London Review

Here's a Symphony of Psalms that successfully captures the spirit and letter of the work–reverence, jubilation, and celebration, as well as specifics of orchestral color and texture. Boys' voices–supposedly Stravinsky's original choice–contribute their share to the bright choral timbre, an effect that works very well. We also get first-rate performances of the Mass and the rarely recorded Canticum sacrum.

Magnus Lindberg burst onto the contemporary music scene in the 1980s with his early work Kraft (as in "power", and not the American food conglomerate and inventor of Velveeta cheese by-product substance), an avant-garde spectacular that took the "sound mass" procedures of Berio or Xenakis and wedded them to an explosive rhythmic energy. He's broadened his style since then, taking in tonal elements and even the occasional tune, but the rhythmic vitality remains, and his coloristic gifts, his ear for ever new and remarkable instrumental sound combinations, have only increased. Aura is a four-movement symphony as indescribable as it is a joy to hear. Dedicated to the memory of Lutoslawski, the piece shows its composer similarly possessed of a vibrant, communicative personal musical language. Although it plays continuously for about 37 minutes, newcomers to Lindberg's sound creations should start with the finale, a sort of dance that begins with simple tunefulness before finding itself in a sort of riotous minimalist hell. It's hugely fun, as is the entire work.

London Baroque offers another installment in its ongoing European Trio Sonata series, this time devoted to 18th-century Italy; as with the ensemble’s previous efforts the program features generally excellent performances of lesser-known repertoire. Ten years ago I reviewed a similar 18th-century Italian program by this same group titled “Stravaganze Napoletane”, also on BIS, and was generally impressed with the performances–except for one piece: Domenico Gallo’s Sonata No. 1 in G major.

This was Alicia de Larrocha’s finest account of Nights in the Gardens of Spain, fully capturing the Andalusian atmosphere of this evocative score. After all, it’s not a work about landscapes and flowers – it’s about love. Rafael Frühbeck de Burgos does a superb job of drawing perfume and color out of an English orchestra.

The last three symphonies remain for many listeners the ultimate expression of musical romanticism. Their gorgeous tunes, luscious orchestration, and huge emotional range tempt many interpreters to extremes of musical excess– but not Igor Markevitch. These brilliantly played, exceptionally precise performances let the hysteria speak for itself, while focusing on the music's architectural strength. The results are uncommonly exciting, supple, and above all sensitive to the music's many beauties. Having withstood the test of time, and at two discs for the price of one, this might very well be a first choice for newcomers and collectors alike. Excellent recorded sound too.