Leading Lightly

Richter was always a fan of Schubert's Piano music. He recorded over half of the Sonatas, the Wanderer Fantasie, some of the Impromptus and the Trout Piano Quintet to name a few works. Early in his career he would tear through impromptus, and play the Wander Fantasie with force and power. Fast forward much later at this point when these Sonatas were performed, and Richter was still playing some of the most difficult works in piano repertoire, such as Prokofiev Sonatas, Chopin Etudes and Liszt. In the case of these of composers its hard not to be inclined to be enjoy his earlier recordings more, but that is not the case here with Schubert.

Susanna comes late in the sequence of Handel’s oratorios but in some ways the composer looks back in it to his experience of Italian opera. It largely comprises a sequence of arias (many in the repeated, da capo form of opera seria) as it relates the story from the Biblical Apocrypha of Susanna who is falsely accused of adultery and eventually vindicated through the clever judicial manoeuvrings of the young prophet Daniel.

Sonic wizard Robin Guthrie (ex-Cocteau Twins) and vocalist Siobhan de Mare (ex-Mono) made up the hazy dream pop of Violet Indiana. Shortly after de Mare was relieved of her Mono duties, she received a phone call from Guthrie, asking her if she'd like to work with him. Unfamiliar with Guthrie's cult status, she asked her sister about him and decided to take him up on the offer. In late 2000, the duo released the Choke EP on Bella Union, the label run by Guthrie and former Cocteau mate Simon Raymonde. Retaining some of Guthrie's trademark characteristics and combining them with de Mare's lazy, confident delivery, the Choke EP established them convincingly enough as something removed from Guthrie's prior band – a tricky thing indeed. 2001's full-length Roulette improved on the promising debut. A singles collection, Casino, followed in early 2002. Russian Doll was the proper follow-up to Roulette, released in June of 2004.

These records offer seven of the duets Handel wrote about 1710 for Italian aristocratic parties (they are said to be influenced by Steffani), three much later duets of the 1740s presumably composed in England (why, one wonders?), and one cantata for each singer of which the date is not known. None of these items is available in the current catalogue, and most of them fell on my ears with delightful freshness. This really is lovely music. The duets are mostly in three short sections, the voices treated fugally in the quicker movements but with a lot of coloratura thrown in, and a quiet lyrical middle section in between.

John Williams composed The Five Sacred Trees for Judith LeClair, the principal bassoonist of the New York Philharmonic in 1995, to honor the orchestra's 150th anniversary. The first performance was given by LeClair and the New York Philharmonic under Kurt Masur on April 12 of that year. The orchestra consists of three flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, timpani, harp, piano, celesta, and strings. Performance time is approximately 26 minutes. Inspiration for the work also comes from the writings of British poet and novelist Robert Graves.