Over the course of the past year there have been a number of releases that somehow got overlooked for whatever reason. Some of these came in during my busy composing time when I was in the midst of completing a couple of musicals in 2020 and earlier this year. Now we can take a quick look at some of these in some special mini-articles. Hopefully, by combining information about some of these you can discover a few extra releases to explore. Most of the releases here can be heard on streaming platforms as well.
Releases by the Trio Casals have been highlighted here at Cinemusical before and somehow their Moto Eterno (Navona 6341) release snuck by. Perhaps it was due to the title which continues in their "Moto" series but at any rate this fascinating new release features music by no fewer than 10 (!) different composers. Several of the pieces are for cello and piano which provides Ovidiu Marinescu a chance to demonstrate versatility in styles. There are some deeply moving pieces like the opening "Sarajevo Cellist" (by Matthew Hetz, and many with more reflective expressions. The Trio is featured in six shorter works and an interesting little set of Three Caprices by David T. Bridges. The music here is quite varied making for yet another fascinating collection of short contemporary chamber pieces by lesser-known contemporary composers. Certainly worth tracking down if you've picked up the previous releases.
The Athenia Trio features interesting works that combine flute, oboe, and bassoon. Their 2020 release, Brush Strokes (Navona 6320) pairs six pieces that provide some comparisons between two different generations of composers. Libby Larsen's Impromptu (1975/1998) gives us a chance to hear an earlier work originally written for a local Public Television community news program. It has some delightful rhythmic ideas in its brief playing time. That is carried into the Trio de la Fiesta Mayor (1953) by Eduardo Grau (1919-2006) with its Latin-infused melodies and rhythms making for an excellent conclusion to this release. Clyde Thompson's (1947-) Four Miniatures (1983) has a little Hindemith hanging over its musical language with a touch of Copland and maybe a little Stravinsky to boot. It serves as a fine opener with the central pieces including two pieces written for the trio, the title work by Alyssa Morris--which is inspired by four different painter's work; and The Blind Men and the Elephant (2014), by Robbie McCarthy--a sort of musical suite that explores this familiar parable. They surround Zsolt Gardonyi's Three Rondos (1966)--as sort of blend of modernism and jazz a la Les Six, with equal wit and idiomatic writing. Overall, a quite entertaining collection of pieces for wind trio.
Heard Again For the First Time
Paul Cohen, alto saxophone.
Eastern Wind Symphony/Todd Nichols;
Roger Nye, bassoon; Rebecca Cypress, harpsichord;
Kathleen Nester, flute; Lynne Cohen, oboe; Allison Brewster Franzetti, piano;
Brett Deubner, viola; Kaoru Hinata, flute.
Ravello Records 8057
Total Time: 70:06
Recording: ****/****
Performance: ****/****
Ravello records has pulled together several performances by alto saxophonist Paul Cohen for this release of rare works for the instrument. The music here is an interesting collection of mostly 20th Century works with a more recent piece by Steve Cohen (1954-) helping to round things off.
Of particular interest to many will be the opening work on the album, Ingolf Dahl’s (1912-1970) Concerto for Alto Saxophone. Dahl revised this work several times but this recording gives us a chance to hear it in its original version for wind band. Composed for Sigurd Rascher between 1948-49, the piece would receive a number of performances but Dahl would then tweak the piece. First, he changed up the orchestration and simplified the solo part, and later would come back and cut seven minutes of the piece which is the version in publication today. Cohen unearthed the original version and has brought it back to make this world premiere recording of the piece. It does indeed feel like a quite involved work to play presenting a variety of challenges both technical and interpretatively. A good sense of rhythmic precision is needed as well as a careful balancing of the different sections of the band against the soloist. The recording here is a bit dry acoustically which actually aids the music and lends it a bit more clarity. The high altissimo register of the instrument can seem a bit harsh, but Cohen manages to overcome this with some rather touching lyrical playing.
Swiss composer Marguerite Roesgen-Champion (1894-1976) is perhaps less well-known but was an early champion of the harpsichord and wrote a number of works for the instrument. She was one of the most highly-regarded performers on the instrument and equally respected as a composer. Her Concerto No. 2 (1945) shows off some of the Neo-Baroque interests that were resurfacing mid-century with equal touches of post-impressionism. The work is for alto sax, bassoon, and harpsichord which makes for a rather fascinating collection of sonorities to explore across the four brief movements.
Though well-respected as a composer in his lifetime, Charles Martin Loeffler (1861-1935) was overshadowed by the shift of musical tastes after his death. His music tends to be quite colorful and brilliantly orchestrated. His Ballade Carnavalesque (1903) is one of the earliest chamber works to include the alto saxophone which makes it of historical interest. It is a rather episodic 13-minute work also apparently receiving a recording premiere (?) here. Loeffler never published this piece and actually reused some of it for his A Pagan Poem, so we have Cohen to thank for dusting off this unique work that is like a piano quintet for winds where the sax takes over the role from the clarinet. Also included is the brief The Lone Prairie (c. 1930) for viola, sax, and piano. One can see here that Loeffler continued to be quite aware of current interests in Americana which makes this a fascinating curiosity.
The final work on the album is Steven Cohen’s Trio (2018) which Cohen commissioned for one of his students. Cast in three movements, the work pairs the sax with flute and piano. There is an interesting arch-like opening movement. The central movement is a “Slow Blues” exploring song form and interesting duet between the wind soloists. The finale provides for an exciting conclusion with its incorporation of Afro-Cuban music.
There are plenty of things to recommend this release beyond the repertoire itself, though that should be enticement enough. Cohen’s performances are all quite engaging. The Dahl is not an easy work, but he certainly convinces us otherwise. The balance in the chamber pieces also helps further illustrate the versatility that these composers recognized in the alto saxophone.
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