MARTINU • HINDEMITH • HONEGGER : Cello Konzerte (Johannes Moser · Deutsche Radio Philharmonie · Christoph Poppen) (2011) FLAC (image+.cue), lossless

Though their national heritages differed as widely as their musical backgrounds and mature musical language, contemporaries Martinu, Hindemith, and Honegger each turned their backs on the highly popular and influential serial movement and blazed their own paths. Their cello concertos serve as ideal illustrations; from the Czech infused rhythmic intensity of the Martinu to the lean, academic focus of the Hindemith, to the nearly palpable colors and textures of Honegger, these three concertos are highly individualistic yet work quite well together on a disc. Cellist Johannes Moser appears again on the Hänssler Classic label along with the Deutsche Radio Philharmonie under Christoph Poppen for performances as vibrant and intriguing as the compositions themselves. This type of music -- which combines elements of both demanding technical bravura across the range of the instrument with moments of passionate lyrical beauty -- seems to be Moser's forte. His left hand here is staggeringly precise, no matter how big the shift, how awkward the chord, or how rapid the passagework. This technical ease allows listeners to remove their attention from the actual execution of the score and instead focus on the enjoyable musical content. Moser's sound is quite powerful, though never forced, and from low to high pitches he penetrates the sometimes dense orchestration with ease. Poppen's orchestra is just as precise and nuanced as Moser, and their collaboration results in a truly enjoyable listening experience. Mike D. Brownell 

MARTINU • KODÁLY • DOHNÁNYI • JOACHIM • ENESCU : Music for Viola and Piano (Bradley-Hewitt) (2011) FLAC (image+.cue), lossless

From the end of the 19th century and onward, the frequency with which prominent composers were found writing for the viola increased dramatically. This phenomenon was seen around the world as the instrument's deep, resonate sound fell more into favor and virtuosos became more commonplace. This Naxos album focuses on viola works to emerge from Hungary. From this country, composers often fell into two camps. The first were those who adopted the popular late-Romantic, German idiom; here, this is represented by the Joachim Op. 9 Hebrew Melodies and the Dohnányi Op. 21 Sonata in an arrangement by performer Sarah-Jane Bradley. (Dohnányi himself had played an arrangement of the piece with violist Lionel Tertis). Countering these highly lyrical compositions are those from composers who sought to develop a more nationalistic musical idiom and include the Martinu Sonata, H. 355, the Kodály Adagio, and the Enescu Concertstück. Bradley's program is not only well thought out and diverse, but demonstrates the viola's abilities both as a virtuosic instrument and one capable of delivering beautiful melodic lines. Joined by pianist Anthony Hewitt, Bradley's performances are admirable in many respects. Her playing is very calm and restrained; there are no moments when listeners are left gasping for air as the violist strains for large shifts or to make it to the end of difficult passagework. Her intonation is generally solid, her tone is warm and even across the range of her instrument. On the downside, her sound is not exceptionally big. Hewitt's playing is quite accommodating in this respect so the piano never actually obscures Bradley's playing, but there is a notable lack of any big, forte sound, or a wide dynamic range. by Mike D. Brownell