Heretofore Capriccio has released several CDs devoted to Austrian pianist-organist-composer Josef Labor's (1842-1924) chamber music (see C5390, C5430, C5446 and C5473) one of which we told you about in the newsletter of 28 February 2020. Now they give us the world premiere recordings of his three "Konzertstücke für linke Hand und Orchester (Concert Pieces for left Hand and Orchestra)", which on this disc's album cover are referred to as "Piano Concertos for the left Hand".

These are called the "Wittgenstein Concertos" because they were commissioned by and written for Austrian-American pianist Paul Wittengenstein (1887-1961). He'd studied with Labor and then lost his right arm as a consequence of World War I (1914-1918). Incidentally, Paul was also responsible for similar works written by such greats as Hindemith (1923), Korngold (1923), Ravel (1929-30) and Prokofiev (1931).

Speaking of disabilities, Labor lost his sight at age three from smallpox. And by way of further background (see the album booklet for details), he was born to Austrian parents in Hořowice, Czech Republic, some 30 miles southwest of Prague, but after his parents divorced, he moved with his mother to Vienna.

Young Josef studied composition as well as piano there and subsequently played throughout Europe. In the process he developed a close friendship with King George V (1819-1878), who was also blind. Then in 1865 he moved to Hanover, Germany, where he became that monarch's "Royal Chamber Pianist".

But Georg was exiled the following year (1866) and Josef moved back to Vienna, where he lived out his life. During that time, Labor composed and continued to concertize as well as teach piano. In that regard, besides Wittgenstein, some of his students included Alma Mahler (1879-1964) as well as Arnold Schoenberg (1874-1951).

We should also note that Labor was a superb organist and is probably best remembered as a composer for that instrument. What's more, being blind he always got help writing down his creations. Consequently, Josef left a limited number of works, most of which include at least one piano or an organ.

The first selection is his Konzertstück d-Moll Nr. I für linke Hand und Orchester (Piano Concerto I in D Minor for Left Hand and Orchestra, 1915). It's a theme-and-variations that begins [T-1] with casual, introductory orchestral [00:03] and piano [00:30] passages. These hint at a catchy main subject (CM) introduced by the soloist [03:07] to a supportive tutti accompaniment. Then we get the first two variations [T-2], which are respectively merry [00:00] and pensive [01:10]. However, the next one [T-3] is a comely, songlike offering [00:00].

After that, the next track [T-4] has a capricious third [00:00] and fifth [03:15] on either side of a yearning intermezzo variant [00:56-03:14]. All this ends in anticipatory fashion, thereby calling up the final two variants [T-4]. The first of these takes the form of an extended, cleverly-written, CM-based, bravura cadenza [T-5] for the pianist [00:00] that sounds remarkably two-handed. Then the orchestra returns [04:18], and we get a somewhat hymnlike version of CM that brings the work to a triumphant conclusion.

The Konzertstück f-Moll Nr. II für linke Hand und Orchester (Piano Concerto II in F Minor for Left Hand and Orchestra, 1917) is like most works in this genre and has three-movements. This begins with an "Adagio ma non troppo (Slow but not overly so)" one [T-6], having a restful, chamber-like introduction for horn, piano and clarinet [00:00]. It hints at a serene theme (ST) that soon appears [00:51] and undergoes a charming exploration [01:57].

Then the latter proceeds attacca into an extended "Allegro (Fast)" movement [T-7], which starts with the orchestra playing a rousing version of ST [00:00]. This waxes [01:47] and wanes [02:05] into a fetching, ST-based episode for the soloist [02:41], who's soon joined by the tutti [03:04]. And after that there are lyrical [04:32], forceful [07:00], pensive [07:50], antsy [08:17], searching [09:54, 10:22] as well as amorous [11:01] passages.

However, the latter are followed by martial ones [13:05] that call up a monstrous cadenza for the piano [14:10-17:29], succeeded by an "Allegro scherzando (Fast and playful)" finale [T-8]. From its very beginning [00:00], here the orchestra and soloist frolic about to a capricious version of ST, thereby ending things in jolly fashion.

The Konzertstück Es-Dur Nr. III für linke Hand und Orchester (Piano Concerto III in E♭ Major for Left Hand and Orchestra, 1923) is again in the usual three movements. Apparently, Wittgenstein found this somewhat beyond his capabilities, and made some substantial changes to the piano scoring. However, Labor's original version is presented here.

Its "Largo (Slow)" first movement [T-9] starts with the soloist playing in harp-like fashion an arpeggiated, docile theme (DT) [00:00], that's a bit reminiscent of the opening moments in Bedřich Smetana's (1824-1884) Má vlast (My Fatherland, 1874-79). DT is then the subject of a serene serenade for soloist and orchestra. This has some DT-based afterthoughts [04:01] that bring things to a nostalgic conclusion.

But skies brighten with the extended, "Allegro (Fast)" middle movement [T-10]. Here a potent orchestral preface [00:00] gives rise to a DT-derived compelling theme (DC) [00:15]. Then DC gets explored [00:39] and is picked up by the pianist [01:20], who's soon joined by the tutti [02:16]. They play a jolly version of DC, followed by flighty [03:22], insistent [04:41], flirtatious [06:34], and commanding [08:28] ones.

However, the latter waxes [10:47], thereby making an attacca transition into a DC-reminiscent, waltz finale [T-11]. Right from its opening measures [00:00], this is a rapturous offering that becomes increasingly intense and brings the work as well as this disc to a joyous conclusion.

The soloist here is our old friend, German pianist Oliver Triendl (b. 1970; see 31 May 2022), who must have had his right arm tied behind his back. All kidding aside, he gives superb accounts of these three selections, and receives outstanding support from Japanese-born, American-trained conductor Eugene Tzigane (b. 1981). Maestro Tzigane leads the Deutsche Staatphilharmonie Rheinland-Pfalz (German State Philharmonic of Rhineland-Palatinate) (DSpRh-Pf), which is based in Ludwigshafen, Germany, some 300 miles southwest of Berlin.

These recordings were made 9-13 January 2023 at the Ludwigshafen Concert Hall. They present a generous sonic image in affable surroundings with the piano well captured and centered against the DSpRh-Pf. The overall sound is characterized by pleasant highs, a good midrange and clean bass.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P240731)

Here's a recent, superb sounding Chandos release with some orchestral music by Édouard Lalo (1823-1892). He was born in Lille, France, some 140 miles north of Paris and first studied music in his hometown. But at sixteen he'd further his education at the Conservatoire de Paris.

Édouard then began a somewhat successful musical career as a violist, violinist and teacher in Paris. He'd spend the rest of his life there, and leave a significant body of works across all genres.

Lalo considered himself an opera composer and wrote three. However, only one of them was performed during his lifetime, it being the three-act Le roi d'Ys (The King of Ys) (1975-78). This has a libretto by French dramatist Édouard Blau (1836-1906), and takes place during the Middle Ages in the mythical city of Ys on the coast of Brittany. As for the highly dramatic, underlying story, it involves martial and political intrigues as well as the salvation of that city by its patron saint.

The opera was not staged until 1888, at which time Lalo reworked the overture, thereby making it a much more affecting piece. Consequently, this has become a concert hall favorite, and gets the CD off to a thrilling start.

More specifically, the Le roi d'Ys Overture of 1888 presented here [T-1] has a captivating preface [00:03], which bridges via increasingly intense moments into a couple of powerful ideas [02:28, 02:58]. These are explored and adjoin a ravishing melody [03:52]. Then the foregoing material is developed [04:42] and serves as the basis for wistful, serenade-like passages [06:41]. These build into remembrances of the opening ones, which bring the piece to a glorious conclusion.

Some music from Lalo's two-act Namouna ballet (1868-71) follows. This has a scenario by two Frenchmen, namely librettist Charles Nuitter (1828-1899) and ballet dancer Lucien Petipa (1815-1898). They based it on Italian adventurer-author Giacomo Casanova's (1725-1798) memoir-autobiography titled Histoire de ma vie (The Story of My Life), which was probably written around 1797. That said, this takes place on the Island of Corfu during the 18th century. It involves slave merchant Ali, slave girls Namouna and Iotis, as well as a count named Ottavio, and his beloved Héléna.

We should also note that this music had a troubled history. Moreover, Lalo was given only four months to write it and had a minor stroke just before its completion. However, fellow countryman Charles Gounod (1818-1893) then helped with the orchestration in order to get it done on time. And after that, the composer came up with three suites from it, which are what's featured here. Details regarding them can be found in the album notes, so we'll just cover their high points and parenthetically indicate each selections location in the full ballet.

Proceeding in order of their appearance on this release, first there's Valse de la cigarette (Cigarette Waltz) [T-2] (Act I, No. 5), which is the only selection from the third suite. This is a delightful number for Namouna that starts with two fortissimo chords [00:00] soon followed by a winsome waltz [00:09]. Here lively passages alternate with somewhat slower ones [01:09, 03:05] and bring things to a sprightly ending [04:49] with whirling last moments [05:11].

Then it's back to the "Suite No. 1", which has five selections, the first being a "Prélude (Prelude)" [T-3] (Act I, No. 2). This has dramatic, sunrise-like outer sections [00:00, 04:22] that hug a radiant inner one [03:02-04:21].

After that, there's a "Sérénade (Serenade)" [T-4] (Act I, No. 3), where musicians hired by Ottavio serenade Héléna. Here a strumming-mandolin-like preface [00:00] hints at a songful, plucky-pizzicato-laced ditty soon heard in full [00:42]. This is repeated [01:42] and ends things emphatically.

Next, we get a "Thême varié (Theme and Variations)" [T-5] (Act II, No. 17) during which Ottavio and Namouna circle around three flower girls. It has a dramatic opening [00:00] that wanes into a leisurely main idea [00:23]. This undergoes three treatments, that are respectively coy [01:14], proud [02:04] and commanding [03:50].

The subsequent "Parade des foire (Festive Parade)" [T-6] finds Ottavio paying court to Héléna with Namouna looking on. Here a busy dance (Act I, No. 11) [00:00] with the corps de ballet whirling about ebbs [02:43] into a delicate, charming one for Namouna (Act II, No. 19) [03:30].

All this is followed by a "Fête foraine (Hearty Party)" [T-7] (Act I, No. 5) number based on an opening, harried-ostinato-riddled dance [00:00]. It gets increasingly frenetic with fortissimo outbursts plus wilder bits from the preceding selection, all of which bring the piece to a thrilling conclusion.

The "Suite No. 2" also has five selections. Its first "Danses marocaines (Moroccan Dances)" [T-8] (Act I, No. 9) is based on melodies the composer heard at a Moroccan café during the Paris Exposition of 1878. This is a vivacious, Eastern-flavored number for a male dancer [00:00] that has some more subdued moments with four ballerinas [01:15-01:42].

Then there's a "Mazurka" [T-9] (Act II, No. 14) for slave girl Iotis, which was first danced by guest ballerina, Julia Subra (1862-1908). It has an attention-getting preface [00:00] soon followed by a comely melody [00:06, 01:23] that's repeated [00:47] and alternates with a tripping one [01:06, 01:42]. Then an amalgamation of both ideas [01:58] ends this selection in elegant fashion.

The subsequent "Dolce far niente" (La Sieste) [T-10] (Act II, No. 12) is an exotic number where Ali (see above) is surrounded by his numerous slave girls. This music is a comely contemplation with a harp-spiced preface [00:00], which invokes mesmeric passages [00:56] that close uneventfully.

But the mood becomes more festive with "Pas des cymbales (Dance of the Cymbals)" [T-11] (Act I, No. 6). Here sixteen dancers move about, presumably with Taal or Zill-like cymbals. It starts with rising phrases [00:00], which parent a blithe, trenchant, forte-chord-ridden waltz [00:12] that fills out this selection.

Then Lalo gives us a "Presto (Very fast)" one [T-12] (Act II, No. 15) based on an initial, vertiginous number [00:00}. Here those slave girls teasingly swirl around Ali, thereby causing him to collapse. This perpetuum mobile music brings the suite to a quick conclusion.

The composer's Symphony in G minor (1886) fills out the release. It's of cyclic persuasion and may remind you of fellow countryman César Franck's (1822-1890) three-movement Symphony in D minor (1888).

As for the Lalo, it's in four, the first of which [T-13] has an "Andante (Slow)", somber introduction [00:00] hinting at things to come. Then we get the "Allegro non troppo (Fast, but not too quick)" remaining portion that starts with a captivating thematic nexus (CN) [00:58]. This undergoes a couple of treatments that are respectively valiant [02:30] and searching [04:03]. Then a sanguine one [05:44] ends the movement in towering fashion.

Next there's a scherzo [T-14] with a "Vivace (Fast)", flighty, opening number [00:00], followed by a "Cédez un peu (Slightly slower)", sorrowful one [01:33]. But then the first makes a "Tempo I (Initial tempo)" return [03:02], and gives way to a "Quasi andantino non troppo (Rather brisk, but not overly so)" segment [03:09]. This turns into "Tempo I (Initial tempo)" recollections of past ideas [03:33] that become some "Lento (Leisurely)", closing afterthoughts [04:02].

The "Adagio (Slow)" third [T-15] starts with two notes [00:00] anticipating a sighing, sad theme (SS) soon heard in full [00:08]. The latter is material for a sorrowful serenade with a more poignant segment [02:55-04:17]. Then SS returns [04:18] and adjoins a CN-derived tragic theme [04:53] that fades into oblivion.

But sorrow turns to swagger in the "Allegro (Fast)", sonata-rondo-like, fourth movement [T-16]. Its opening moments [00:00] hint at a CN-derived, cocky ditty that soon follows [00:08]. Then Lalo serves up a more lyrical tune [00:51], after which all of the foregoing is repeated [01:11].

Subsequently, this material undergoes a development [01:45] with some flighty spots [02:17-02:30], and is recapped [04:45]. Then a powerful, CN-based coda [05:09] brings the work as well as this disc to a stupendous conclusion worthy of Wagner (1813-1883).

These performances are by the longstanding Estonian National Symphony Orchestra (EstNa SO), which will celebrate its 100th anniversary in 2026. Under their "Honorary Artistic Director for Life", internationally acclaimed Neeme Järvi (b. 1937), they deliver magnificent accounts of everything here.

The recordings took place 6-8 June 2022 at the Estonia Concert Hall located in Tallinn, and are in the best Chandos tradition. Consequently, this release is as good as conventional CDs get. More specifically, they present a consistently generous sonic image of these selections in reverberant surroundings. The orchestral timbre is characterized by lively highs that might have been more lifelike on an SACD. However, the midrange and bass are superb, thereby earning this release an "Audiophile" rating.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, Y240730)

This Brilliant release features some superb music by Croatian composer-pianist-violinist Dora Pejačević (1885-1923). She was born in Budapest to Hungarian-Croatian Count Teodor Pejačević (1855-1928) and Hungarian Baroness Lilla Vaya de Vaya, who was a trained pianist and singer.

Dora had a penchant for music at an early age, and it was encouraged by her mother. Consequently, by age eight (1903) she'd already written a good deal of piano music that showed the influence of such Romantic composers as Felix Mendelssohn (1809-1847), Clara Schumann (1819-1896) and even Edvard Grieg (1843-1907).

Subsequently, the family moved to Zagreb in 1903, where young Dora studied at the Croatian Music Institute. Then the year 1907 saw her take up residence in Germany, where she continued her musical training in Dresden and Munich. But for the most part she remained self-taught, and during her 20s (1905-1914) became a well-known composer-pianist throughout Europe.

Then came World War I (1914-1918), during which she served as a field nurse, and being well-educated as well as headstrong, Dora had some interesting thoughts regarding those times (see the album booklet). Consequently, she married a German officer (1921), and gave birth to their son in January of 2023. But unfortunately, just two months later, she died of postpartum, kidney failure.

Despite her untimely demise at age 37, Pejačević left a modest number of works across most genres. We're treated to three in the chamber category on this CD, the initial one being her "Cello Sonata in E minor" (Op. 35, 1913), which she apparently revised in 1915.

The first of its four movements is an "Allegro moderato (Moderately fast)", sonata-form one [T-1], whose exposition starts [00:00] with a lovely, cantabile number sung by the cello to a supportive piano accompaniment. This adjoins a smiling countermelody [01:15], and both ideas become the subjects of an engaging, conversational development between the two instruments [02:57]. Then there's a captivating recapitulation [04:13], followed by a lively coda [06:35], which ends the movement excitedly.

After that, Dora serves up an "Allegro (Fast)" scherzo [T-2] with puckish outer sections [00:00, 06:13], based on a Mendelssohnesque ditty. They surround a tranquil trio [01:22-06:12], featuring another comely, cantabile number for the cello, and bring things full circle.

The "Adagio sostenuto (Slow and sustained)" third movement [T-3] begins with a blues-like, berceuse-reminiscent idea for the piano [00:00] that's picked up by the cello [00:24]. Then the foregoing is repeated [03:00], becomes increasingly anguished, and wanes into remembrances of the opening measures. These end the movement with feelings of serene sadness.

However, grief turns to glee in the final, "Allegro comodo (Comfortably fast)" one [T-4], which structurally seems to combine sonata-form with that of a theme-and-variations. More specifically, here an initial, cheerful cello tune set to a playful, piano accompaniment [00:00] is soon followed by three developmental treatments. These are respectively coy [00:54], searching [02:11] and nostalgic [03:52]. Then a soaring, recapitulative, coda-like one [06:53] closes the work exultantly.

Next, we get "5 Pieces for Violin and Piano", which are salon-music miniatures that Dora wrote over a twenty year period (1899-1919). They're presented in chronological order, and represent a superb transection of her maturing, compositional style.

The "Canzonetta" (Op. 8, 1899) [T-5] was her first published work, and she dedicated it to the great Hungarian violinist, Stefi Geyer (1888-1956). It's a charming piece where the piano introduces [00:00] a lovely number sung by the violin [00:09].

A sprightly, neoclassical-flavored "Minuet" (Op. 18, 1904) follows [T-6], honoring Czech violinist-composer-teacher Jaroslav Kocián (1883-1950). Here both instruments dance about in delightful passages [00:00, 03:26] surrounding an amorous trio [01:09-03:25].

The next "Romance" (Op. 22, 1907) [T-7] is somewhat like the third of Clara Schumann's (1819-1896) "Three Romances for Violin and Piano" (Op. 22, 1853). More specifically, it features a heartfelt tune for the violin [00:00] set to a loving piano accompaniment.

This establishes the mood for the last two pieces, the first being "Elegy" (Op. 43, 1913) [T-8], which was written in memory of Czech Baroness Sidonie Nádherná of Borutín's (1885-1950) older brother John. Be that as it may, this is a serenade based on a melancholy opening thought [00:00].

Then there's "Meditation" (Op. 51, 1919) [T-9] dedicated to Czech composer-teacher Vítězslav Novák (1870-1949; see 30 September 2023). Right from the opening measures [00:00], it's a pensive, impressionistic-flavored piece that comes to a wistful conclusion.

Last but not least, we get the composer's four-movement "Piano Trio in C major" (Op. 29, 1910). This has an initial "Allegro con moto (Joyful with motion)" marked sonata-form one [T-10], whose exposition starts with a comely idea for the violin and piano [00:00], soon picked up by the cello [00:18]. It's subsequently explored [00:52], and the cello introduces a related, more insistent thought [01:24].

Then the foregoing is repeated [02:43], and the piano initiates a lively, polyphonically-spiced development [05:10]. This adjoins a loving recapitulation [07:13] with a captivating coda [09:31] that brings the movement to a splendid ending.

An "Allegro (Fast)" scherzo is next [T-11]. It has frolicsome outer sections [00:00, 05:06] based on a plucky, pizzicato-spiked ditty. These bracket a delicate, songful trio [02:03-05:05], thereby ending things full circle.

As for the third movement [T-12], it's an "A-B-A-C-A-B-A" structured rondo. Here some "Lento (Slow)", lovely "A"s [00:00, 02:27, 05:32, 07:31] are interspersed with a couple of "Allegretto (Lively)", spirited "B"s [01:22, 07:08] and an "Allegro molto (Very fast)", scampering "C" [04:25]. We might also add that the "A" melody somewhat presages one for a song titled "Now Is the Hour", which gained world-wide popularity back in 1948.

The "Allegro risoluto (Fast and decisive)" finale [T-13] is once again in sonata-form. It's exposition has an energetic, dotted-note-flavored first theme (ED) [00:00], soon followed by a songful second [01:23]. And after that, the foregoing is reworked [02:20], thereby bridging into a dramatic development [03:21]. Then the latter waxes and wanes into a resolute recapitulation [06:06] with a sparkling, ED-based coda [08:38] that ends the work and this release triumphantly.

All three performances are by musicians belonging to the Trio RoVerde, namely Armenian violinist Lusiné Harutyunyan, French cellist Caroline Sypniewski and Russian pianist Ekaterina Litvintseva. Each of them is a virtuoso in her own right, and together they make a strong case for Dora's music. Hopefully their efforts will inspire others to play more of this lady's undeservedly neglected works.

These recordings were made 18-20 April 2023 in the House of Music's Suk Hall located in Pardubice, Czech Republic, some 70 miles east of Prague. They present a lifelike sonic image of all three selections in a marvelous venue.

The musicians are comfortably positioned with the violin and cello just left and right of the piano. These instruments are well captured as well as balanced against one another. Consequently, the sound here is about as good as it gets on conventional discs, thereby earning this release an "AUDIOPHILE" stripe.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, Y240729)

A few years ago, Naxos gave us two delightful volumes of Portuguese Piano Trios (see Naxos-8.573402 & 8.574014). Now here's a third featuring three other composers, again played by the Trio Pangea.

The first selection is by pianist-composer-pedagogue Armando José Fernandes (1906-1983), who was born in Lisbon and studied at the National Conservatory located there. However, during the 1930s he'd further his musical education in Paris with Alfred Cortot (1877-1962), Paul Dukas (1865-1935), Igor Stravinsky (1882-1971) and Nadia Boulanger (1887-1979).

Armando began his career as a concert pianist and became one of the leading musical figures in his country during the mid-1900s. He then turned to composing as well as teaching in Lisbon, where he apparently lived out his years. That said, Fernandes seemingly left a significant body of works, but no complete listing of them was available as of this writing.

These include many chamber as well as orchestral pieces, and we're treated to one in the former category here, namely the Sonata a Tre (Trio Sonata) in D major for violin, cello and piano. Written in 1980, this was his next to last work, and stylistically speaking, it's of neo-Classical persuasion.

The first of its four movements is an "Allegro (Fast)", sonata-form one [T-1], whose exposition has a restless first theme [00:03] followed by a closely related, second [01:19]. Then these are food for an engaging development [02:41] and lively recapitulation [04:27] with a spirited coda [05:04], which ends things summarily.

Subsequently, there's an "Allegro commodo (Comfortably fast)" Scherzo [T-2]. This has whimsical outer sections [00:00, 02:48] featuring a flighty idea that's heard at the outset. They surround a fugato trio [01:38-02:49] having a bucolic tune, and bring the movement full circle.

Then there's an "Andante sostenuto (Slow and sustained)", ternary, A-B-A-structured Aria [T-3]. Its outer "A"s [00:00, 03:24] are respectively marked "Molto Tranquillo (Very tranquil" and "Cantando (Singing)" [03:24], where both are based on an initial melancholy theme [00:00] soon followed by a sorrowful second [01:06]. These "A"s lie on either side of a "Dolce (Tender)" pavane-like "B" [02:15-03:23], and end things like they started.

But grief turns to glee in the "Allegro festivo (Fast and festive)" sonata-rondo closing movement [T-4]. Moreover, it starts with a beckoning piano preface [00:00], hinting at a jolly thematic nexus (JN) soon heard in full [00:11]. After that, JN undergoes several developmental treatments that range from songful [00:47] to rhapsodic [01:42] as well as capricious [02:46] and celestial [03:23]. Then a vivid recapitulation of JN [04:01] with a frenetic coda [04:24] ends the work definitively.

Next, we get music by composer-conductor Nuno Côrte-Real (b. 1971), who was born in Lisbon and studied at the National Conservatory located there. He also furthered his musical education at what's now known as the Codarts University for the Arts in Rotterdam, Netherlands. And since then, Nuno has written a significant number of works across all genres. These show the influences of pop, rock, jazz and even funk.

One in the chamber category is our next selection, namely his Sonata Holandesa (Dutch Sonata) (Op. 30; 2002, rev. 2007) [T-5]. This is a through-composed piece that lasts about 18 minutes and has an aggressive, Stravinsky-like introduction [00:00] soon followed by a delicate thought [00:13]. Then the latter bridges into a rhythmically volatile, bell-like section [02:52] that may remind you of Estonian composer Arvo Pärt's (b. 1935) tintinnabuli music.

After that, pensive passages [06:54] escalate into pugnacious ones [08:35], which give way to a dramatic pause [11:06]. Then a subdued, contemplative episode [11:08] turns increasingly confident and becomes ecstatic [15:45]. It has celebratory change-ringing-like moments [beginning at 17:25] and a glorious coda [17:51] that end the work elatedly.

The closing selection is by pianist-composer-pedagogue José Vianna da Motta (modern spelling Viana da Mota; 1868-1948), who was born on São Tomé Island, which was a Portuguese territory at that time. However, he and his family soon moved to Continental Portugal, where they settled in Colares, some 20 miles west-northwest of Lisbon.

Young José soon displayed exceptional skills as a pianist and even began writing for that instrument. Consequently, in 1882 he went to Berlin and took lessons from Polish-German, pianist-composer brothers Philipp (1847-1917) and Xaver (1850-1924) Scharwenka. Then 1885 saw him move some 170 miles south-southwest to Weimar, where he became one of Franz Liszt's (1811-1886) last students.

A year later (1886), José began a highly successful, worldwide, career as a concert pianist. What's more, during his first American tour (1892) he met Italian composer-pianist-conductor Feruccio Busoni (1866-1924), who'd become a close friend with whom he later concertized. Then beginning in 1919 Vianna da Motta became Director of the Lisbon Conservatory. And after that, he seemingly retired sometime during 1938, presumably spending the rest of his life in that city.

José left a small body of works across most genres, and one in the chamber category is featured next, it being his four-movement Piano Trio in B minor (1888-89). This begins with an "Agitato (Excited)", theme-and-variations-like one [T-6]. Here an opening, dark, Brahmsian main subject (DB) [00:00] is repeated [00:21] and escalates into a gallant variant [00:50].

After that, there are two pensive ones, which respectively feature the violin [01:13] and piano [02:01]. But these give way to a dreamy treatment [02:33] as well as an increasingly agitated variation [03:02]. Then DB returns [03:57, 04:05], becomes steadily more frenetic, and has fortissimo chords [05:05] that end the movement with a "So there!" cadence [05:13].

It's followed by an "Andantino (Leisurely)" third [T-7], where a lively opening theme [00:00] is the subject of a capricious conversation between the three instruments. All this transitions into a brief summary of the foregoing [02:47], which concludes the movement like it began.

The next "Adagio (Slow)" one [T-8] is a theme-and-variations based on a lovely, initial melody played by the piano [00:00]. After that, the violin introduces a wistful variant [00:49], which is followed by a contrapuntally-spiced, dreamy treatment [01:39], and a piano-parented, vehement version [02:33]. However, the latter bridges via shimmering strings into a cello-introduced, hymnlike one [03:41]. This wanes into a subdued variation [05:27] that brings things to a somber conclusion.

Subsequently, the mood brightens with the "Allegretto (Lively)", sonata-form last movement [T-9]. Here the piano introduces a smiling tune [00:00], soon followed by a frisky countersubject [00:50]. Then the foregoing thoughts are remembered [01:28], thereby calling up a vivid Lisztian development [02:41]. It bridges [beginning at 04:46] into a thrilling recapitulation [05:50], which has memories of the opening ideas. Then a euphoric coda [07:07] ends the work as well as this CD joyfully.

These performances are by the Trio Pangea, whose members are French violinist Léo Belthoise (b. 1991), Spanish cellist Sara Chordà (b. 19??) and French pianist Bruno Belthoise (b. 1964). They give enthusiastic, technically accomplished, superb accounts of all three pieces, thereby making a strong case for these little-known Portuguese composers.

The recordings were made 26-28 December 2022 at the Escola Superior de Música's Vianna da Motto Auditorium in Lisbon. They present a close-up sonic image of all three works with Leo and Sara respectively positioned just to the left and right of Bruno's piano. Their instruments are well captured, but this music would have sounded even better had these recordings caught more of this venue's ambience.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P240728)