Vision Radio

Naxos' album devoted to Carson Cooman's instrumental works, including symphonies, chamber music, and solos, represents an infinitesimal portion of his output; his opus numbers were in the 700s before he was out of his mid-twenties, and include pieces written in virtually every genre of Western music. Inevitably, there are some areas in which he will be stronger than others. His choral music is especially compelling: well written for the voice, with excellent text setting in a style that is not simple, but is also immediately engaging.

In Voyages, prolific American composer James Lee III takes the listener on a colourful journey through his endlessly creative orchestral music with ORF Vienna Radio Symphony Orchestra conducted by Marin Alsop.

Less well known among his works, the Missa sacra, Op. 147, bears witness to Robert Schumann’s late interest in sacred music – and in particular in Catholic church music. The work would have a rather difficult fate: during Schumann’s lifetime, it was neither published nor performed in its entirety. Even after its posthumous première, opinions were lukewarm. Wrongly so: the Missa sacra is a fascinating attempt to update sacred music through a refined post-classical musical language. It was originally conceived for orchestra, but Schumann also made a version for organ, presented here. This version allows great vocal transparency and immediacy, thus contributing to a clearer vision of the work.

At around autumn 1809, the management of Vienna’s imperial Hofburg Theatre commissions Beethoven to compose the incidental music for Goethe’s play Egmont, which premiered in Mainz in 1789. The plot of this tragedy is very much in keeping with the patriotic trend: it is set in Brussels, which is threatened by Spanish troops, and focuses on resistance against oppression and foreign rule. The hero, Egmont, places too much trust in the common sense and discretion of those in power – and this is his tragic mistake. In good faith, he allows himself to be lured into a deadly trap by the sinister Duke Alba, to whom he even explains his ideals of freedom and just rule. His lover Klärchen fails to persuade the cowardly citizens of Brussels to take violent action to free him, and, in her desperation, she commits suicide. What remains is the vision of a future freedom and victory – one that appears to Egmont in the form of Klärchen as he awaits execution in his dungeon.

No fewer than four major composers — Fauré, Debussy, Schoenberg and Sibelius — were inspired by Maurice Maeterlinck’s play Pelléas et Mélisande (1892). Given that we celebrate anniversaries of Fauré and Schoenberg in 2024, Paavo Järvi offers his reading of their settings of Pelléas et Mélisande with the Frankfurt Radio Symphony, whose Music Director he was for almost ten years. Debussy was so involved with his own operatic setting of Pelléas et Mélisande that the famous English actress Mrs. Patrick Campbell turned to Gabriel Fauré to write incidental music for the play; this music then became an orchestral suite in four movements that is considered to be Fauré’s symphonic masterpiece. Schoenberg followed advice given by his much-admired role model Richard Strauss in 1902 and composed his own symphonic poem based on Pelléas et Mélisande. Its complex combinations of musical motifs and the rich fabric of the large-scale orchestra not only captivate us but also reveal his own vision of this archaic and yet universal story.