Those indefatigable Naxos folks serve up some musical Pierogi with this recent release featuring five orchestral works by Polish composer-conductor-pedagogue Artur Malawski (1904-1957). He was born in Przemyśl, about 250 miles south-southeast of Warsaw, where he began learning the violin at age eight (1912}.

Then from 1920 to 1928, Artur studied that instrument as well as music theory at the Academy of Music Krakow (AMK), located some 150 miles west of his hometown. He also concertized in his country as well as on Polskie Radio (PR). However, Malawski injured his left hand, which precluded any thoughts he might have had about becoming a professional violinist.

Consequently, from 1928 through 1936, he taught violin as well as music theory at a couple of Polish universities that included AMK (see above). The year 1936 also saw him begin composition and conducting courses at what's now known as the Chopin University of Music in Warsaw. He then graduated in 1939 with, to quote the album notes, "distinction for composition",

But the outbreak of World War II (1939-1945) plus Nazi Germany's invasion of Poland (1939), resulted in his moving east across the border into present-day Ukraine. Once there, he pursued musical activities in Lviv as well as what's now known as Ternopil. However, he later returned home to continue his musical career in Lublin (1941) and Kraków (1945).

Then during 1945-57, Artur occasionally appeared as a conductor, but held several important administrative, music-related positions. However, he died quite suddenly at 53 in Kraków and left a significant number of compositions across most genres. Many have since gained significant recognition.

Malawski's Overture (Uwertura, 1948-49) gets things off to a rousing start. It may remind those loving Polish music of his fellow countryman Witold Lutosławski's (1913-1994; see 31 March 2024) orchestral creations written around this time.

That said, it begins with the lower strings playing an agitated preface [00:01], which erupts into a raucous, brass-woodwind-tuned-percussion passages [00:25]. Then the latter adjoin a more subdued, contrapuntally spiced segment [04:45]. This becomes a somewhat lyrical, codalike summation [05:40] that ends the work with a definitive gong stroke [07:13].

One of the composer's most intriguing pieces comes next. Namely, his Symphonic Études (Etiudy symfoniczne, 1947), which is scored for piano and orchestra. In six short movements, it begins with an "Intrada" [T-2], where the soloist plays some left-hand chords [00:01]. These are soon veneered with a sinister, woodwind-horn chorale [00:06, 02:58], which surrounds a spirited dialogue between the orchestra and piano [00:55-02:57].

Then there's a pensive, somewhat foreboding "Romanza" [T-3] for them. However, it's followed by a cocky, chromatically-tinged "Toccata" [T-4], restive "Notturno" [T-5], as well as a boisterous "Burlesque" [T-6]. And after that, a frenetic "Finale: Fugato" [T-7], where the soloist and tutti play leapfrog, ends the piece with a zesty flourish for all [02:54].

A complete manuscript for this composer's Mountaineers' Triptych (Tryptyk góralski, 1949) has not survived. Consequently, what we have here is Polish cellist-conductor-composer-teacher Kazimierz Wiłkomirski's (1900-1995) three-movement, 1988 realization of it. This may have been based on a couple of similarly named Malawski pieces, which are respectively for solo piano (1949) and a small orchestra (1950).

The first movement [T-8] has an initial "Andante (Slow)", comely, string-woodwind melody [00:00] soon succeeded by an "Allegro con brio (Lively with spirit)", acerbic thought {01:02]. The latter surrounds memories of the opening measures [02:21-02:44] and ends the movement briskly.

In the subsequent "Andante (Slow)" one [T-9], a balmy, affecting, opening theme for the cellos [00:00] is preempted by the woodwinds [00:29]. But these two groups eventually join forces with the rest of the orchestra [02:25j, thereby bringing things to a peaceful conclusion

Then ennui turns to exuberance in the closing ""Vivo (Lively)" [T-10], which starts fractiously with a spry orchestral theme [00:00], This thrashes about [beginning at 01:07], but subsequently bridges into remembrances [03:50] of the work's opening melody. These unexpectedly close the piece quite calmly.

The next selection is Artur's Toccata for Small Orchestra (1947) [T-11]. It sports an impetuous start [00:00] that gives way to a mellow tune [01:14]. Then the latter undergoes a captivating exploration [02:00], which adjoins spirited passages [03:02] with a subdued reminder of that previous idea [03:22]. But the pace soon quickens [04:34], thereby bringing this selection to a brisk coda [06:35], which ends things rather briskly.

The year 1952 saw Malawski write his five-movement Popular Suite, which is also known as Suite in the Popular Style (Suita popularna). Its opening "Capriccio" [T-12] begins with woodwinds-plus-strings playing a jaunty ditty [00:00], conjoining a related, capricious number [00:04] that cavorts about [beginning at 00:43]. Then a riveting reminder of the opening measures for piano [01:49] and orchestra [01:56] closes things with a definitive timpani roll [02:43].

A captivating "Intermezzo" follows [T-13]. It starts with a delicate, woodwind idea [00:00], which soon gets warm approval from the strings [02:09] and brass [02:43]. Then the first thought returns [03:09] for a quiet ending.

Afterwards, it's "Scherzino" time [T-14]. This has a cheery, but somewhat cynical number that parents two outer sections [00:00 & 02:27]. They surround a salient, center one with piano plus tuba [01:56-02:26] and bring things full circle. All this sets the stage for a subsequent, yearning "Canzona" [T-15], where gentle woodwinds and modally-tinged strings engage in a yearning dialogue.

Subsequently, there's a "Finale: Variations" [T-16]. It begins with viola [00:00] plus orchestra [00:03] playing a rhythmic, rascally main subject. This undergoes four alterations that range from tuneful [00:19] to saucy [00:51], hymnlike [01:15] and brash [02:05]. Then an ardent one [02:48] ends the work and this release felicitously.

These performances are by the Artur Malawski Podkarpacka (Subcarpathian) Philharmonic (ArMaPodP), which is based in Rzeszów, some 150 miles south-southeast of Warsaw. Under Polish conductor Mariusz Smolij (b. 1962) along with fellow countrywoman, pianist Beata Bilińska (b. 1972), they deliver seemingly serviceable accounts of this music. However, there are some strangely edited moments in all five selections.

The recordings took place 3-5 January 2024 at a pleasant venue, namely the Artur Malawski Philharmonic Hall in Rzeszów. They project consistently acceptable sonic images of the orchestra with Ms. Bilińska's piano positioned front-and-center, well-captured and heartily highlighted. As for the overall instrumental timbre, it's generally good.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, S250531)

Composer-pianist-teacher Franz Xaver Scharwenka (1850-1924) was born in Szamotuły, some 200 miles west-northwest of Warsaw, to a German father and Polish mother. While "Dad" was not musically inclined, "Mom" was. Consequently, she instilled both of her sons, Ludwig Philipp (1847-1917) and Franz Xaver, with a love for it, whereby the latter began playing the piano by ear at the tender age of 3.

However, when Franz Xaver turned 15 (1865), his family moved to Berlin and he started studying piano at what was then known as the New Academy of Music. Scharwenka soon became a real virtuoso, and went on to teach there around 1869. Then during 1873-74, Franz undertook a period of required military service, after which he began touring as a concert pianist.

The year 1881 saw him set up a highly successful annual series of concerts at the Sing-Akademie zu Berlin, and later establish the Scharwenka Music School (SMC) in that great city. He also conducted a number of concerts while touring extensively. Then in 1891 he concertized in America and opened a New York City branch of the SMC. But during 1898 he returned to Berlin as director of what was the Klindworth-Scharwenka Conservatory. Franz Xaver would live out his years there, and leave around 150 works across most genres.

Our concert begins with his Piano Concerto No. 1 in B♭ minor, Op. 32 (1876), which started life as a two-part fantasia back in 1869. However, he later expanded this into the three-movement work presented here, and dedicated it to Franz Liszt (1811-1886), who was a longtime friend.

The initial "Allegro patetico (Fast with deep feeling)" [T-1] gets underway with rousing orchestral passages [00:01], soon followed by lively piano ones [00:23]. Then the latter make a virtuosic bridge into a lovely, subdued, romantic segment [01:22].

However, the opening thoughts return [03:08], only to be succeeded by more restrained ones [03:52] with delicate, tuneful moments for the soloist [04:56-09:30]. Then the music becomes increasingly excited [beginning at 09:31], thereby bringing this movement to a thrilling conclusion.

The "Allegro assai (Very fast)" middle one [T-2] is a scherzoesque cavort that opens with the tutti playing a flowery flourish [00:01] that promptly invokes a flighty ditty spun out by the piano [00:04], Then the foregoing is repeated [00:25] and cause for a charming, peppy tune from the soloist [00:44].

After that, the previous material is bandied about and followed by a pause plus some introspective moments [02:11]. Then all of this is cause for a captivating game of "tune tag" with virtuosic piano passages [05:54], all of which end things with a 🙂.

The "Allegro non tanto (Fast, but not too much so)" third movement [T-3] is like a theme and Variations. It has a flighty orchestral preface [00:01] hinting at a gripping, extended, bravura main subject soon played by the soloist [00:26].

This undergoes several variational treatments that range from capricious [01:32] to folksy [03:04], pleading [04:21], combative [05:07], dancelike [06:00] and confident [06:47]. Then a demanding cadenza [07:41-08:54] is followed by songful [08:55] as well as valiant [09:52, 11:04] memories of the main theme that bring the work to a glorious conclusion.

Franz Xaver wrote two symphonies, and while the second is lost, his four-movement Symphony No. 1 in C minor, Op. 60 (1885) fills out this release. He dedicated it to Prince Konstantin zu Hohenlohe-Schillingsfürst (1828-1896), who was a renowned Austrian military figure and had strong cultural associations that included musical ones.

The opening movement [T-4] begins with an "Andante (Slow)" introduction [00:01], which offers a serene theme [00:53] that undergoes a martial exploration [01:53] and is subsequently repeated [02:27]. Then the foregoing bridges into the "Allegro non troppo (Lively but not too fast)" remaining portion of this [beginning at 04:19]. Here the preceding material is developed in passages that get progressively more spirited [04:23].

But these wane into lovely, lyrical ones [05:16], which become increasingly triumphant and then ebb into searching measures {07:15]. Subsequently, the latter turn forceful [08:50] with a couple of pensive moments [09:24, 10:42]. However, the main idea makes a triumphant return [11:31] with a short contemplative segment [12;25-12:59], after which it ends things exultantly.

An "Allegro molto quasi presto (Very fast and somewhat hurried)" scherzo is next [T-6]. This is a ternary, A-B-A-structured piece, whose first "A" has an antsy preface [00:00], followed by a mazurka idea [00:31] that prances about [01:00, 01:19, 01:50]. Then this wanes into a more restrained, tuneful "B" [02:12], which is very captivating and bridges into the return of "A" [04:35]. The latter has an afterthought of "B" [06:06], which closes the movement uneventfully.

Merriment turns to melancholy in the subsequent "Adagio (Slow)" one [T-6]. Here opening plaintive, moments [00:01] are followed by a contemplative theme [00:19] that parents a wistful rhapsody [01:11]. This has some hopeful passages [03:04] that wax and wane into horn-adorned ones [04:42]. These become quite forceful, but soon ebb into memories [07:33] of the movement's opening measures, thereby ending things in the same mood as they began.

The fourth movement [T-7] is sonata-form-like and has an introduction [00:01] with an "Allegro molto quasi presto (Very fast and somewhat hurried)" section, succeeded by a pause [0:12] and an "Adagio (Slow)", introspective segment [00:15]. Then there's a "Tempo I (Initial tempo)" reminder of the foregoing [00:37].

All this hints at an "Allegro molto (Very fast)", upcoming, commanding theme that's soon heard [01:19]. It begins the exposition, and is followed by a loveley, delicate second subject [02:48]. Then both ideas undergo an impressive development [03:18] with fiery [04:12] as well as amorous [05:19] episodes. And subsequently, both thoughts occupy a dramatic recapitulation [07:31]. Then a triumphant coda [08:31] ends the work and disc with seven sforzando chords [09:38] for full orchestra.

British pianist Jonathan Powell (b. 1969) delivers an elegant rendition of the Concerto. He gets admirable support from the Poznań Philharmonic Orchestra (Poznań PO) under its Musical Director and Chief Conductor Łukasz Borowicz (b. 1977).

Then Maestro Borowicz and this orchestra deliver a satisfying account of Franz Xaver's Symphony. Those liking the music of his older brother Ludwig Philipp (see above) and that of Polish composer Grażyna Bacewicz (1909-1969; see the newsletter of 31 March 2024 and CPO 555 556-2) will relish this release.

The recordings were made 4-6 July [T-1 thru 3] and 27-30 September [T-4 thru 7] 2022 in Poznań, some 200 miles west of Warsaw. The first selection was done in the Adam Mickiewicz University Auditorium and the other one, at this orchestra's Concert Hall.

Despite the different times and venues, both present adequate sonic images of these works. However, please note that the piano sound seems somewhat unfocused. Also, the surroundings for the Symphony were more spacious, and consequently there's a distinctly longer reverberation time.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P250530)

With this release the Toccata label gives us their third volume of orchestral music by Austrian composer Richard Stöhr (1874-1967; see 30 November 2023). Also, all three works on this disc are world première recordings.

Once again, the album booklet has extensive details regarding his interesting life, as well as musical analyses of what's here. Accordingly, we'll just hit the high points, and begin by noting that he left a substantial oeuvre across all genres, and once said, "I am not a modern composer." Consequently, his music is of late romantic disposition.

The CD begins with Richard's "Per Aspera ad Astra (Through Adversity to the Stars): Festival Overture for Concert Band", Op. 79a (1942) [T-1]. This is of ternary, French overture persuasion and colorfully scored (see the album booklet). It has an "Andante maestoso (Slow and majestic)" introduction [00:01] featuring a rhythmically dotted theme.

Then the latter wanes into an "Allegro vivace (Fast and spirited)" section [02:08], and a subsequent songful, counter-melody [03:02]. These alternate with each other, after which the opening idea makes a "Piano poco sostenuto (Slow, somewhat sustained)" transition [05:30] into a "Sforzando staccato (Stressed and detached)" conclusion [06:03].

Richard's "Two Roads to Victory (Through Arms - through Love): Musical Poem", Op. 79b (1942) is next [T-2], and the scoring is similar to the previous selection (see the album booklet). It has a snare drum introduced "Allegro marziale (Fast and martial}", 6/8 time signature idea [00:00], which begins the "Through Arms" segment of this piece. Here restless, rhythmically dotted passages with declarative trumpets [00:45] and chugging trombones [00:49] introduce a "Maestoso (Majestic)", hymn segment [02:35].

But this ebbs into a 3/4 marked, delightful, Viennese-like waltz [04:12], thereby starting the work's "Through Love" portion. It has flighty moments [05:27, 06:12, 07:00, 08:43, 09:24] interspersed with pronounced ones [05:47, 06:33, 07:56, 09:43]. Then dramatic, forceful memories of the waltz [10:09] bring the work to a "Jubilant" conclusion.

Stöhr's four-movement Symphony No. 2 in D minor, Op. 81 (1942) follows. Stylistically, this work reflects the music of fellow countryman Gustav Mahler (1860-1911). In that regard, what we have here may well be a revision of a lost work, which Richard wrote shortly after that great composer's death.

The first "Allegro energico (Fast and energetic)" movement [T-3] begins with a venatic theme [00:02], which is explored [01:11]. Then we get a triumphant number [01:34] that has a dramatic reprise [02:16].

Subsequently, all of the foregoing is revitalized [03:26] and ebbs into a magnificent development [06:46] with an interim, elysian tidbit [08:14-09:01]. Then there's a "Poco pìu lento (Slightly slower)", moving "Mahleresque" recap [09:38]. It waxes and wanes into a brilliant coda [13:31], which is based on the opening and ends the movement exultantly.

But joy turns to sorrow in the next, songful, "Andante (Slow)" one [T-4]. It's of "ABABA" construction and the first "A" has anguished, soft, pizzicato strings [00:02] underlying a dirge-like thought [00:14]. Then the brass intone a radiant "B" [01:29] succeeded by a more optimistic "A" [02:31] and "B" [03:12]. This sets the mood for a glowing, "A-based" coda [04:57], which brings things to a "Sostenuto (Sustained)", serene conclusion.

After that we get a "Vivace (Spirited)" third movement [T-5]. It's a scherzo and features a sprightly, 9/8 time signature, contrapuntally-spiced, gigue-like ditty [00:01, 03:57, 06:44]. This is interspersed with lyrical, Mahlerian, trio segments [01:20-03:56 & 05:14-06:43]. It then ends the movement with staccato bits [07:23], a terse pause [07:29-07:30] and sforzando octaves [07:32].

The alle breve, "Allegro con fuoco (Fast with Fire)", fourth is a rondo [T-6]. This begins with a timpani-enforced, fermata-laced, commanding introduction [00:00], which hints at the symphony's opening measures. And subsequently, we get this movement's striking, principal theme [03:45] that reappears in lyrical [04:20] as well as a pensive [05:47] attire.

However, the foregoing becomes quite pronounced [beginning at 06:05], and there's a pause [06:42], followed by a rhapsodic version [06:44]. But the latter wanes into related passages [08:10] that become increasingly emphatic. These end the work and disc with a short pause [09:26], succeeded by final climactic flourishes [09:27], having a last, unison, accented D [09:31].

As on Toccata's second volume of this composer's orchestral music (see 30 November 2023), the Warsaw based Sinfonia Varsovia (SinfaVars) under English conductor-pianist-teacher Ian Hobson (b. 1952) is again featured here. They deliver splendid accounts of all three selections, which will probably be definitive for some time to come.

The recordings took place 5-8 March [T-3 thru 6] and 14-15 November [T-1 & 2] 2023. As before, they were made at Polish Radio's Witold Lutosławski Concert Studio located in Warsaw. The ones here present pragmatic sonic images in a pleasing venue, where there's no feeling of that confinement frequently associated with "studio" recordings. More specifically, the orchestral timbre is characterized by acceptable highs for a conventional disc, while the midrange and bass are quite good.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, Y250529)

A year ago we told you about some marvelous string quartets by Netherlands composer-violinist-conductor Johannes Bernardus van Bree (1801-1857; see 31 May 2024). Now the enterprising CPO label gives us four of his orchestral works.

Things get underway with van Bree's Overture in B minor (date unknown) [T-1]. This opens with a melancholy preface [00:01] that's followed by a commanding thought [01:17]. Then the latter undergoes a subdued exploration [01:39], which adjoins a related, flighty idea [02:24].

Subsequently, the foregoing are material for a captivating development [03:23] that adjoins a valiant number [06:15]. Then the latter is cause for restless passages [06:56, 08:20, 09:12]. These are followed by exultant remembrances [10:50] of past, happier moments, as well as an ecstatic coda [11:56], which ends the work all aglow.

Being a violinist himself, Johannnes apparently wrote at least four concertos for his instrument. That said, what we have next is the only surviving one. It's the Concerto for Violin and Orchestra in D minor, whose melodies are reminiscent of Wolfgang Amadeus Mozart (1756-1791). Consequently, this was most likely van Bree's first effort in the genre, and probably dates from around 1824.

The first of its three movements is marked "Allegro moderato (Moderately fast)" [T-2], and opens with the orchestra playing an assertive theme [00:00]. Then the soloist joins in [00:50], after which the music conjoins a lovely melody [01:16]. Then bits of the opening return [01:54] giving way to a delightful, violin-based serenade [02:14], featuring that previous, comely tune.

These passages become quite animated [02:14] with virtuosic violin moments, and soon invoke the middle "Andante (Slow)" movement [T-3]. Here the soloist plays an amorous melody [00:00] set to a compassionate tutti accompaniment. This is followed by a touching, related afterthought [01:16] and parents a lovely rhapsodic episode [02:16].

The latter adjoins a closing "Rondo" [T-4], where the violin plays a perky principal theme [00:00] set to an approving orchestral accompaniment. This is followed by another segment [00:59], which becomes quite imperious [01:19]. Then there are subsequent flighty [02:32], skittering [03:13], venatic [04:03], animated [04:30] and rousing [05:23] ones that bring the work to a frisky finish.

It's succeeded by the composer's Fantasy in [the] Form of a Symphony, which was also probably written around 1824. This is best described as a four-part symphony with a lengthy slow introduction. Consequently, for the purposes of this recording, it's considered to be in five sections, where each is given a separate track [T-5 thru 9].

The first is accordingly marked "Adagio (Slow)" [T-5], and begins with a pleasing theme [00:00]. It's subsequently the subject of delicate, woodwind sung passages [01:10], which have a couple of brief outbursts [01:04 & 04:17]

All this adjoins an "Allegro (Fast)" section [T-6], where a lovely, related idea [00:00] is cause for a captivating rhapsody. This wanes into a gentle "Andante (Walking pace)" segment [T-7] that has a tender opening tune [00:00], followed by some hearty oountermelodies [00:33, 01:06 & 01:47].

After that, the foregoing is reworked [03:07], thereby invoking a "Scherzo" [T-8], which is a delightful caper. Here bits of past thoughts empower vivacious sections [00:00, 02:23] that alternate with woodwind-colored ones [01:03, 03:25]. Then an amended version of the previous "Allegro (Fast)" appears [T-9, 00:00] and brings the work to a rousing conclusion.

This release comes full circle with van Bree's Overture in E♭ major (date unknown) [T-10]. It starts with a forceful theme [00:00] soon succeeded by two related ones that are darting [01:14] as well as martial [01:50]. Then the foregoing undergo a couple of developments, which are respectively subdued [02:28] and rather stringent [03:29].

Subsequently, the latter wanes into a new episode [03:43] that becomes quite elated [04:42]. It then ebbs [05:10] into subdued remembrances [05:20] of past thoughts, which turn triumphant [06:22]. These end the work as well as this disc in grand fashion with a final, fervent "So there!" cadence [07:01].

Award-winning, Greek-American violinist Ariadne Daskalakis (b. 1969) delivers a superb account of van Bree's little-known Concerto. She receives enthusiastic, support from Die Kölner Akademie (KölnerAkad) under its artistic director, American-born-and-trained Michael Alexander Willens (b. 1952). Incidentally, this orchestra is based in Cologne, Germany, some 160 miles southeast of Amsterdam, Netherlands, where the composer spent most of his life (see 31 May 2024).

Maestro Willens and the KölnerAkad go on to give enthralling performances of those three other selections. The overtures give this disc an exciting start and a rip-roaring finish. As for the Fantasy, these superb musicians make a convincing case for a somewhat ambiguous creation, which in lesser hands might well seem rather bland.

The recordings were a co-production of CPO and Deutschlandfunk (DLF). These were made 11-14 January 2012 [presumably T-1 & T-5 thru 9] and 6-7 January 2023 [presumably T-2 thru 4 & T-10] at the DLF's Kammermusiksall (Chamber Music Hall) in Cologne.

They involved a variety of musicians (see the album booklet), but despite all these differences, they present amazingly consistent sonic images of the orchestra in a good venue, with Ms. Daskalakis placed just left of Maestro Willens. Her violin is well captured and appropriately highlighted against the orchestra. As for the overall instrumental timbre, it's characterized by acceptable highs, a good midrange, and lean-clean lows.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P250528)