Category Archives: On record

Switched On: SareemOne – Olivine Window (VLSI)

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by Ben Hogwood

What’s the story?

Olivine Window is no ordinary album. Its origins lie in the Soviet spy satellite Cаяём1 (which translates roughly into English as ‘We speak as one’). This craft, launched in 1983, went missing and was thought to have ditched into the Laptev Sea – though no evidence was found to reinforce this claim.

The details were kept secret until the fall of the Soviet Union in 1988, at which point amateur radio enthusiasts started picking up a new transmission whose frequency was compromising that of other similar, high frequency stations.

This pioneering release collects recordings attributed to the station renamed Sareem1, then SareemOne. They have been restored, corrected and prepared for digital release by Mach V and Andy Gillham, of Echaskech, who have assigned each track a name from the ENIGMA logs where most of the recordings can be found.

The recordings are available digitally, or on cassette – while you can read the full story of the project here:

What’s the music like?

Compelling – and almost entirely weightless. The six compositions have no percussion or meaningful bass, meaning they exist as the original transmissions did – in mid-air. The melodies are extended to the point where each progression has a slow inevitability about it, slow enough to operate as a deep, ambient melody.

The wide-open panorama is established with Losing Nils, which has an air of melancholy, while The BCDE looks upwards to a more fragmented, heavily synthesized melody played over the top.

As the album progresses so the pieces become more substantial, with each maintaining a similar textural blueprint while varying in style. 3TIGHTGAPS has a slide guitar feel, its white noise and slow vibrato both uplifting and incredibly calming. There are hints of percussion in a slightly bassier interference, which also makes itself known in the thrumming introduction to Sol’s Goodbye. This flickers like a flame against broad background strokes, high in the treble range and carefully marshalled.

Between them the last two tracks last over 26 minutes, yet remain compelling to the close listener. Olivine Window itself has hints of the human voice and a diverse range of timbres, though its watery textures remain as a support throughout. Mastaba looks wider still, its textures akin to a massive intro for a shoegaze song, guitar-like sounds rippling over sustained notes. Rich chords and sonorous white noise combine to make the audio equivalent of cotton wool.

Does it all work?

It does. This is very deep ambient music, ideally produced and matching its cover art, which is the striking, immersive Day of Radiance Quilt by Susannah Eisenbraun

Is it recommended?

Yes, without hesitation. The fascinating back story demands to be read, and is more than matched by a soundtrack that does wonders for the mind.

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On record – George Zacharias, Alexandros Koustas, LPO / Brabbins – Skalkottas: Two Concertos (BIS)

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George Zacharias (violin), Alexandros Koustas (viola), London Philharmonic Orchestra / Martyn Brabbins

Skalkottas
Violin Concerto (1937-8, ed. Mantzourani)
Double Concerto (1939-40, ed. Zacharias)

BIS BIS 2554 SACD [57’57”]

Producers Matthew Bennett (Violin Concerto), Alexander Van Ingen (Double Concerto)
Engineers Dave Rowell (Violin Concerto), Andrew Mellor, Brett Cox (Double Concerto)

Recorded 5-6 January 2020 (Violin Concerto), 19-20 April 2022 (Double Concerto), Henry Wood Hall, London

Written by Richard Whitehouse

What’s the story?

BIS continues its long-running project devoted to music by Nikos Skalkottas (1904-49) with this revisiting of his Violin Concerto, alongside a first recording for his Double Concerto in what is a typically apposite pairing which none the less points up the diversity of his output.

What’s the music like?

It was with a release featuring the Violin Concerto that BIS inaugurated its Skalkottas series a quarter-century ago. This recording uses the ‘new critical edition’ prepared in 2019 by Eva Mantzourani, whose volume The Life and Twelve-Note Music of Nikos Skalkottas (Routledge: 2011) is necessary reading for anyone interested in this composer. Many of these corrections will only be evident to those having access to the score, but interpretive differences between Gorgios Demertzis in 1997 and George Zacharias in 2022 are clear from the outset. The latter adopts appreciably quicker tempos for the first two movements that make the opening Molto appassionato more febrile in its expressive contrasts, then the Andante spirito feels closer to an intermezzo after the example of Schoenberg’s Violin Concerto as is brought more directly into focus. Demertzis launches the final Allegro rapidly, Zacharias gaining momentum more gradually before tackling the Prestissimo coda with abandon. Which one prefers depends on how one views the competing expressionist and classicizing impulses of this masterly work.

Although finished barely two years later and pursuing a nominally similar formal trajectory, the Concerto for Violin, Viola and Wind Orchestra presents a markedly different take on its composer’s thinking. Different though not unexpectedly so, given Skalkottas’s approach to serial composition was anything but predictable while it took shape, moreover, in a cultural milieu where Hindemith and Weill (briefly his teacher) were as necessary a creative catalyst as Schoenberg. Not only does the scoring of this piece find accord with that of Hindemith’s concertante works and Weill’s Violin Concerto during that period, but the evolution of each movement in sometimes oblique though always discernible terms gives the overall design a distinctly neo-classical feel. Zacharias sounds even more ‘inside’ this work, and Alexandros Koustas is no less assured in viola writing which is (surprisingly?) always audible against an orchestra whose saxophone section accentuates the presence of jazz as against the militaristic element of brass and other woodwind. The result is a piece by turns engaging and disturbing.

Does it all work?

Pretty much always. Thoughtfully conceived and impressively executed, Skalkottas’s music does not play itself so that performers need to take the lead in rendering its inherent qualities as comprehensively as possible. Which is undoubtedly the case here – Zacharias and Koustas convincingly overcome any incidental technical difficulties, while Martyn Brabbins secures a trenchant and committed response from the London Philharmonic Orchestra in works with which neither he nor they have had the opportunity to come to terms via live performances.

Is it recommended?

It is. Those who already have that earlier recording of the Violin Concerto still need this new release which, with its immediate sound and detailed notes, brings the Skalkottas discography nearer fruition. How about a complete version of the Second Symphonic Suite as a follow-up?

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For more information on this release visit the BIS website

On record – Orchestra New England / James Sinclair – Ives: Complete Sets for Chamber Orchestra (Naxos)

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Orchestra New England / James Sinclair

Ives
Set no.1
Set no.2
Set no.3
Set no.4: Three Poets and Human Nature
Set no.5: The Other Side of Pioneering, or Side Lights on American Enterprise
Set no.6: From the Side Hill
Set no.7: Water Colors
Set no.8: Songs without Voices
Set no.9 of Three Pieces
Set no.10 of Three Pieces
Set for Theatre Orchestra

Naxos American Classics 8.559917 [68’17”]

Producer Kenneth Singleton
Engineers Benjamin Schwartz, Jonathan Galle

Recorded 8-9 March 2022 at Colony Hall and Choate Rosemary Hall, Wallingford CT

Written by Ben Hogwood

What’s the story?

James Sinclair here continues his long-term Naxos project devoted to Charles Ives with this first complete release of the sets for chamber orchestra that the composer put together across two decades and several of which are only now receiving their first recordings in this guise.

What’s the music like?

While his contribution to such major genres as the symphony, piano sonata and string quartet can hardly be gainsaid, Ives was no less committed to the miniature – whether in terms of his c130 songs, or nearly 40 evocative vignettes that are collated here. As Sinclair points out, the first three of these sets emerged during the First World War so pre-date the songs which were derived from them, whereas those other seven drew retrospectively on Ives’s songs as well as revising numerous of the composer’s shorter pieces – including his most famous single work.

Those relatively familiar with Ives’s output will be aware of many of the pieces through other media, not least the still excellent When the moon collection which Richard Bernas recorded with Music Projects in the 1990s (Decca) and which remains available for download. The 16 items which became songs are included thus in estimable readings by soprano Susan Narucki or baritone Sanford Sylvian with pianist Alan Feinberg, though the merit in having these sets as an integral series is self-evident as to make it surprising this had not earlier been attempted.

That the first three sets are relatively well-known does not lessen the arresting quality of such items as Ives’ quirky take on a Yale processional which is Calcium Light Night (Set 1/No 5), sardonic elision of (in)famous people in Gyp the Blood’ or Hearst!? Which is Worst?! (2/2), or his stark directive to embrace the future in Premonitions (3/3) with its subsequent setting of Robert Underwood Johnson. The ensuing five sets (Nos. 4 and 8 are recorded here for the first time) each has a descriptive title with which to characterise its content, while the last two sets (again in their first recordings) emerged nearly a decade after Ives had effectively ceased original composition – but inclusion of a (definitive?) version of The Unanswered Question (9/3) and reappearance of Like a Sick Eagle (1/4 & 10/1) thereby brings the series full circle.

Also featured here is the Set for Theatre Orchestra that Ives assembled around the same time as the First Set, and whose individual items between them encapsulate three distinct facets of his mature idiom – being respectively ominous, uproarious and nostalgic in their expression.

Does it all work?

It does indeed. Taken overall this collection might be felt to represent the essential Ives – its diversity of contents allied to its economy of means comparable to the orchestral miniatures which Webern composed some years earlier, not least by their exuding comparable intensity of expression. It helps to have so attuned an Ivesian as Sinclair at the helm, who directs with precision and insight these pieces – many of which he, Kenneth Singleton and David Porter realized for performance. Both sound and annotations are fully on a par with these readings.

Is it recommended?

Very much so. This is the fifth volume of Ives which Sinclair has now recorded for Naxos and, whether the series is slated to run to eight or nine volumes, it is building into the most inclusive and reliable edition of the composer’s orchestral output that has so far been made.

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For more information on this release and purchasing options, visit Naxos Direct. For more information on the conductor’s Ives discography, visit the James Sinclair page on the Naxos website

On record – Orchestre Philharmonique Royal de Liège / John Neschling – Respighi: The Birds & Ancient Dances and Airs (BIS)

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Orchestre Philharmonique Royal de Liège / John Neschling

Respighi
Gli uccelli (The Birds) (1928)
Antiche danze ed arie (Ancient Airs and Dances):
Suite no.1 (1917)
Suite no.2 (1923)
Suite no.3 (1931)

BIS BIS 2540 SACD [75’30”]

Producer Ingo Petry
Engineer Fabian Frank

Recorded 5-9 July 2021 at Salle Philharmonique, Liège, Belgium

Written by Ben Hogwood

What’s the story?

With this release, BIS add a seventh instalment to their richly productive survey of orchestral music by Italian composer Ottorino Respighi. Known primarily for his colourful Roman trilogy, Respighi’s output is often restricted in its exposure, and the BIS series is providing an excellent guide to his craft as a master orchestrator and expansive, often flamboyant melodist.

What’s the music like?

With this collection, John Neschling and the Orchestre Philharmonique Royal de Liège look with Respighi to the past. Gli uccelli (The Birds) is a wonderful work, a suite of five character pieces profiling birds as originally seen through the eyes of 17th and 18th century composers in works for harpsichord or lute. With a little extra musical material and plenty of imagination Respighi brings the various species to life through the colours of a medium-sized symphony orchestra, using contemporary techniques but always letting the winsome melodies shine through.

The three suites of Ancient Airs and Dances show his knowledge and love of music from a more distant past, being orchestrations of works originally written for lute by Italian and French composers in the 16th and 17th centuries. They provide a wide emotional range, too, from the exuberance of the first two suites to the more solemn intonations of the third, which is for string orchestra only. Each suite is a progression of dance movements, meaning the listener’s foot will often be tapping, while by contrast the slower dances have an elegance and solemnity that gives them extra emotional impact.

Does it all work?

It does, especially in these performances, where Neschling leads the Liège orchestra in strongly characterized accounts. The Birds that is notable for its affection and flair, and listeners could easily play ‘guess the bird’ and be right more often than not! A beautiful oboe solo sets La colomba (The dove) aside, while flute, bassoon and horn are affectionate companions as they portray L’usignuolo (The nightingale). These contrast with the perky steps of La gallina (The hen), clucking as it struts around, not to mention a bracing Preludio and the wonderful ‘call and response’ of Il cucù (The cuckoo).

The Ancient Airs and Dances are just as good. Initially the tempo for Suite no.1 Balletto suggests it might be too slow, but the orchestral phrasing ensure this is not a problem and the ensuing Gagliarda has beautifully contrasting sections. The string soloists in the Villanella deserve credit for their obvious affection, while the brightly lit Passo mezzo e Mascherada closes an ideal performance.

The Suite no.2 begins with an alternately tender and exuberant Laura soave, which cuts to a bracing Danza rustica. The extended Campanae parisienses and Aria shows off Respighi’s talents as an orchestral painter, with emotive chorales for wind and strings, before a spirited Bergamasca.

The relatively sombre third suite is elegantly turned, with an attractive Italiana and Sicliana. These bisect the Arie di corte, where elegiac violas take the lead with brighter sections inbetween. The closing Passacaglia is increasingly dramatic, Neschling executing the darkness to light transition with power and panache.

Is it recommended?

Wholeheartedly. Collectors of the series will not hesitate, but this is also an ideal starting point for anyone interested in Respighi’s work. All concerned deserve a vote of thanks for versions of these works that go right to the top of the digital pile.

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For more information on this release visit the BIS website

Switched On: Mr Scruff – Trouser Jazz (Ninja Tune)

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by Ben Hogwood

What’s the story?

To celebrate the 20th anniversary of Mr Scruff’s second album, Ninja Tune are making it available as a 2LP reissue. This is excellent news for DJs and vinyl consumers, for as anyone will know the appeal of Mr Scruff lies not just in the music but in the accompanying art and package. To that end, the LPs are in blue and red vinyl, with artwork from Mr Scruff & Airside with – brilliantly – an ‘infinity peelable trouser sticker on the cover to reveal silver and gold foiled 20th anniversary trousers’.

What’s the music like?

The great thing about this reissue is that it lies wholly in the spirit of the album. Trouser Jazz was a breath of fresh air when it was released in 2002 and it remains the same today. Few tracks bring more cheer than the breezy Sweetsmoke, especially if you experience it via the video:

The vocal guests on Trouser Jazz are extremely well chosen, too – from the beautifully floated delivery of Seaming To, who graces Beyond and Valley Of The Sausages (!), to the fun rapping of Braintax on Vibrate.

There is also a winsome sense of humour running through the album. The well-chosen samples and original riffs brim with optimism, and have a brilliant sense of mischief about them. Listen to Shrimp, as its loose funk and jazzy overtones skate between the beats, or Ug, which has a bass line that is just plain weird. Shelf Wobbler is excellent, with its abundance of percussion and lithe hip hop beat, as is the vibrant sax on Champion Nibble. Scruff always gives good rhythm, but his music often carries a whiff of nostalgia, too. Come Alive wears a light melancholy, looking back towards the Style Council in its bass.

Does it all work?

It sounds as good now as it did in 2002!

Is it recommended?

If you didn’t buy it originally, what are you waiting for?

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