Stravinsky: Sacred Choral Works (Philips)
The austerely beautiful, medieval-flavoured archaism of Stravinsky's late Mass and Cantata are rarer on disc these days than the three short works (a Pater Noster, Credo and Ave Maria) he composed between 1926 and 1934 for use in the Russian Orthodox Church. The latter, of course, can be viewed sympathetically from the perspective of what has been called "holy minimalism". The former do not as readily yield up their secrets. Their nature is elusive, their beauty chaste. Philips offer all five works, plus the T.S. Eliot-related Anthem and Introitus and three Gesualdo completions. Reinbert de Leeuw directs the Netherlands Chamber Choir and Schonberg Ensemble in beautifully-gauged performances, let down only by Rosemary Hardy and Ian Bostridge's over-expressive solos in the Cantata.
By Michael Dervan
Schnittke: String Quartets 2 & 3; Piano Quintet. Lark Quartet, Gary Graffman (Arabesque)
Two of the works here were written in response to loss. Schnittke struggled for four years before, in 1976, he managed to complete a Piano Quintet in memory of his mother. His Second String Quartet is dedicated to the memory of the film director Larissa Shepitko, killed in a car crash in 1979. Schnittke's unbuttoned style, reaching hither and thither across musical history and licensed to yield to moments of flailing emotionalism, can make for harrowing listening. In the Second Quartet the extremes can seem too easily attained; the more restrained Piano Quintet communicates more effectively. The Third Quartet re-traces familiar terrain, with openly-declared anchorage from Lassus, Beethoven and Shostakovich. Fine, sensitive performances.
By Michael Dervan
Krommer: Three Wind Partitas. Michael Thompson Wind Ensemble (Naxos)
It was Mozart who produced the greatest 18th-century music for wind ensemble, but the medium was well served by the composers of the time, usually in outgoing style and with a fine understanding of the colours and combinations of the standard line-up - pairs each of oboes, clarinets, bassoons and horns. Franz Krommer (1759-1831) is now remembered mainly for his works for clarinet and orchestra, including two pieces for two clarinets. The wind partitas here show some individuality - the inclusion of a trumpet in one, and concerto-like treatment of the two horns in another. The music is finely crafted in the typically bright manner favoured by composers in this medium. The performances have a suitable astringency, in spite of beaty oboe vibrato.
By Michael Dervan
