Risto Mejide

Although Liszt’s thirteen symphonic poems exist in two-piano transcriptions prepared by the composer himself, it was his Czech student August Stradal (1860–1930) who transcribed twelve of them for solo piano – versions which demand almost superhuman virtuosity. Stradal died before he could tackle the last of the symphonic poems, Von der Wiege bis zum Grabe; Risto-Matti Marin has made good that lacuna with his own virtuoso transcription, and adds six of Stradal’s transcriptions of Liszt songs for good measure.

Although there has always been some uproar about transcribing Bach's music, especially his keyboard music to piano, I see the Bach transcriptions as an eloquent homage to the old master. Arrangements and transcriptions have been made for over two hundred years and for the reason that Bach's music will always be effective on other mediums. Busoni and Godowsky were perhaps the greatest transcribers, with Liszt following closely behind. The piano is such a versatile instrument and can please both the Baroque enthusiasts and the Romantic lovers. Only the piano can imitate the fleeting polyphony and yet transform the music with sonorous beauty.

Although Liszt’s thirteen symphonic poems exist in two-piano transcriptions prepared by the composer himself, it was his Czech student August Stradal (1860–1930) who transcribed twelve of them for solo piano – versions which demand almost superhuman virtuosity. Stradal died before he could tackle the last of the symphonic poems, Von der Wiege bis zum Grabe; Risto-Matti Marin has made good that lacuna with his own virtuoso transcription, and adds six of Stradal’s transcriptions of Liszt songs for good measure.

Written when Busoni was an only 12, the concerto may be reminiscent of Mendessohn, with shades of Hummel and Beethoven too - but even if it doesn't sound like mature Busoni, it is still a fascinating document of the youthful composer's uncannily advanced technique.

Estonian composer Tõnu Kõrvits (b. 1969) belongs to his country’s most prominent composers. His works are rich with delicate atmosphere possessing a particularly Northern feel combined with a romantic and Impressionistic touch. This new album by the award-winning Estonian Philharmonic Chamber Choir, Tallinn Chamber Orchestra and conductor Risto Joost is the final volume in a trilogy of works for choir and orchestra.

Josef Suk (1874-1935), student and son-in-law of Antonin Dvorák, is one of music's hidden treasures. At the beginning of his career, as in the Six Piano Pieces, he wrote a reasonable facsimile of his teacher's music. The first of these pieces, "Love Song," is the best known of the set, but it's not the only beautiful one. "Moods," even less familiar music, is similarly lovely. By the time he wrote About Mother, Suk had been through the experience that was to transform his life: the early death of his greatly beloved wife, Otilie.

Arvo Part - Te Deum (2012) {Nikolic, Netherlands Chamber Choir & Orchestra, Risto Joost - Globe GLO 5252}
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© 2012 Globe / KPP | GLO5252
Classical / Choral / Instrumental

A new release from the revered Netherlands Chamber Choir, featuring works by Arvo Pärt. This time the choir teams up with the Netherlands Chamber Orchestra in a mixed program of chamber orchestra, choral, and choral a cappella works. The main course on this CD is the rarely recorded and monumental Te Deum. Young Estonian conductor Risto Joost delivers a reading that is rich and inspired.