Used Bin Troll Tweets NN.

Ethelbert Nevin

[December 2019.]

“Sound from the Bench.” Ted HEARNE: Consent (2014)¹; Sound from the Bench (2014; rev. 2017)²; Ripple (2012)³; Privilege (2009)⁴. Taylor Levine², James Moore² (e-guit), Ron Wiltrout² (perc), The Crossing^1,2,3,4, Donald Nally^1,2,3,4 (cond.). Cantaloupe CA21126 (1 CD) (http://www.cantaloupemusic.com/).

Topical and political texts in unpredictable designs for chorus, guitars and drums. Influences vary; this may very well be the future. MAYBE.

“Double Bach.” Johann Sebastian BACH: Partita No. 1, BWV 1002 (1720). Eva REITER: Allemande multipliée (2017). Simone MOVIO: Incanto VII (2014-15). Andreas LINDENBAUM: En tournant (2018). Bernhard GANDER: Bourée bourée (2016). Annette Bik (vln). col legno WWE 1CD 20442 (1 CD) (http://www.col-legno.com/).

Interleaved within a stiff and atypical Partita, the moderns are welcome. However, except for the Reiter, attention flies out the window. NO.

“20th Century Harpsichord Concertos.” Walter LEIGH: Concertino for Harpsichord and Strings (1934). Ned ROREM: Concertino da Camera (1946). Viktor KALABIS: Harpsichord Concerto (1975). Michael NYMAN: Concerto for Amplified Harpsichord and Strings (1995). Jory Vinikour (hpsi), Chicago Philharmonic, Scott Speck (cond.). Cedille CDR 90000 188 (1 CD) (http://www.cedillerecords.org/).

Implausible but true: This Rorem recording premiere blurs against the surrounding Leigh and Kalabis pieces, and how can Nyman be dreary? NO.

Mieczysław WEINBERG: Symphony No. 2 for String Orchestra, Op. 30 (1946)¹; Symphony No. 21, Op. 152, “Kaddish” (1991)². Gidon Kremer² (vln), Oliver Janes² (clar), Iurii Gavryliuk² (cbs), Georgijs Okokins² (pno), Mirga Gražinytė-Tyla² (voice), Kremerata Baltica^1,2, City of Birmingham Symphony Orchestra², Mirga Gražinytė-Tyla^1,2 (cond.). DG 00289 483 6566 (2 CDs) (http://www.deutschegrammophon.com/).

Shostakovich’s suffering friend is nigh everywhere. Undoubtedly here are the very best tapings these overwrought works might ever see. MAYBE.

“Time & Eternity.” John ZORN: Kol Nidre (1996). Karl Amadeus HARTMANN: Concerto funebre (1939). Frank MARTIN: Polyptyque (1973). Luboš FIŠER: Crux (1970). Johann Sebastian BACH: Var. Chorales from Johannes-Passion, BWV 245 (1724). Var. comps.

Patricia Kopatchinskaja (vln), Camerata Bern, Patricia Kopatchinskaja (cond.). Alpha 545 (1 CD) (http://www.outhere-music.com/).

Two gloomy concertos surrounded by various pieces which ought to be uplifting, or at least reassuring. Overall this program bewilders. MAYBE.

“Franui: Schubertlieder, Brahms Volkslieder, Mahlerlieder.” Franz SCHUBERT: Var. comps arr. FRANUI. Johannes BRAHMS: Var. comps arr. Franui. Gustav MAHLER: Var. comps arr. Franui. Franui: Johannes Eder (clar, b-clar), Andreas Fuetsch (tuba), Romed Hopfgartner (a-sax, clar), Markus Kraler (cbs, accordion), Angelika Rainer (hrp, zither, voice), Bettina Rainer (dulcimer, voice), Markus Rainer (trpt, voice), Andreas Schett (trpt, voice), Martin Senfter (valve trb, voice), Nikolai Tunkowitsch (vln), Elisabeth Harringer (vln), Sven-Eric Bechtolf (voice), Cornelia Rainer (bandoneon, voice), Sylvia Rainer (voice), Daniel Schmutzhard (bar). col legno WWE 3CD 20307 (3 CDs) (http://www.col-legno.com/).

Tunes by Shubert, Brahms and Mahler recast informally. Mahler makes total sense styled thusly, whereas Brahms offers the most surprises. YES.