Malcolm Is Missin

The fourth and final installment in a complete edition of Debussy songs might not seem to be a chartbuster, but that's just what this release by British soprano Lucy Crowe has become, and it deserves every bit of its success. In fact, you might even pick this one over the other three if you're looking to sample Crowe's approach: the program is exceptionally well put together, and it begins with Debussy's first published song, Tragédie, of 1881. There are several other early songs, giving insight into the young Debussy's romantic life as well as hints of the musical language to come and some real experiments (you could sample the Rondel chinois). From there, the program proceeds to later music but is not strictly chronological: instead Crowe leads you onto a path of extremely quiet songs wherein Debussy challenges the soprano to reside in her upper register, and Crowe meets the challenges beautifully. The tension is remarkable, with just a single piano solo and a pair of songs to Debussy's own texts (Nuits blanches, or Sleepless Nights) with baritone Christopher Maltman to break it. The music broadens out with some later songs, ending with Debussy's swan song, Noël des enfants qui n'ont plus de maisons, of 1915. The contributions of pianist Malcolm Martineau are substantial; he produces some truly eerie sounds in the quieter pieces. Highly recommended and often haunting.

The first recordings of choral masterpieces by Britten, performed by the dedicatees and newly reissued in a unique compilation.

It is to be hoped this release will reawaken interest in the music of William Sterndale Bennett, for it contains much to delight the senses. Juxtaposing the D minor and C minor concertos is a wise move on Lyrita’s part, for they are in many ways complementary works. The most immediately noticeable feature of the First Piano Concerto is that it ends with a Scherzo – the composer was persuaded to omit the finale from his intended four-movement plan!. Although still a student at the time of composition, it is clearly written by a fairly mature composer, as can be heard in the depths plumbed by the Andante sostenuto or by the vividly evoked storm-clouds of the first movement.

To describe this as beautiful Mozart playing would be true, but not the whole truth. For what impressed me most was its very positive character. Everything is of crystalline clarity, everything is what can be conveniently summarized as stylish. Yet never is there a single bar's suggestion of note-weaving for its own sake. Ashkenazy always uncovers strong motives for the notes being there. For this reason he is more likely to convert disbelievers (and there are some, in the context of Mozart and the solo keyboard) than Haebler in her recent boxed set.

Acclaimed North Carolina-based singer-songwriter Malcolm Holcombe, "a troubadour seemingly from another age" (Elmore), released 'Come Hell or High Water'. Featuring collaborations with celebrated roots-music couple Iris DeMent and Greg Brown, the 13-track album is trademark Malcolm. Chiseled out of a life abundant in both hard times and sweet ones, with an ache of loveliness and loneliness, of torment and hope, woven throughout, his songs paint vivid portraits, turning them into haunting, brooding, moving affairs. Recorded at Dagotown Recorders in Boston, MA, 'Come Hell or High Water' was produced by Marco Giovino and Jared Tyler. Holcombe was joined in studio by Jared Tyler (mandola, dobro, classical guitar, harmony vocals), Marco Giovino (drums, percussion), Iris DeMent (harmony vocals) and Greg Brown (harmony vocals).

Ballet is not a form for which British composers are generally known, but this CD includes four dance works by Malcolm Arnold: two of the composer's complete shorter ballets, Rinaldo and Armida and Electra, as well as suites from two of his longer ballets, Homage to the Queen and Sweeny Todd, performed with impressive enthusiasm by the BBC Philharmonic under Rumon Gamba and recorded in imposed digital sound by Chandos.