New and Notable CD/DVD Acquisitions,
August-Sept. 2006 (selective list)

Pop/World Music

Burning Spear. The Ultimate Collection (CD 14940). An excellent compilation covering decades of Burning Spear’s output, from seminal cuts such as “Marcus Garvey” and “The Invasion” onward. Burning Spear has always been among the most articulate roots reggae songwriters, and his voice, easily moving from evocative chants to flexible, blues-inflected phrases, is ably supported by Jack Ruby’s production, which combines thumping riddims with smoky, atmospheric brass and winds and understated backing vocals. (JMA)

Fallen Angel (DVD 342). Documentary on Gram Parsons, including interviews and rare performance footage in addition to the obvious musings on Parsons’ astonishing appetite for self destruction and the bizarre circumstances of his death. Country rock enthusiasts might also enjoy Sweetheart of the Rodeo by The Byrds (CD 14936), one of the first “country rock” albums, which features numerous rehearsal takes (some of which are actually better than what’s on the album, since Parsons was contractually barred from singing on the final release). We also have Parsons’ “Complete Reprise Sessions” (CD 14839), which contains remasters of both of Parsons’ solo albums, “GP” and “Grievous Angel,” along with out-takes, interviews and radio promotions. This collection features numerous duets between Parsons and the pre-stardom Emmylou Harris, including a spare and haunting take on “Love Hurts.” Rounding out this mini-Parsons-collection is The Flying Burrito Brothers Anthology (CD 14935), a two CD collection containing every track from The Gilded Palace of Sin, Burrito Deluxe and The Flying Burrito Brothers plus eight non-album tracks and two live tracks. Anyone wondering how a laconic, amiable Southerner who never had a hit and was fond of musing on “Cosmic American Music” could earn the title “God’s own singer” from his peers should take a listen. (JMA)

Willie Nelson. The complete Atlantic sessions (CD 14933). In three CDs with a 39 page booklet, this set covers Nelson’s three albums for Atlantic with numerous out-takes and alternate versions. Demonstrating a way out of what had become the straitjacket of Nashville production (and ideology), these albums helped pave the way for outlaw and later alternative country, and remain as compelling and relevant today as they were when they were recorded. Powerful, introspective lyrics and spare arrangements graced with Nelson’s aching, lonesome voice; highly recommended. (JMA)

Pet Shop Boys. Fundamental (CD 14934) While the Pet Shop Boys might typically evoke memories (especially among the 30-somethings among us) of slightly cheesy 80s synth-pop, Neil Tennant never failed to write literate, often ironic and sometimes very lovely songs cloaked in danceable beats and synthesizer washes. Their latest album carries on this tradition, with extraordinarily strong songwriting (there are no filler cuts, with the possible exception of “I’m with Stupid”) and arrangements that remain lush without descending into sentimentality. Highlights include “The Sodom and Gomorrah Show” (“I lived a quiet life, never drank champagne/Never ventured out to the cities of the plain”), “Numb,” and the penultimate cut, a hymn-like love song with the oddly bureaucratic title “Indefinite Leave to Remain.” (JMA)

Pop/World music briefly noted:

Big Youth. Screaming Target (CD 14846). Compilation of numerous singles by the Dub master.

Jacob “Killer” Miller. Who say Jah no dread? (CD 14939). Miller’s earliest commercial tracks, produced by Augustus Pablo.

Rough Guide to Planet Rock (CD 14938).

Radio Algeria (CD 14937). Edited radio checks including many varieties of Algerian popular and folk music.

Voices for humans, ancestors and gods (CD 14941). Field recordings from Eastern and Notheastern India.

Art Music

Beethoven. Symphonies 5 & 7 (CD 14942). Venezuelan Wunderkind conductor Gustavo Dudamel leads the better-than-competent Simon Bolivar Youth Orchestra of Venezuela through readings of these two symphonies that combine a slightly raw, appealingly unburnished quality with considerable orchestral virtuosity. Dudamel’s interpretations feature unusual tempi and dynamics with an overarching sense of line and musical architecture, building to powerful climaxes. One could wish for a bit more bass from the orchestra (or the Deutsche Grammophon engineers), but otherwise, this recording is highly recommended, even for those who might doubt their ability to sit through yet another rendition of two such familiar works. (JMA)

Berio. Complete Sequenzas, Alternate Sequenzas, and Solo Works. (CD 14923). Not unlike the trombonist in Sequenza V, I found myself asking “why?” when I came across this set in our new releases. Happy memories from my first year at Cornell include finding the DG release of Ensemble Intercontemporain’s complete sequenzas (and seeing the poster from the same set adorning the back listening room wall in the Cox library). We’ve got “them”, right? Couldn’t that money have been better spent investing in some of Salonen’s scores from his new DG release (reviewed below)? In the case of these pieces the vastly different interpretations, the vitality of a particular individual’s unique voice, and the expectation of that extreme individuality from performance to performance warrant the duplicate sets. As Cornell’s 20 th C. performance practice DMA gets off the ground, having two excellent and different resources available for such seminal modern repertoire is essential. The Mode collection has different things to offer than the DG release: first and foremost, the performers are completely different, and this recording (done over about 10 years, with Berio’s supervision up until 2003) has a sound that feels a little more “live”. The Mode set also has the Sanguineti texts read before each sequenza, so for the first time the set can be admired in a context approximating “completeness” (they are on separate tracks for those of you that are into the whole brevity thing). Also included on this set are Berio’s complete solo works, minus those for piano (check out David Arden’s rendition on CD 6090). Ensemble Intercontemporain’s recording: CD 8215. (SG)

Computer Music Currents 13. The Historical CD of Digital Sound Synthesis. (CD 14926). An excellent archive of the products from the early days of research into digital sound production. Those of you that are into vintage electronic music probably know what you’re getting into. Those of you that don’t know that rep but are familiar with old-school Atari video games also know what you’re getting yourself into. About half of the pieces on this compilation were previously unavailable in our library, including 27 examples from Risset’s 1969 “Introductory Catalogue of Computer Synthesized Sounds” and two pieces by David Lewin. The other gem of this compilation, on the venerable Wergo label, is the accompanying book of essays – 260 pages worth, as the packaging boasts. For those of you that like schematics, don’t worry, this book is chalk full of ‘em. Together with the OHM compilation (CD 9026), this new set rounds out our collection of “classical” electronic music. (SG)

Lutoslawski. The Essential Lutoslawski. (CD 14928). This compilation brings together previously issued recordings from the Philips label under one cover. While one could argue about the “essentialness” of the Concerto for oboe, harp, and chamber orchestra, this two CD set does provide convenient access to key works that are currently scattered over several different recordings in our collection: Concerto for Orchestra, Funeral Music, Venetian Games, Paganini Variations, Cello Concerto, Dance Preludes, Les espaces, and yes, the Concerto for Oboe and Harp. Advertised as digitally remastered, the cover, along with the typical Philips filigree, features an orange draped noirishly in rainbow colored smoke. Yum yum. (SG)

NY Philharmonic/Mehta. Music of Rochberg and Druckman. (CD 14931). We have two copies of this release in our library on vinyl, but as they’ve gotten a lot of use over the years from many a Druckmanophile, the CD sure does sound better. That said, other than the crispy digital sound we all love there’s not much to distinguish it from its larger relative. Most of the times I’ve listened to this recording, I’ve gone straight for Prism – the electric harpsichord makes me want to cruise down to the milkbar for a pint. Those of you who like your Cavalli served straight-up should stay away. Rochberg has always been a little dry for me, but this time around the Oboe Concerto’s mix of well-crafted lyricism and garish expressionistic outbursts was appealing – a nice contrast to Druckman’s ever-virtuosic space-age baroque. (SG)

New York Philomusica Chamber Ensemble. Music of Jacob Druckman. (CD 14294). Two of these pieces – Divertimento (1950) and Bo (1979) - are new to our collection. The other two – Delizie contente che l’alme beate (1973) and String Quartet No. 3 (1981) - have been around Lincoln Hall for a while. Just about every author that writes on Druckman mentions the Divertimento as the boundary between Druckman doing his best neoclassical Stravinsky impression and the mature works that employ the post-war avant garde techniques and gestures he was to absorb in France from ’54-’56. I agree, although I think that the textures, in the Scherzando and Andante in particular, are unmistakably Druckman. This is interesting, especially given the familiar neoclassical restraint that is completely alien to the later music (see Prism, reviewed above, or Delizie contente on this same disk). Bo was composed in 1979 for Daniel Druckman’s senior recital at Julliard. A high-level insider in the Cornell music department characterized this piece as “creepy”. I agree with this as well. (SG)

Esa-Pekka Salonen/Finnish Radio Symphony Orchestra. Music by Salonen – Foreign Bodies, Wing on Wing, and Insomnia. (CD 14925). One word: hip. From the gigantic orchestral sounds, to the cool pics of Disney Hall, to the lower case letters on the cover. The level of detail, both in the orchestration and the sound of the recording, is fantastic - satisfyingly Disney (in the new concert hall sense of the adjective, not in the Times Square gentrification sense). Ironically enough, several friends over the last month have described Salonen’s music as “…like John Adams, but better…”. I leave you to judge. Not to be a whistle-blower or anything, but it’s good to know that DG and the Universal Music Group are all for fair use. As of December 2007 Ravel will be public domain, so those quotes about 12 minutes into Insomnia will eventually be legal...until then, it’s good to know these industry insiders are on the side of piracy. (SG)

Scelsi. Incantations. (CD 14930). New additions to our collection that highlight a slightly different side of the controversial Italian recluse. All of the pieces on this disc are for female voice. The first, Sauh (1973), is for voice and tape, the other two, Taiagaru (1962) and Ho (1960), are unaccompanied. While the focus on subtle articulation, timbral variation of single pitches, and microtonal fluctuations are unmistakably Scelsi, the harmony in these pieces have a slightly more traditional (for Scelsi!) tonal profile. A good contrast to the large orchestra music already in our collection (CD 10398 and CD 5170 – I love that he has a piece called Pfhat.) (SG)

Early Music

Telemann: Blockflöten-Werke (CD 14853). In his autobiography, Telemann summarized his stylistic development: first Polish, then French church, chamber and operatic, and then Italian…all added to his native German style. This recording exemplifies his melting pot technique – a suite that blends Italian concerto with French overture, a galant concerto that follows the form of a sonata da chiesa, and the “Hamburger Ebb und Flut,” a Water Music suite that pleasingly represents a lively maritime storyline. Maurice Steger displays amazing speed, accuracy, and versatility on the recorder and the Akademie für Alte Musik Berlin supports him with taut and well-balanced reinforcement. (AJ)

Renaissance Portugal: The Sixteen (CD 14854). This recording features sacred music by Portuguese composers Manuel Cardoso and Duarte Lôbo, contemporaries of Monteverdi. Both emphasized mastery of traditional counterpoint, but Cardoso’s style contrasts it with widespread use of chromaticism, whereas Lôbo focuses more on expressive textual interpretation. UK ensemble The Sixteen interprets these works with an ease and precision that allows the music to expand and contract, all the while adhering to the contrapuntal textures that move the listener through the sacred texts. (AJ)

Stephen Stubbs: Teatro Lirico (CD 14856). In what is either a coincidence or a label-driven public relations ploy, Stubbs has released a recording of seventeenth-century music sprinkled with improvisation similar to Rolf Lislevand’s Nuove musiche (see CD 14782). Where Lislevand offers moving rhythms and free exploration, however, Stubbs stays more rooted to the musical sources, focusing on lirico qualities and limiting improvisation to several versions of the overly plundered Folia tune. What sets this recording apart is the inclusion of Slovakian sources and use of the viola, which adds a fuller sonority to the usual violin-led texture. Noteworthy moments include a beautiful Cazzati Adaggio and an introspective Arpeggiata a mio modo, composed by Stubbs for baroque guitar. (AJ)

Frescobaldi: Harpsichord Works (CD 14857). Although recordings of Frescobaldi works appear with regular frequency, Finnish harpsichordist Aapo Häkkinen’s offers some distinguishing characteristics. First, the choice of repertoire is broad and varied, interspersing capriccio, balletto, and aria within the more canonical toccata, canzona, and gagliarda lineup – a highlight is the Ancidetemi pur d’Archadelt passaggiato. Second, the instrument used is based on a two-manual (a Roman-Florentine specialty) harpsichord that dates from the turn of the seventeenth century – as such it offers a fuller sonority that compliments Frescobaldi’s music more effectively than some single-manual instruments. Particularly pleasing is the ring of the mechanism at the end of each piece – usually something of a necessary evil – that somehow reinforces the last chord in a most enjoyable manner. (AJ)

Cornet: Keyboard Works (CD 14869). Peeter Cornet was a Flemish composer and organist active in and around late sixteenth/early seventeenth-century Brussels. Unlike his colleagues, he apparently never studied abroad nor composed any vocal music – his keyboard works vary from reflective to energetic, and many passages reveal an awareness of English, Dutch, Spanish and Italian compositions. This album presents four world premiere recordings and the fine performances of James Johnstone on two period instruments; a Theewes claviorgan from 1579 and the circa-1650 Severjin organ in the Sint-Martinuskerk, Cuijk, The Netherlands. (AJ)

Hsu/Liddell: Music for Viola da Gamba and Theorbo (CD 14910) and Music by Marin Marais (CD 14911). Retired Cornell professor John Hsu and lutenist Catherine Liddell are featured on these live recordings on campus from 1986 and 1990. Hsu’s interpretation of Marais is both precise and full of nuance, and Liddell’s inclusion of a Visée suite is welcome in its freshness and introspection. Considering that these recordings were taken from cassette tapes (donated by Hsu and hence not commercially available), the quality is surprisingly crisp and present. (AJ)

Magdalena Kožená: Lamento (CD 14912). Czech mezzo-soprano Kožená presents some lesser-known mellow gems from the Bach family, along with a Conti cantata that almost steals the show. Musica Antiqua Köln and Reinhard Goebel provide instrumental backup, with their usual high level of artistic polish. Kožená, who seems equally at home with Janacek love songs as she does with Handel in Italian, effortlessly lilts her way through these pieces, sometimes disappearing into the texture and blurring the line between soloist and ensemble. (AJ)

Fretwork: The Art of Fugue (CD 14913), Alio modo (CD 14914), The Cries of London (CD 14915), Byrd Consort Songs (CD 14916), Agricola Chansons (CD 14917). This slew of Fretwork acquisitions only confirms their ability to shine as an ensemble, regardless of geography or era. Selections from The Art of Fugue (based on the 1928 David edition) ebb and flow organically, unlike other string quartet interpretations that seem rooted to the counterpoint. Alio modo presents keyboard works transcribed for viols, and the effect is extremely enjoyable (imagine an organ with a viol stop). The Cries of London alternates English settings of sixteenth-century street vendors with fantasias and pastorals by Gibbons, Weelkes, and Dering; the former are done rather melodramatically by the Theatre of Voices and are set in stark contrast to the supple, heartrending performances of the instrumental pieces. No melodrama, however, seeps into soprano Emma Kirkby’s interpretation of the consort songs of William Byrd: her dulcet tone offsets just enough from the viols, and once again more sumptuous instrumentals nearly overload the senses. Finally, chansons of Alexander Agricola are organized into delectable bite-sized chunks, some with countertenor Michael Chance and some without; in attempt to include new music, two pieces from Fabrice Fitch’s Agricologies are slipped in, but are the unfortunate equivalent of sore musical thumbs in an otherwise thick and lush program. All throughout, Fretwork takes the time and care not only to be precise as an ensemble, but also to let the music breathe and thus continually find fresh, new ways to communicate with the listener. (AJ)

Vivaldi: Motezuma (CD 14918), Tito Manlio (CD 14919), Vespri per L’assunzione di Maria Vergine (CD 14920), Dixit Dominus (CD 14921). Motezuma, which existed only in libretto form until its discovery at the Berlin Sing-Akademie in 2002, receives its first treatment since 1733 at the hands of Alan Curtis and Il Complesso Barocco. Ottavio Dantone and Accademia Bizantina present Tito Manlio, written for Mantua in 1718. One hesitates to admit that “you’ve heard one Vivaldi opera, you’ve heard them all,” and maybe these recordings are more for specialists and aficionados, but there remains something admirable about doing a three-act Vivaldi opera and doing it right. On the other hand, slavishly recording all 450 Vivaldi manuscripts in the Biblioteca Nazionale Universitaria di Torino – as the label Naïve has undertaken – is fraught with potential disaster. Fortunately, the Vespers for the Assumption of the Virgin (a reconstruction comprising disparate sections of several commissioned vespers cycles over the course of Vivaldi’s life) succeeds in its energy and commitment to presenting a possible framework that The Red Priest himself may well have performed. Rinaldo Alessandrini and Concerto Italiano eschew all pretense of hesitancy and proudly present a mammoth vespers service, complete with violin concerti for the devotionally weak of heart. Finally, a world premiere recording of a “new” Dixit Dominus (attributed to Vivaldi in 2005) is presented by Peter Kopp and the Körnerscher Sing-Verein of Dresden; the accompanying sacred pieces by Galuppi on the recording nearly outshine the Vivaldi, which may suffer from reconstructive anomalies. (AJ)

Schmitt: Early Symphonies (CD 14922). Joseph Schmitt (“The Dutch Haydn”) receives attention from The New Dutch Academy (with Cornellian Wiebke Thormählen in the violin section) and Simon Murphy. Included are two flute quartets, which contrast nicely with the full sound (and lively tempi) of the symphonies. There is an energy and northern robustness to Schmitt’s early classical writing, and the NDA communicates this effectively via a bright recording done at the Oud-Katholieke Kerk in The Hague and released on SACD. (AJ)

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Updated: 13 Dec. 2005