‘A Record Of …’
Buke and Gase and So Percussion
The indie-rock duo Buke and Gase has lengthy discovered champions within the modern classical world, not less than way back to the 2010 iteration of the annual marathon organized by the new-music collective Bang On a Can. In current years, the duo’s lead singer, Arone Dyer, has additionally started writing for other performers, like Bec Plexus. On this new collaborative set with So Percussion, Buke and Gase’s rhythmically shocking, grungy work sometimes takes on a newly heat tinge. (Most of the album’s tracks had been composed collaboratively by members of each teams.)
Dreamy vibraphone, mellow kalimba and pinging glockenspiel provide enchanting assist for Dyer’s siren-song refrains on the primary observe, “Diazepam.” Buke and Gase’s attribute use of kick drum, overseen by Aron Sanchez, the duo’s different member and a multi-instrumentalist, offers light but dramatic propulsion. So Percussion’s contributions aren’t solely refined; additionally they make extra galvanic numbers — like “Wake for Yourself” and “Ancient Tool Gadget” — thrum with surprising accents and harmonies. The result’s a fusion that’s fluid as an alternative of pressured. SETH COLTER WALLS
Colin Davis, conductor (Eloquence)
Rereleases have been one other matter. Hermann Scherchen’s bracing cycle from the 1950s made our annual list of finest albums, and there’s a useful set right here as properly. Colin Davis would go on make a refined survey with the Staatskapelle Dresden within the 1990s, one which recalled Otto Klemperer in its energy and energy. If you’ll be able to already hear one thing of its breadth in these earlier accounts — taped principally with the BBC and London symphonies within the 1970s and lengthy unavailable — there may be an additional alertness that always pays dividends, regardless of lesser orchestral taking part in.
Bundled with a bunch of overtures, glowing piano concertos with Stephen Kovacevich and even a pair of Masses, the “Eroica” is vibrant, grand however not imposing; the Fourth is amiable, but convincing; the Fifth has drive and the Seventh has hearth. Best of all are a pair of Sixths that unfold steadily and generously, bringing a smile to the face — like so lots of this conductor’s understanding, uniquely humane performances. DAVID ALLEN
Iceland Symphony Orchestra; Daniel Bjarnason, conductor; Pekka Kuusisto, violin; Mario Caroli, flute (Sono Luminus)
ISO Project, the Iceland Symphony’s three-album survey of its nation’s modern music, involves an in depth with “Occurrence.” Like the opposite installments, “Recurrence” (2017) and “Concurrence” (2019), it’s approachably packaged, a handful of likable works clocking in on the size of a modest live performance — which is how they’ve been offered, performed by Daniel Bjarnason in Reykjavik.
“Occurrence” opens with Bjarnason’s Violin Concerto, composed for Pekka Kuusisto and toured broadly since its premiere in 2017. One of these stops was the New York Philharmonic, the place the piece appeared so tailor-made to Kuusisto, his daring but sleek shifts between singing melodies and prolonged approach, that it was troublesome to think about anybody else because the soloist. The album strips away Kuusisto’s stage presence — so compelling within the introduction’s charismatic whistles and pizzicato, like one thing out of an Andrew Bird music — and leaves solely the notes. What stays is overlong, maybe, however contains a number of the best violin writing in recent times.
Veronique Vaka’s “Lendh” (2019) operates on a geologic scale, with tectonic bass textures and a slowly altering form that may seem amorphous within the second however reveals itself over time. Thuridur Jonsdottir’s flute concerto “Flutter” (2009) is equally grounded in nature, sampling crickets and introducing its soloist, Mario Caroli, with an ethereal, primeval sound. Haukur Tomasson’s “In Seventh Heaven” (2011) makes ecstatically full use of the orchestra, which is later lowered to a whisper in Magnus Blondal Johannsson’s “Adagio” (1980), the album’s closing observe and a farewell of lyrical thriller. JOSHUA BARONE
Les Talens Lyriques; Christophe Rousset, conductor; Lenneke Ruiten and Florie Valiquette, sopranos; Choeur de Chambre de Namur (Aparté)
Over the previous few years, the distinguished, prolific conductor Christophe Rousset and his ensemble Les Talens Lyriques have delved into the underplayed operas of Antonio Salieri. They’ve targeted on his French works of the 1780s, however on this taut, elegant recording they flip to “Armida,” the Italian-language hit that helped make Salieri’s profession when it premiered in Vienna in 1771.
With its juicy central romance — a traditional battle between love and responsibility, constancy and betrayal — and magical milieu, the plot, drawn from Tasso’s 16th-century epic “Gerusalemme Liberata,” inspired many operas. Salieri’s model, with its darkly atmospheric overture and densely massed choruses, exhibits the affect of his instructor, Gluck, who would write his personal adaptation, “Armide,” in 1777.
The two lovers — Armida, a sorceress of Damascus, and the enraptured Christian crusader Rinaldo — are right here each sopranos, which provides a “Rosenkavalier” really feel to their early idyll. As their spell breaks and their suspicion turns mutual, Lenneke Ruiten is especially refined within the title function, singing with an undercurrent of vulnerability that renders these two characters true companions in struggling. The opera total is tense and passionate — properly price performing if an organization has two glorious, properly matched singing actresses readily available. ZACHARY WOOLFE
Works by Bach, Busoni, Chopin, Liszt and Stephen Hough; Stephen Hough, piano (Hyperion)
Death has lengthy been a central topic of the humanities, leading to “the most exalted and inexhaustible expression,” because the pianist Stephen Hough writes within the liner notes to “Vida Breve,” his exceptional new solo album providing arresting accounts of works that contact on loss of life.
The longest piece is Chopin’s “Funeral March” Sonata in B flat minor — a lucid, lyrical efficiency. There are two formidable Liszt works: the darkish, mysterious “Funérailles,” suitably demonic right here, and the harmonically radical “Bagatelle Sans Tonalité” (“Mephisto Waltz”). The program opens with a shocking account of the Chaconne from Bach’s Partita No. 2 for solo violin, thought by some to be Bach’s memorial piece to his first spouse and performed in Busoni’s colossal association for piano, a “cathedral of sound,” as Hough describes it.
Busoni’s “Carmen” Fantasy is right here an eerie transfiguration of music from Bizet’s opera. The album’s title work is Hough’s personal Piano Sonata No. 4, “Vida Breve,” referring to a life reduce quick, a sensation its composer conveys in an episodic, nine-minute work in a single motion. The music shifts from lacy, harmonically wandering passages to stern proclamations with thick chords to stretches of industrious counterpoint, which construct to a climax of teeming depth earlier than abruptly stopping. ANTHONY TOMMASINI