Stars and Stipes Forever" as indicated in the album booklet). Be that as it may, this is followed by a rousing, related afterthought [05:47] that ends the symphony and this release triumphantly.

As for these performances, both concertos make great demands on the soloist, and Lithuanian-born, U.S.-based pianist, Gabrielius Alekna (b. ????) delivers superb accounts of them. He receives outstanding support from the Lithuanian National Symphony Orchestra (LNSO) under English conductor-composer-pianist, Christopher Lyndon-Gee (b. 1954). Then Maestro Christopher and the LNSO go on to gives us a solid account of the symphony.

The recordings were made 11-15 October 2021 at Lithuanian National Philharmonic Hall in Vilnius, which is Lithuania's capitol. They present consistently commendable sonic representations of these works in a splendid venue. The piano is centered, well captured and highlighted against the orchestra. What's more, the overall instrumental timbre ia about as good as it gets on conventional discs.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, Y250228)

Steve Elcock (b. 1957) was born in Chesterfield, Derbyshire, England, some 140 miles north-northwest of London. He took violin lessons around age 11, but as a composer, Steve is self-taught. We might also add that in 1981 he went to France and worked in language-related services, but apparently also wrote music.

However, Elcock retired from his non-musical pursuits in 2019 and has seemingly moved back to England. He's now Composer-in-Residence for the English Symphony Orchestra (ESO), which is featured on this release and based in Worcester, some 130 road miles northwest of London. Steve has to date written around 50 works that are predominantly of the symphonic or chamber genre.

Not long ago, we told you about some in the latter category (see 30 September 2023). Now here are two in the former, the first being his Concerto for Violin and Orchestra, Op. 13, which has a long history. Moreover, the first movement was written in 1996 and just for strings. However, a second and third followed over the next ten years and the whole work was rescored for full orchestra, giving us the 2006 version heard here.

It's first "Allegro vivo (Fast and lively)" movement [T-1] gets off to a spirited start for all with an initial hyperactive theme [00:02]. This is explored [01:02] and followed by a related, supple second idea [01:49]. Then both thoughts are the subjects of an engaging developmental section [03:04] followed by an anguished segment [08:34]. But the latter becomes increasingly outspoken [10:25] and brings the movement to an emphatic conclusion [11:35].

However, the mood softens with the next "Molto tranquillo (Very tranmquil)" one [T-2]. To quote the composer, "Its opening makes use of change-ringing techniques applied to slowly moving scales in the violins and violas, evoking distant bells ringing across a valley." Accordingly, this has a plain hunt reminiscent preface ]00:00] with a delicate first subject that's played by the soloist [00:20].

It's followed by a Pavane marked second (P2) [04:39]. Then these undergo a mellow, extended development [05:42], However P2 returns [10:49] and the music becomes quite joyous. But it slowly wanes with memories of those bells, which gently fade away.

As for the last movement, it's a passacaglia [T-3] that begins with an austere "Andante (Slow)" ostinato for all [00:00]. And subsequently, there's a "Moderato (Moderate)" idea [00:51] that's the subject of several overlying treatments.

These range from a "Più allegro (Somewhat Faster)" testy first [01:41] to an "Allegro vivace (Fast and spirited)" outspoken second [02:02], "Subito presto (Suddenly very fast)" fidgety third [03:17], "A tempo, minaccianado (At a menacing tempo)" uneasy fourth [04:49], and an "Allegro molto (Very Fast)" scampering fifth [05:25]. Then an "Adagio (Slow)" declaratory sixth [06:02], "Più adagio (Somewhat slower)" timpani-pounding seventh [06:26], as well as an "Ancora meno mosso (Still less lively)" forceful eighth [06:32] bring the work to a dramatic conclusion.

This release is filled out with Elcock's Symphony No. 8, Op. 37, which began life as a string quartet that he wrote in 1981 (see the informative album booklet). Then in 2021, when conductor Kenneth Woods requested him to come up with a new symphony for the English Chamber Orchestra, Steve orchestrated this earlier work, thereby giving him what we have here.

In one, 23-minute movement [T-4], the subdued, "Adagio (Slow)" opening [00:01] has a "Poco più mosso (Little more lively)" midriff [03:17-04:24] and presents several brief motifs. These power an "Allegro moderato (Moderately fast)" episode [06:07] followed by a "Più allegro (Somewhat faster)" one for shrill strings {08:15].

Then a "Meno allegro (Less fast)" eerie segment [09:00] gives way to "Adagio (Slow)" searching passages [13:17] and "Allegro moderato (Moderately fast)" desperate ones [17:54]. The latter give way to "Allegro molto (Very Fast)" belligerent moments [19:08] that soon ebb into an "Adagio (Slow)" introspective epilogue [20:53], which brings the work and this disc to a doleful denouement.

These performances are by the English Symphony Orchestra (ESO) under its American-born, artistic-director-principal-conductor Kenneth Woods (b. 1968). They deliver a dedicated, heartfelt account of the symphony, and are joined by South-African-born, UK violinist Zoë Beyers for the concerto. Together, these talented musicians give a compelling account of it.

The recordings took place on 28 July 2021 [T-4] and 26 March 2022 [T-1 thru 3] at Wyastone Concert Hall in Monmouth, some 45 road miles southwest of the orchestra's hometown. They present acceptable sonic images of both selections in an agreeable venue.

Ms. Beyers is positioned just left of Maestro Woods, where her violin is well captured, balanced and highlighted against the ESO. As for the overall orchestral timbre, it's characterized by acceptable highs, decent mids, and a lean, clean low end. That said, many will find these Elcock selections worth the price of admission.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P250227)

With this recent Naxos release, we welcome Brazilian composer-conductor-pianist-teacher Oscar Lorenzo Fernândez (1897-1948) to these pages. He was born in Rio de Janeiro to a family of Spanish descent, and as a youngster played at dance parties. Oscar then attended that city's National Institute of Music. One of his teachers was the then doyen of Antônio Francisco Braga (1868-1945; see 28 February 1923), and Fernândez became an instructor there in 1923.

By that time, he was already an accomplished, neoromantic composer, whose works smacked of French impressionism. Then he started writing music that drew on Brazil's cultural traditions. However, he'd suffer an untimely demise at age 50 and die in Rio. But despite that, he left a substantial body of works across most genres. We're treated to three in the orchestral category on this CD, and these include the world premiere recording of his Symphony No. 1.

The concert starts with Oscar's three-movement symphonic suite titled Reisado do Pastoreio (A Pastoral Epiphany). The first "Reisado (Epiphany)" movement [T-1] has a calm, bucolic introduction {00:02], followed by an "equine-trotting" ditty [01:35]. All this conjures up thoughts of riding through some beautiful, Brazilian countryside.

After that, the preceding gives way to a gentle segment [03:12], but subsequently returns [03:31] and even picks up [04:03]. However, it then wanes [04:57] into memories of the opening measures [05:12] that end things full circle.

Next there's a syncopated "Toada (Song)" [T-2] evoking images of some beautiful Brazilian landscape. This begins with pizzicato strings [00:00] soon accompanied by woodwinds [00:16] and brass [01:05]. Then the foregoing adjoins a captivating closing segment [01:40].

After that, Oscar serves up a "Batuque" [T-3], which is arguably his best-known piece, and has been programmed by many renowned conductors (see the album booklet). Here low strings and percussion [00:00] introduce an increasingly wild dance. This ebbs into a complementary, cocky segment [01:39], which whirls about and wanes into memories [03:05] of the opening measures. Then the music gets faster and faster, thereby bringing this piece to a frenetic conclusion.

The Symphony No. 1 was written in 1945 at the end of Brazil's' Estado Novo (New State, aka the Third Brazilian Republic) period, which lasted from 10 November 1937 through 31 January 1946. This era was characterized by a stalwart sense of Nationalism, and accordingly, Oscar's work has strong Brazilian roots.

The first of its four movements [T-4] is in sonata form and begins with a "Lento (Slow)" introduction [00:00] hinting at an imminent, nimble theme. The latter then appears in full [01:17], thereby launching the exposition. It's soon followed by a related, more conservative idea [02:43], and these are the subjects of an engaging, dramatic development [03:49]. Then they give rise to a thrilling recapitulation [07:27]. This adjoins a calm coda [09:01], which is based on the first theme, and ends the movement without incident.

It's followed by an "Allegro vivo e scherzoso (Lively, fast and scherzoesque)" one [T-5]. This has an initial, repeating, vivacious, ostinato motif [00:00]. It underlies a related, casual idea that's soon heard [00:05], and gives rise to several treatments. These wax and wane, thereby closing this movement with a nonchalant, cadential flourish [06:11].

Giddiness turns to a puzzling sense of adversity in the next "Lentamente (Slowly)" marked one [T-6]. It starts with a subdued, gloomy thought [00:00] that's the subject of some subsequent segments. These range from searching [01:11] to mysterious [02:08] and suave [03:15]. Then the latter calls up intense passages [04:59], which end [06:36] with a peaceful gesture [06:50].

The "Allegro energico (Fast and energetic)" finale [T-7] has a grandiose preface [00:00]. This ebbs into plaintive, cor anglais introduced, dramatic passages [01:10]. But these suddenly stop and are succeeded by related, flippant ones [02:37].

Subsequently, the latter wax and wane into a pensive episode [03:50] that becomes increasingly intense [04:32] and even bellicose [06:07]. Then the foregoing evokes skittish passages that seemingly recall Brazil's past glories [06:39, 06:56]. These end the symphony with a victorious coda [07:43], which presumably extoled this country's Estado Novo status.

The Symphony No. 2 "O Caçador de Esmeraldas" of 1947 fills out this release. It's subtitle means "The Emerald Hunter" and references a poem by the composer's fellow countryman, Olavo Bilac (1865-1918) about 17th century Brazillan bandeirante, Fernao Dias Parents Leme (aka Fernão Dies Paes Leme,1608-1681). It tells about his fateful, seven-year quest into Brazil's dark forest for a bag of green gemstones.

Its initial "Allegro moderato e pesante (Moderately fast and serious)" movement [T-8] has an ominous introduction [00:00], succeeded by respectively contentious [01:06], doleful [02:21] and optimistic [03:17] themes. These ideas parent a commanding, "Energico (Energetic)" developmental episode [05:07] that wanes into hauting memories of them [07:51]. Then passages of sinister demeanor [09:26]] with ill-boding outbursts [09:49] wane into apathetic ones [10:47], which end the movement with a feeling of hushed, uncertainty.

A second "Molto allegro e misterioso (Very fast and mysterious)" [T-9} one is scherzoesque with an arresting preface [00:00] followed by a mercurial ostinato [00:15]. The latter underlies several snippets of varying texture. These range from flighty [00:31] to angry [01:03], gruff [01:42], impish [01:31], pugnacious [03:20, 03:54] and mischievous [04:15]. Then after a brief pause, an innocent one [05:47] ends the movement candidly.

The "Lento e lamentoso (Slow and mournful)" third one [T-10] opens with wailing passages [00:00] that alternate with a couple of grief-stricken ones [00:38, 02:10]. Then there are some awesome, explosive outbursts [02:50] followed by an anguished serenade-like episode [03:10]. This become quite intense and then even more so [06:53]. However, the music subsequently ebbs [07:44] into reminiscences of past thoughts. These are followed by another outburst [08:53], which subsides into melancholy moments that bring the movement to a mournful conclusion.

Then there's an "Allegro mosso e agitato (Fast, lively and excited)" one [T-11]. This gets off to a stimulating start with a rather combative idea [00:00] hinting at a more songful second (SS) that soon follows [01:00]. Then the foregoing is explored [01:13] and wanes into subdued reminders of SS [02:42]. They give way to captivating recollections [04:00] of past thoughts that wax and wane, thereby ending the work as well as this disc rather wistfully.

These performance are by the Minas Gerais Philharmonic Orchestra (MinGer PO) under its artistic director and principal conductor, Brazilian-born, American-trained Fabio Mechetti (b. 1957). They make a strong case for some little-known music by one of their native sons. Moreover, those acquiring this CD will most likely want to get any future ones having selections by this composer.

The recordings were made on 24 and 26-30 September 2022 at Minas Gerais Hall in Belo Horisonte, some 270 miles north of Rio de Janeiro. They present uniformly imposing sonic images of all three selections in a magnificent venue. The many soloists and instrumental groups called for in these colorful scores are effectively captured and highlighted, As for the overall orchestral timbre, it's generally good and characterized by acceptable highs and mids, but superb lows that go down to rock bottom.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P250226)

A few years ago, we told you about some orchestral music by English composer, David Matthews (b. 1943; see 30 September 2019). Now Toccata Classics gives us a sixth volume in their ongoing series devoted to all his string quartets (see Toccata 0058, 0059, 0060, 0318 & 0554).

David was born in London to a musical family, three years before his composer, brother Colin (b. 1946). David's desire to write music began at age sixteen, when he and Colin taught each other. Then after studying classics at the University of Nottingham, some 120 miles north-northwest of London, Matthews took private composition lessons from British composer-teacher-conductor, Anthony Milner (1925-2002).

Then in 1966 David's musical career blossomed with jobs involving such greats as Benjamin Britten (1913-1976), Michael Tippet (1905-1998) and Nicholas Maw (1935-2009). Consequently, he was very critical of his own early efforts and wouldn't compose what he considered his "Opus 1" until age 25 (!968). Since then he's written a significant number of works across all genres. These are stylistically tonal, and include seventeen string quartets penned as of this date.

The program begins with his three-movement String Quartet No. 8, Op. 75 (1997-98), whose first "Leggerio con moto (Nimble with movement)", sonata from one [T-1] opens with a searching theme [00:04]. This is followed by a related, tuneful idea [01:55] based on the melody of a Welsh folksong called "Deryn Du (The Blackbird)". These are the subjects of a bewitching development [03:17] and recapitulation [05:19], which ends the movement somberly.

A "Vivo (Lively)" scherzo is next [T-2]. The composer says it's "built out of scraps of material of popular character". Accordingly, this is a capricious caper in several segments. These include a plucky pizzicato one [01:32], as well as a fugal tidbit [02:51]. Then this closes with a flippant afterthought [04:06].

The "Adagio sostenuto (Slow and sustained)" last movement [T-3] is a ternary, A3-B3-A3 offering, which was written in memory of Matthew's friend, England-based, German composer Berthold Goldschmidt (1903-1996). Consequently, the "A3"s [00:01, 07:41] feature an anguished thought that brackets a reverent "B3" {00:40-07:40]. That said, the last "A3" ends the quartet with some fluttery, farewells [07:51].

David's String Quartet No. 16, Op. 161 (2021) is next. It honors another deceased friend, British composer Hugh wood (1932-2021). Consequently, Matthews spices his quartet with a motif that appears in Hugh's last work, which was his Ithaka String Trio (2016; no further information about it readily available as of this writing).

In three attacca movements, its "Andante con moto (Slow with movement)" first [T-4] has an opening peaceful, pelagic melody [00:01]. This is followed by a chorale [00:56] and faster developmental episode [01:40]. Then the latter wanes, thereby adjoining a middle "Molto vivace (Very vivacious)" scherzo [T-5]. It features frisky [00:00], pleading [01:01], 01:22, 01:44] and fugally frantic [01:58] segments.

These adjoin a final "Lento con molto espressione (Slow with much expression)" movement [T-6], which starts [00:00] with reminiscences of the initial one. Subsequently, these give way to a section [02:44] having European robin songlike moments [02:45-03:16]. Then there are "appassianato (spirited)" recollections of the movement's opening [03:20] as well as the aforementioned Ithaka motif [04:49]. And after that, this music ends with a tiny subdued chorale [05:10] and a last pizzicato G.

Then it's on to the String Quartet No. 17, Op. 164 (2022-23), which is dedicated to Benjamin Britten (see above). The first of its four movements is marked "Flamboyant" [T-7] and begins with curt, colorful, sequential solos for each of the instruments (first-violin [00:01], second-violin [00:08], viola [00:17], cello [00:24]).

These bridge into a brief, enthralling sonata from segment [00:42]. Then those instrumental solos return in reverse order (cello [04:06], viola [04:12], second-violin [04:17], first-violin [04:24]). They parent nostalgic afterthoughts [04:31], which end the movement tranquilly.

It's followed by a "Vivace (Spirited)" second that's pizzicato throughout [T-8], and has spunky outer passages [00:01, 02:32]. These lie on either side of more reserved ones [01:40-02:31], and end the movement in the same spirit as it started.

But then there's a respite in the form of an Adagio (Slow)" third {T-9]. It begins with an introspective theme [00:01] that's the subject of a subsequent, wistful serenade. This closes peacefully with delicate passages [07:37].

The fourth movement [T-10] has an "Andante con moto (Slow with movement)" preface, based on a fascinating melody, which apparently came to the composer in a dream (see the album booklet). This idea is then the subject of an "Allegro con brio (Lively with spirit)" set of variations. These range from peppy [00:37, 01:05] to pleading [01:15], playful [01:39] and fugally resigned [02:04]. Then mellow memories of the opening measures [03:08] adjoin an elated coda [03:29] that ends the work forcefully in D major.

This disc closes with David's 2002 arrangement for string quartet of Johann Sebastian Bach's (1685-1750) 24th Prelude and Fugue in B minor, BWV 869, from Book One of The Well-Tempered Clavier (pub. 1722). The "Praeludium (Prelude)" [T-11] is a time-honored gem, where the cello provides pizzicato, keyboard-like support.

As for the "Fuga (Fugue)" [T-12], it has all twelve notes of the chromatic scale. But unlike Arnold Schoenberg's (1874-1951) many twelve-tone works, Bach's always sounds like it's in the key of B minor. This ends the piece and release affectingly.

The British Kreutzer Quartet (Kreutzer Qt) is featured here. Its members (violinists Peter Sheppard Skærved and Mihailo Trandafilovski, violists Morgan Goff [T-4 thru 10] and Clifton Harrison [T-1 thru 3, 11 & 12], cellist Neil Heyde) are magnificent musicians, who give superb accounts of these selections. In that regard, those getting this release should be sure to read Peter's "A Personal Note" in the album booklet.

As for the recordings, they were done on successive dates at different locations. More specifically, the Quartet No. 8 [T-1 thru 3] one took place 30 June 2016 at the Parish Church in Aldbury, some 40 miles north-northwest of London. Then the Matthews-Bach [T-11 & 12] was done 27 May 2021 at St. George's Church, London. And finally, the Quartets Nos. 16 [T-4 thru 5] and 17 {T-7 thru 10] ones transpired on 4 December 2023 in Hastoe's multipurpose Village Hall, four miles west-southwest of Aldbury.

Considering the different times and locations, the recordings present surprisingly consistent sonic images of all four works. While the string tone is acceptable, it would have come off even better, had this been a Super Audio CD. However, those liking David's string quartets will definitely want this installment.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P250225)