From whom? This is the latest edition in this fascinating series, which aims to document neglected music. “Exile Music” is closely related to Decca’s “Entartete Musik” (Degenerate Music) series. The series focuses on music and composers judged as inferior by the leaders of the Third Reich. Their suppression of music parallels their suppression of visual art, which suppresses works that are allegedly “degenerate” and potentially harmful to their political goals. In terms of music, this basically means two categories. The biggest were the repression of Jewish composers (regardless of style and/or content) and a musical modernism that the regime did not understand. Similar repression occurred in Russia under Stalin.
But Exile Music’s network is much wider. No totalitarian regime is needed to repress. Economic and performance opportunities are regulated by many factors, and music is neglected for a variety of reasons, some of which are far less onerous than direct political oppression. This music, composed for general performance, has no overt political agenda but is the victim of political and economic agendas.
That, in a nutshell, is the essence of the repertoire chosen by ARC Director Simon Wynberg to create this fascinating and historic recording project. Of course, neither suppression nor neglect confer value in themselves. I mean, the excitement of finding an important masterpiece is certainly the driving force, but even if these recordings end up just filling in the gaps in the list of historical recordings, giving listeners the chance to hear them is the point. That said, I’ve attached a list of the band’s discography to date (courtesy of publicists):
ARC Ensemble Records
On the Threshold of Hope, Michisław Weinberg Chamber Music (2006)
with tenor richard margeson
RCA Red Seal (Sony) 82876-87769 2 (Grammy and Juno nomination, 2007)
Through the Bone: Chamber Music by Julius Roentgen (2007) RCA Red Seal (Sony) 88697-158372 (Grammy nominee, 2008)
Two Paths of Exile: Walter Braunfels String Quintet, Adolf Busch String Sextet (2010) RCA Red Seal (Sony) 88697-64490 2
Music in Exile: The Chamber Works of Paul Ben Haim (2013) Chandos10769
Music in Exile: The Chamber Works of Jesse Fitterberg (2015) Chandos 10877 (Grammy nomination, 2016)
Music in Exile: Chamber Music Works by Simon Lacks (2017) Chandos 10983 (JUNO nominee, 2018)
Music in Exile: The Chamber Music Works of Walter Kaufman (2020) Chandos 202170 (OPUS Klassik Nominated, 2020)
Music in Exile: Chamber Music by Dmitry Klebanov (2021) Chandos 20231 (JUNO Nominated, 2022)
Music in Exile: The Chamber Music Works of Alberto Himsi (2022) Chandos 20243 (JUNO nominated, 2023)
Music in Exile: The Chamber Music Works of Robert Müller-Hartmann (November 2023) Chandos Records
All games produced by David Frost and designed by Carl Talbot
Now presented are the latest editions of “Frederick” Chamber Music, all premiere recordings. [Friedrich] clogged [Bloch]” (1899-1945). This collection is a real feather in the cap of the wonderful Chandos brand and its curatorial choices are always wise and extensive.
This latest release is another triumph, once again unveiling some truly excellent music that can now be lovingly documented in high-quality recordings thanks to the passion of researcher/producer Simon Weinberg and the talented musicians at the Toronto Conservatory of Music Obtained from the explicit performance. Even if these works are no longer performed or recorded (which I doubt), they will have a hitherto denied life in the enduring medium of recorded sound. In addition to the music, Weinberg wrote some very useful program notes that help provide flavor and context to this almost forgotten composer. Weinberg noted that while Bullock’s archives were acquired and carefully preserved by the New York Public Library, this recording represents the first serious effort to explore his ultimate legacy. All works are world premiere recordings.
All but one of the four works were written during the interwar period (1918-1939), and American composer Aaron Copland said there are still many works worthy of attention in this era. How right he was.
The disc opens with the four-movement Piano Trio No. 2 Op. 26 (1930). Frederic Blok was not a modernist or an innovator, but that’s not a bad thing. Bloch was a fan of the music of Gustav Mahler and therefore a proponent of a similar post-Romantic ethic. Here we have a very interesting piece that is challenging for the performers but very entertaining for the audience.
The first movement marks the post-Brahms style, with superb writing skills and slightly extended harmonic language, enough to let the listener know that the 19th century has indeed passed.
What follows is a playful, short scherzo-like movement, followed by a lovely, sometimes sad Adagio and a really interesting final movement inspired by tango music but still firmly rooted in the classical tradition, Dating back to the classical era of Mozart and Haydn.
It left this listener eager to hear Maestro Bullock’s first published work in this form (and sparked curiosity about his other unheard music). Perhaps future editions will further expand the exploration and documentation of this forgotten master.
Next up is a string quartet piece. 23 (1929-30) Forged the classical four movements. Again, the harmonic language is distinctly post-Romantic (and quite beautiful). It is easy to imagine this work included in a satisfying evening of chamber music. It’s melodic and requires a lot of skill but poses little challenge to the attentive listener.
“Clarinet and Piano Suite Op.73” (1944) was written during the most intense period of World War II and consists of 5 short movements (the longest movement is only a little over 3 minutes, and the entire suite is less than 8 minutes) . It’s as vivid and engaging as you’d imagine, and in no way reminds you of the ongoing world war. It’s a pleasant palate cleanser for the finishing touches on discs.
The coda is a form born in the Romantic era, with Schubert’s Trout Quintet (1819) being a shining icon of the genre. Other famous examples include Robert Schumann’s Quintet (1842) and Johannes Brahms’ Quintet (1864). Now I’m not saying that Bullock’s entry into the genre would give these classics serious competition, but this 1929 production would do well paired with one or all of the above classics.
Blok’s Piano Quintet, composed of three movements, exemplifies some of the best post-Romantic works of this chamber music group. Like the previous works on this disc, this one delights the ear with a wealth of melodic and harmonic gestures that may please chamber music listeners.
This recording is a strong testament to the further curatorial efforts of Mr. Weinberg and the fine musicians of the Royal Conservatory of Music in Toronto. This is a wonderful version that adds some important pieces to the chamber music repertoire. In a sense, it is also a strong advocacy of musical art and a condemnation of those who oppress artistic expression.
In addition to the academic curatorial efforts of Simon Wynberg, thanks are due to the following musicians from the Royal Canadian Academy of Music: violinists Erica Raum and Marie Bérard ; Steven Dann, viola; Thomas Wiebe, cello; Joaquín Valdepeñas, clarinet; and Kevin Afat, piano.
If you are a fan of chamber music and/or a supporter of the arts, you owe it to yourself to see this. You won’t be disappointed.
