Composer-pianist-conductor Victor Bendix (1851-1926) was a child prodigy born in Copenhagen to a cultivated family, and began composing when just a youngster. Victor was trained as a pianist by fellow countryman, Niels W. Gade (1817-1890) at the Royal Danish Academy of Music (RDAM). What's more, at one point, Victor apparently also studied with renowned, Danish composer Carl Nielsen (1865-1931).

He probably would have been Gade's successor, but that was not to happen. Moreover, in the early 1870s he became very taken with Richard Wagner's (1813-1883) music, and stylistically speaking, Victor's would emulate it.

This along with his being Jewish, as well as a political radical and a philanderer, precluded his ever becoming a leading figure in Danish musical life (see the album booklet). Bendix was also very self-critical. To wit, he wrote some 150 works, but only gave opus numbers to 33 of them. Be that as it may, except for some trips abroad and to Germany, Victor lived out his life in Denmark, where he died in Frederiksberg.

The concert begins with his four-movement Symphony No. 1 in C major, Op. 16 (1877-78), which is entitled "Fjeldstigning (Ascension)". This is program music, and at one point he showed the score to Franz Liszt (1811-1886), who approved it. The work is apparently meant to depict anguish and lofty aspirations. Consequently, this music can be regarded as symbolizing what the album notes say is "a laborious hike towards the temple on a mountain peak".

The first movement marked "Ouverture (Overture)" [T-1] begins "Adagio ma non troppo (Slow, but not too laid-back)" with three related, principal motives. These respectively represent the 'ideal' (IM) [00:25], and then 'despair' (DM) [02:28] as well as 'hope' (HM) [03:29].

After that, the foregoing undergo a captivating development [06:58], followed by an "Allegro moderato (Moderately fast)" [07:51] fugal episode [07:51] based on IM and HM. This builds to a forceful statement of IM [09:06] that wanes into subdued reminders of DM [11:08], which end the movement with a feeling of apprehension.

It's followed by a "Notturno (Nocturne)" [T-2] that's marked "Allegro vivace (Fast and spirited)". The music here begins with an IM-related, restless theme [00:00], and represents a trek through misty, mountainous thickets. This has a lovely chorale [01:11], which is explored [02:27] and gives way to comely, lyrical passages [03:20]. These are succeeded by quite forceful ones [04:55], which wane into more subdued moments that end the movement uneventfully.

Next there's a "Marcia solonelle (Solemn March)" {T-3], which is "Andante sostenuto (Slow and sustained)". This limns a procession into the above-mentioned temple. It has a peaceful preface {00:01] that invokes a captivating, HM-related hymn tune [00:40]. This undergoes several treatments that range from devout [03:19] to pious [04:27] and zealous [05:07], Then a seraphic one [06:13] ends the movement with a feeling of contentment.

The "Finale" is "Allegro animato (Fast and animated)" [T-4]. It starts with an HM-related, sanguine ditty [00:00], after which remembrances of the third movement appear [01:42]. Then the foregoing undergo an enthralling development [04:30], which bridges into memories of IM [05:34]. They become forceful [06:20], thereby bringing the symphony to a jubilant end that includes a rousing coda [07:23l.

This Dacapo release concludes with the composer's Symphony No. 3 in A minor, Op. 18 (1891-92). It has only three movements, and arguably these are autobiographical in that each is a musical characterization of his life up through 1890.

The first one is entitled "Fantasie" [T-5] and seemingly reflects his youthful ambitions as well as dreams for the future. It begins with a wistful, oneiric theme [00:02], which is interrupted by a march of stark reality [01:55]. Then the latter gives way to subdued, passages for string quartet [02:50] that invoke tender, sanguine thoughts [04:12]. But that march returns [05:05], followed by forceful reminiscences of happier moments [07:19]. However, these wane into peaceful afterthoughts [09:14] of the opening measures, thereby bringing things full circle.

A "Molto vivace (Very vivacious)" marked "Scherzo appassionato (Spirited scherzo)" is next [T-6]. It's subtitled "Bunte Bilder (Variegated Pictures)" and has an antsy preface [00:01] hinting at a subsequent whirling, dance-like theme that's soon heard in full [01:36]. Then the latter undergoes several treatments that range from capricious [02:16] to insistent [03:08], songlike [03:34], bellicose [05:06], relentless [06:02] and forceful [06:46]. After that an assertive number [07:13] ends the movement abruptly.

The third one called "Elegie (Elegy)" [T-7] is a "Lento, ma non troppo (Slow, but not overly so)" expression of the composer's regret that his youthful ambitions hadn't been achieved as of when this work was written. Consequently, it begins with an anguished idea [00:01] followed by another that's ostensibly indicative of happier times [01:03].

Then the latter wanes into perturbed passages {02:21], which summon a rueful theme [02:57]. This begins an extended lament that becomes a grief-stricken episode [06:42] with sad memories of the first movement's happier moments [08:45]. These grow quite intense, but wane into reminiscences of better days [12:09, 12:56]. Then the latter close the symphony as well as this disc with a feeling of remorse for those youthful desires, which were never fulfilled.

These two symphonic, Danish delights are served up by Sweden's Malmö Symphony Orchestra (MalSymO), which is based in that city, some 380 miles southwest of Stockholm. And incidentally, this highly acclaimed orchestra will celebrate its 100th anniversary during 2025.

Under Swedish conductor-violinist Joachim Gustafsson (b. 1967), they give captivating accounts of some music that in lesser hands might not hold a listener's attention. Moreover, those hearing this release may well want to investigate other discs of Bendix's music.

These recordings were made 7-10 June 2022 at the Malmö Live Concert Hall. They present a generous sonic image of both selections in pleasant surroundings. This composer's meticulously scored works have many moments for single as well as small groups of instruments, which are well captured and balanced against the rest of the orchestra.

As presented here, the overall dynamic range is extensive, and those with high-end sound systems may find themselves frequently adjusting their level controls. That said, pointy-eared listeners find the highs somewhat harsh, but the midrange and bass should be good. Everything considered, this release falls short of an "Audiophile" rating; however, the music is highly recommended to those with an interest in some little-known, Danish orchestral fare.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P250331)

Naxos scores again with this recent release featuring music by German composer-conductor Albert Dietrich (1829-1908), who was born near Meissen, which is 120 miles south of Berlin. During 1851-53, he studied composition with Robert Schumann (1810-1856) and got to know Johannes Brahms (1833-1897).

Dietrich had a close association with them and became music director of the Grand Ducal Court at Oldenburg, some 200 air miles west-northwest of Berlin. However, when his health began to fail, Albert retired and moved to Berlin, where he spent his final years. Dietrich would leave a significant number of works across most genres, and we're treated to three in the orchestral category with this release.

Taking them in reverse chronological order, there's his Overture in C major, Op. 35 (pub. 1882) [T-1]. This opens with an assertive flourish [00:01] hinting at a venatic theme that soon follows in full [00:30]. The latter undergoes a captivating exploration [02:20] followed by a songful countermelody [03:30]. Then engaging developmental passages [04:26] give way to a rousing coda [07:14], which brings the piece to a glorious ending.

After that, we get Albert's Violin Concerto in D minor, Op. 30 (pub. 1874). It has three movements and the first "Allegro (Fast)" one [T-2] starts with a cogent idea for the orchestra [00:00] that's soon joined by the soloist [00:17]. Subsequently, the violin plays a lovely, related thought [01:58], which is food for some luscious, musical repasts [03:05, 08:25, 10:23] having virtuosic violin spicing. Then cadenza-like passages [11:49] adjoin ones recalling past ideas [13:48], thereby closing the movement emphatically.

An "Adagio ma non troppo (Slow, but not overly so)" middle one [T-3] opens with a lovely tutti theme [00:03] that commences an increasingly powerful serenade. This has some vehement violin tidbits [01:54], but wanes. Then a subsequent, complementary segment [05:03] with a passing, impassioned moment for the soloist [07:53] ends things tranquilly.

The Finale is an "Allegro molto vivace (Lively and very vivacious)" cavort [T-4]. It has a spirited orchestral preface [00:00] from which the soloist emerges [00:15] playing a catchy ditty [00:15]. This idea is the subject of differing treatments, the first three being respectively pensive [00:57], playful [01:43] and confident [02:32] with a songful violin [02:50]. Then there are dainty [03:36], dauntless [03:53], searching [04:32], flighty [05:17], as well as assured [05:57] ones. However, the latter conjoins a capricious number [07:10] that brings the concerto to a fiery finish.

This release concludes with Dietrich's four-movement Symphony No. 3 in D minor, Op. 20 (1869), which is quite Brahmsian and was very popular in its day. Having the usual four movements, the initial "Allegro (Fast)", sonata form one [T-5] has an exposition featuring a bold first theme [00:01], followed by a pleasant, pastoral second [01:34].

Then the latter bridges [02:21] along with its predecessor {02:45] into a formidable, lengthy development of both ideas [03:20]. And after that, a forceful version of the first one [09:26] initiates a moving recapitulation [09:26]. It has a vivacious coda [12:05] that escalates, thereby closing this movement excitedly.

The second one [T-6] bears the legthy marking "Andante con molto di moto, quasi allegretto (Slow with movement that borders on being fairly quick)". It starts with a gracious thought [00:00], which parents an amative serenade that waxes and wanes into a more cautionary episode [04:42]. Then the latter becomes quite agitated, but ebbs into serene recollections of this movement's opening measures, which end it peacefully.

However, serenity turns to vivacity with the subsequent "Allegro energico (Fast and energetic)" Scherzo [T-7]. It has a scurrying first idea [00:00] that may remind you of Niccolò Paganini's (1782-1840) well-known Caprice No. 24 for solo violin, MS 25, Op.1 (1818). Then there's a tuneful, related second [00:33], and the foregoing are explored [01:15, 02:04].

All this is followed by an antsy "Trio I" [02:34-04:44]. But the opening returns [04:45], only to be followed by a venatic "Trio II" [05:17-07:16]. And after that, hints of the first measures [07:17], close the movement in the same spirit as it began.

The "Allegro (Fast)" Finale [T-8] is a theme and variations having a clarion call [00:00] that invokes a militant main subject (MM) [00:18]. MM is succeeded by variants that range from flighty [01:28] to pensive [02:18], fugally bellicose [03:54], yearning [04:26], emphatic [05:38], cheery [06:35] and wistful [07:24]. But the latter makes a scurrying bridge into an exultant variation [08:56] with an MM-based coda [09:50] that closes the symphony and disc triumphantly.

Based in Luxembourg City, which is that country's capitol, the Solistes Européens, Luxembourg (SolEurLuxem) under their music director and principal conductor, German-born-and-trained, Christoph König (b. 1968) deliver superb performances of these Dietrich rarities. They're joined by Albanian violinist Klaidi Sahatçi for the concerto. He plays a 1719 Antonio Stradivarius (aka Antonio Stradivari, c. 1644-1737), and gives an opulent, technically accomplished account of this work.

These recordings were a co-production with MB Records and made 4 February [T-5 thru 8], 31 May [T-2 thru 4] and 18 October [T-1] 2019 at the Grand Auditorium Philharmonie Luxembourg (see picture). Despite the different dates, they present similar sounding sonic images of these selections in a splendid venue.

The soloist is just left of Maestro König, and his "Strad" is well captured. As for the overall orchestral timbre, it's characterized by pleasant highs, a good midrange and clean bass. Taking everything into consideration, the overall sound is about as good as it gets on conventional CDs.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, Y250330)

Composer Roberto Gerhard (1896-1970) was born in Valls, some 60 miles west-southwest of Barcelona, which is the capitol of Spain's Principality of Catalonia. His father was of German-Swiss ancestry, while Roberto's mother came from Alsace-Lorraine, which was then part of the German Empire (aka "Second Reich").

Gerhard first had a couple of Spanish teachers in Barcelona. More specifically he took piano from Enrique Granados (1867-1916) and studied composition with Felip Pedrell (1841-1922). However, when the latter died during 1922, Roberto moved to Vienna, where he furthered his musical education with Arnold Schoenberg (1874-1951).

Then 1928 saw him return to Barcelona and become part of Catalonia's avant-garde, along with such great artists as Pablo Picasso (1881-1973) and Joan Miró (1893-1983). But in 1939, being a staunch supporter of the Republican cause during the Spanish Civil War (1936-39), which was led by Nationalist General Francisco Franco (1892-1975), Gerhard fled to France. Then later that year, he took up residence in Cambridge, England, some 60 miles north of London.

There he produced a number of orchestral as well as stage works that established his international reputation. Then during the 1950s his compositions took on stilistic characteristics that included twelve-tone technique as well as aspects of Catalan folk music. He'd also produce abstract electronic pieces for the British Broadcasting Corporation (BBC) and Royal Shakespeare Theatre (RST).

At some point in the 1950s Gerhard developed a heart condition that eventually lead to his demise in Cambridge at the beginning of 1970. However, he'd leave a large body of works across all genres, and they include film scores as well as electronic pieces. We're treated to three in the orchestral category on this Chandos release.

The first selection is his four-movement ballet Suite from 'Alegrías' ('Joys') of 1942-43. It began life as three Flamenco dance pieces for two pianos, which the composer later fashioned into what we have here. Moreover, the first movement starts with an "Allegro (Fast)", macho Preámbulo (Intoduction) [T-1, 00:02], which adjoins a more haughty segment that's "L'istesso tempo (At the same speed)" [01:19]. Then the foregoing makes an attacca transition into the "Allegretto (Moderately fast)", Jácara second [T-2, 00:00], which is a captivating number.

After that there's a Farruca third [T-3]. This has an "Andante (tempo di Farruca) (Slow and at Farruca speed)" opening [00:01] with some palmas. Then there are spirited "Pochissimo più animato (A little more lively)" [03:03], "Poco a poco accelerando (Gradually accelerating)" [04:26], "Allegro (Fast)" [04:34] as well as "Lo stresso tempo (The same tempo)" [04:43] segments.

Subsequently, the latter moves attacca into the fourth Jaleo movement [T-4]. It has a metronome marking of 60 beats per minute (060 BPM), and begins "Allegrissimo (Very cheerfully)" [00:01]. But deadly duels occur frequently in Flamenco numbers, and there are a couple of references [00:58 & 01:26] to Frédéric Chopin's (1810-1849) Funeral March (Marche funèbre, pub. 1840). However, "Poco accelerando (Moderately accelerating)", peppy passages [01:43] are followed by "Con brio (lively with spirit)" ones [03:38] that end the work sportively.

Roberto wrote the next one in memory of his composition teacher, Felip Pedrell (see above). It's accordingly called "Pedrelliana (En memoria)", and began life as his unnumbered, three-movement Symphony 'Homenaje a Pedrell' of 1941 (see Chandos 9693). Then in 1954 he reworked the rondo-like, last movement into what we have here [T-5].

It's a moving piece with an "Allegretto giusto (Lively and precise)" opening [00:00]. This becomes "Poco pesante (Somewhat heavy)" [02:02], turns "Incalzando subito (Suddenly quicker)" [02:25] and then quite "Pesante (Heavy)" [03:58], as well as "Incalzando subito (Suddenly quicker)" [04:23] again. However, subsequent "Morendo (Dying away)" moments [05:35], adjoin "Tempo I (First tempo)" [05:46] plus "Tempo I (ma agitato) (First tempo (but not too fast))" [06:04] passages.

These soon become "Perdendo (Waning)" ones [07:20], but turn sequentially "Poco a poco agitato (Little by little more exciting) [07:35], "Alla breve (Shorter)" [08:48] and "Stringendo (Faster)" [09:56]. Then "Pesante (Heavy)" [09:56] in addiition to "Incalzando (Quicker)" [09:56] ones are succeeded by "Poco andante (Slowly walking)" [10:50] moments. They conjoin an "Allegro (Fast)" [11:05] morsel, which ends things decisively.

The main work is next, namely Gerhard's five-scene Don Quixota ballet that has a scenario by the composer. Originally written in 1940-41, Roberto revised it during 1947-49, giving us what's here. The underlying story is based on Spanish author Miguel de Cervantes' (1547-1616) two-part novel Don Quixote (pub. 1605 & 1615). It's about a delusional member of the lowest Spanish nobility, who decides to become a knight-errant, and call himself Don Quixote. Consequently, he recruits a farmer named Sancho Panza as his squire, and they have many exotic adventures.

It has an "Andante maestoso (Slow and majestic)" introduction [T-6] that starts with the Don's theme (DT) [00:03] and conjoins Scene 1, which is called "Don Quixote's Room" [T-7]. This is subdued, but soon turns "Poco più largamenete (A little broader)" [00:14] and then "Incalzando (Quicker)" [00:39].

However, the latter becomes "Calmo (Halcyon)" [T-8, 00:00] with Quixote's vision of his imagined ladylove, Dulcinea del Toboso. It has hints of DT [01:47] as well as his trotting horse, Rocinante [02:22]. Then an "Allegro (Fast)", unassuming segment [T-9, 00:00] characterizes Sancho Panza.

All this affixes an Iberian, folk-like Interlude I [T-10, 00:00], which is a spirited offering that takes us to "The Plain of La Mancha". This sets the stage for Scene 2, titled "A Wayside Inn (Chacona de la Venta)" [T-11]. It has an "Allegretto giocoso (Lively and playful)" opening [00:00} where whores and muleteers are doing a seguidilla manchega (Dance from La Mancha) [00:00].

Then the front door opens with "Poco più mosso (A little more agitated)" blasts of cold air [01:15] and Quixote enters to "Vivace (Brisk)" passages [01:28]. These are followed by "Tempo I, poco pesante (First tempo, but a little heavier)" ones [02:10] as well as an "Andante (Slow)" segment [02:30], where the Don thinks he's entered a castle. Consequently, there's what's called "The Vigil at Arms (Virgilia da las arnas)" [T-12], which begins "L'istessso tempo (At the same tempo)" [00:00] and turns "Con un poco di moto (A little more spirited)" [00:26].

After that, the innkeeper agrees to knight the Don if he'll get rid of an unruly muleteer. Consequently, Quixote does so in a duel set to music [T-13] that's respectively "Alquanto animato (Quite lively)" [00:00], "Tempo giusto (Of Precise tempo)" [00:52] and subsequently "Andante (Slow)" [01:28]. Then he's knighted in another "Andante (Slow)" segment [T-14, 00:00], thereby ending this scene, which adjoins Interlude II [T-15, 00:00].

The latter is collectively "Poco più lento (A bit slow)", "Poco pesante (Somewhat heavy)", and "Incalzando (Presses on)" into Scene 3. It's called "The Plain of La Mancha" and starts with "The Windmills (Molinos de viento)" [T-16]. This has an "Andante (Slow)' beginning [00:00] that becomes "Poco Agitato (Somewhat excited)" [01:03]. Here Quixote, who's on Rocinante, thinks they're evil giants and charges one. But the horse suddenly stops, and Quixote falls to the ground.

Subsequently, he encounters "The village barber and his basin" [T-17] to "Allegretto triviale (Lively and frivolous)" passages [00:00]. These become "Tempo da prima (Slow)" [00:54] and then "Andante affettuoso (Slow and caring)" [01:20] as well as "Sostenuto (Sustained) [02:02] ones. They represent the Don's encounter with a local hairdresser and commandeers his shaving bowl, thinking it's a famous helmet.

Then we get a lullaby in which Quixote contemplates "The Golden Age (La Edad de Oro)" [T-18]. This music is sequentially "Adagietto (Rather slow)" [00:00], "Poco più mosso (A little more Lively)" [01:10], "Tempo da prima (Rather slow)" [01:26], "Allegretto comodo (Moderately lively)" [02:17] and "Poco meno (A little less so)" [02:33].

The foregoing moves attacca into "The galley-slaves (Paso doble de los galeotes)" [T-19], where the Don mistakenly frees them, and they rob him as well as Sancho Panza. All this activity proceeds sequentially in sections marked "Allegro (Fast)" [00:00], "Animando (More lively)" [00:22], "Tempo I (Fast)" [01:07], "Animando (More lively)" [01:14], "Vivace (Spirited)" [01:26], "Allegretto (Fairly quick)" [01:38] and "Poco meno (A little less so)" [02:05].

This is followed attacca by Interlude III [T-20], which begins "L'istesso tempo (At the same speed)" [00:02] and then turns "Andante (Slow)" [00:39], thereby introducing us to Scene 4 that's called "The Cave of Montesinos (Chacona de palacio)" [T-21]. It finds Quixote in a cave that has a crystal-walled palace. This music takes the form of an "Allegro moderato (Moderately fast)" chaconne-like, syncopated dance. It has an opening, piano-introduced ostinato [00:00], which is based on DT (see above).

Then there's a "Maestoso (Moderately fast)" Interlude IV [T-22, 00:00] that's an emphatic treatment of DT (see above). This is succeeded by the final Scene 5, which is called "The Prison (Variaciones (Variations)" [T-23], where past characters come back to a series of dances.

These are sequentially "Con moto (Spirited)" [00:00], "Poco più mosso, quasi vivace (A little more Lively, almost vivacious)" [00:44], "Agitato, poco stretto (Agitated and somewhat tight)" [01:08], "Meno mosso (Less choppy)" [01:19], "Animando (More lively)" [01:41], "Agitato (Agitated)" [01:59], "Allegretto placido (Joyfully peaceful)" [02:14], "Poco pił calmo (Somewhat halcyon)" [02:43] and then "Affrettando (Hurrying}" [02:57].

However, the latter conjoins "Dulcinea revealed as Aldonza" [T-24], where her previous music [T-8] is recalled in "Larghetto (Rather slow) passages [T-24]. It would seem that "Aldonza" means "The sweet one", who Quixote finally realizes is just a village wench. This folds into the "Epilogue" [T-25], which begins [00:00] with "Adagietto (Rather slow)" recollections of "The Golden Age" [T-18].

Then the music turns "Andante (Slow)" [01:10] with nostalgic remembrances of DT [T-6]. These wax and wane, as the Don falls asleep. However, Sancho Panza dashes in to thwart any attempt to wake him, thereby ending the ballet and this CD.

These performances are by the BBC Philhamonic (BBC Phil) under Spanish conductor Juanjo Mena (b. 1965). They deliver superb accounts of all three works. Hopefully, they'll give us more of Gerhard's music in the not too distant future.

The recordings were made 11 March [T-6 thru 25] and 29 June [T-1 thru 4 & T-5] of 2023 at the MediaCityUK's Concert Hall in Salford, England, some three miles west of Manchester. They consistently project generous sonic images of the orchestra. The instrumental timbre is generally good with acceptable highs, a good midrange and clean bass.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P250329)

Here's a release with music by Finnish composer-pianist Magnus Lindberg (b. 1958). He was born in Helsinki and studied at the Sibelius Academy, where one of his instructors was Einojuhani Rautavaara (1928-2016; see 31 July 2022). He also attended summer music courses in Siena, Italy and Darmstadt, Germany.

Then after graduating in 1981, he furthered his education in Paris as well as Berlin. And more recently, he was composer-in-residence with the New York Philharmonic (2009-2012) and London Philharmonic Orchestra (2014-2017).

As of last year, Magnus had written a large body of works across all genres. Three in the orchestral category reside on this recent Ondine disc. As opposed to his earlier somewhat callous, high-strung creations, they inhabit his later, more soothing stylistic period.

The first selection is his three-movement Viola Concerto of 2023-24, which is a great contribution to the currently available concert repertoire for this instrument. It was commissioned by the Finnish Radio Symphony Orchestra (FinRSO), and dedicated to our soloist here. Incidentally, Lindberg said that since the viola's range lies between that of a violin and cello, he tried to write something that combined the best of his previous concertos for those two instruments.

This work is scored for a classical-period-sized orchestra, and the first movement [T-1] begins with it playing agitated, fanfare-like passages [00:01, 00:19, 00:40]. Then the soloist surfaces with vivacious ideas [00:59], and these are the basis for a captivating, extended conversation between them [01:34]. After that, the music becomes increasingly frenetic, but wanes into a contemplative viola-based episode [08:11]. And subsequently, the movement comes to a resolute conclusion with grandiose orchestral chords [09:11].

They're soon followed by the second one [T-2, 00:00], whose opening measures sound like a reply to those previous chords. Then with the soloist's entrance, the music becomes slower as well as somewhat meditatve. However, it soon turns more lively with fiery, virtuosic, viola moments [02:20], which move attacca into a skittish orchestral "Trio" [T-3].

But this wanes and the soloist reappears with subdued orchestral support [01:49]. Consequently, he launches into blazing passages that are "Quasi Una Cadenza (Nearly like a cadenza)" [T-4, 00:00]. These adjoin a dramatic "Interlude" [T-5, 00:00], after which the violist delivers an authentic, demanding "Cadenza" [T-6, 00:00]. It has some bizarre, accompanying, "Vocalise"-like moments [00:40, 00:51, 00:59] that presumably also emanate from the soloist.

All this is immediately succeeded by the third movement [T-7], which has a lively introduction for all [00:00] and features a merry tune [00:03]. The latter is the lifeblood of winsome passages [00:23], where the viola and orchestra chase each other about. Then there's a brief pause [01:34], after which the music becomes more cogitative. Subsequently, Lindberg serves up a vibrant coda [04:55] that ends the work in a blaze of glory.

The concert continues with a selection called "Absence" (2020) [T-8], which was commissioned by the Rotterdam Philharmonic Orchestra (RPhO) to celebrate the 250th anniversary of Ludwig van Beethoven's (1770-1827) birth. It gets off to an arresting start [00:00] with passages somewhat reminiscent of Claude Debussy's (1862-1918) more affecting moments.

Then Lindberg quotes a motif from Beethoven's Piano Sonata No. 26 in Eb major, Op. 81a (1809-10) [01:17, 02:29], which is known as "Les Adieux (The Farewell)". More specifically, it's the one that begins this work's "II. Abwesenhelt (The Absence)" movement. And Subsequently, the music ebbs and flows into passages with an ebullient, chromatic bass line. These become increasingly melancholy with bits of that aforementioned motif [07:53, 07:59] as this piece fades into oblivion.

The release closes with Linberg's one-movement work titled "Serenades" (2020) [T-9], which was commissioned by the Chicago Symphony Orchestra (CSO). It opens with shimmering strings [00:01] and clarion, brass calls [00:53] interspersed with drumrolls. The foregoing hints at a commanding theme soon heard in full [00:53]. This becomes the main subject for a variety of subsequent threatments, the first being quite dramatic [01:29].

Then there are a couple of more amicable ones [04:49, 05:39], as well as sprightly [06:40], chivalrous [07:27], playful [09:20], capricious [10:13] and peacefully rhapsodic [11:27] treatments. However, the latter escalates into a martial number [13:30], followed by a pause. And after that, there's a wistful afterthought [14:44] succeeded by flighty [15:42] moments. But the latter become resigned [16:10], thereby ending this piece and release tranquilly.

British violist Lawrence Power (b. 1977) gives a magnificent account of the concerto. He receives outstanding support from the Finnish Radio Symphony Orchestra (FinRSO) under its Chief Conductor, Nicholas Collon (b. 1983). Incidentally, Maestro Collon also hails from Britain and is the first non-Finnish conductor to hold that post. He and the orchestra then go on to give elegant renditions of the other two selections. They make a good case for some little-known music.

These recordings took place during September 2023 [T-8], December 2023 [T-9] and February-March 2024 [T-1 thru 7] in the Helsinki Music Centre. Despite the different occasions, they present consistently satisfactory sonic images of the FinRSO in opulent surroundings. Lawrence is positioned just left of center stage with his viola well captured as well as highlighted against the orchestra.

The overall instrumental timbre is characterized by acceptable highs, pleasant mids and lean, clean lows. Everything considered, this CD doesn't quite rate an "Audiophile" stripe, but the music is highly recommendable.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P250328)